Artwork of the Month: Greater Europe by Société Réaliste (2008-2009)

Our artwork of the month – the first instalment in this new series – is not from the interwar period: it was created in 2008-2009. It has been chosen as an introductory piece because it represents an important aspect of our research in a thought-provoking way. Our project considers Central Europe after 1918 as a shared cultural space, but in doing so it has to deal with the political reality: the newly minted nation states of the region and the new borders drawn between them. These borders – either their enforcement, or, as in the case of Hungary, their fervent contestation – were central to political discourse in all of these countries. The concept of the nation state relies on the idea that the ethnic, cultural and administrative borders of a nation should correspond with each other; this is, however, rarely the case in reality. The new states of Central Europe were not homogeneous either ethnically or culturally. In the Austro-Hungarian Monarchy, different ethnic groups had not only lived side by side, but also intermingled. After 1918 the population of the region underwent a radical mental shift from imperial multi-nationalism towards ethnic nationalism. Yet, multi-ethnicity was still present, and cultural transfer happened between ethnicities and across borders. What does this curious map tell us about all this? Let’s take a look.

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Book review: Art in the Czech Lands 800-2000

In 1984 the Czech Institute of Art History commenced publication of a multi-volume history of Czech art from prehistory to the present. It was a massive undertaking, a comprehensive survey that was not completed until 2007, when the final two volumes on art since 1958 appeared. It represented a particular central European tradition in academic publishing, but as with many other such projects, its drawbacks were all too evident. During the 23 years of its gestation, art historical methods had changed considerably, especially given the ideological shifts brought about by the collapse of Communism. In addition, the break-up of Czechoslovakia in 1993 meant that the meaning of ‘Czech art’ was no longer the same, and the later volumes could be seen as part of the self-redefinition of the new Czech Republic. Despite such caveats, it was still a major work of reference, but it was hampered by one single factor: it was only published in Czech. For linguistic reasons alone, therefore, its potential impact was limited.

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