Rudolf Wacker (1893–1939) is considered one of the most intriguing painters in Austria during the interwar period. Based in Bregenz in Vorarlberg, the westernmost province of Austria, he strongly oriented himself to the German art world. In his landscapes, portraits and still lifes, he analysed his close surroundings and the local reality in Austria utilizing a razor-sharp realism. As a prisoner of war in Siberia from 1915 to 1920, however, he also experienced ‘exotic’ worlds, which influenced his paintings throughout his whole career, not least in the form of memorabilia and souvenirs. The portrait of his wife Ilse (1926) reveals an important example of this phenomenon in the 1920s.
Tag: New Objectivity
Interview about Milada Marešová with Marta Filipová
CRAACE research fellow Marta Filipová has been interviewed about the painter Milada Marešová (1901–1987) on the Czech national radio channel ČRo Dvojka. You can listen to the radio programme here.
The radio series Osudové ženy introduces remarkable women of Czech history to wider audiences, and has featured not only the life and work of female politicians, writers, sportswomen, and actresses, but also the artists Mary Duras (1884–1982) and Vlasta Vostřebalová-Fischerová (1898–1963). Each programme combines period recordings, dramatizations by actors, and studio discussions with specialists.
Artwork of the Month, December 2020: Bride with a Cigarette by Milada Marešová (1933)
Sitting in a full, white dress in front of a brick wall and a grove of cypress trees, a bride is looking straight out of the painting at the viewer. At first glance, she is not a typical bride. Although she wears more traditional long gloves, and clutches a fan in one hand, her veil is falling slightly from her head and reveals prominent red hair which contrasts with her greenish skin. We can only imagine that under the veil she has a bubikopf, a haircut typical for the ‘new woman’ look. Her face and expression dominate the painting. Her remarkable, raised eyebrows and bright red lips add to the defiant look she is casting. Yet most striking of all is the cigarette the bride is holding in her right hand.
Herbert Ploberger: At the Interface between Fine and Applied Art
The inclusion of lesser-known modernisms into art history at large also calls for the introduction of lesser-known artists, and it is often left to smaller, regional galleries to take on this task and produce the groundwork. The recent exhibition Herbert Ploberger: At the Interface between Fine and Applied Art at the Upper Austrian regional gallery in Linz can be understood precisely in this light.
Herbert Ploberger (1902-1977) was one of Austria’s main representatives of New Objectivity painting (Neue Sachlichkeit), a movement that developed in reaction to Expressionism in 1920s Weimar Germany. Stripping paintings bare of personal feeling and emotion, artists of the New Objectivity forged a hyperreality that often bordered on caricature for its brutal and unforgiving depictions of modern life. Continue reading