Lace is not typically viewed as high art. It is more of a decorative or utility object found under vases and on windowsills or as an ornament on garments. Historically speaking, it was often seen as a luxury product due to its hand-made origin that involved acquired skill. As a decorative object, its place in modern culture is tentative, however. Lace has been commonly linked to handicrafts, home industries and to folk art. At the beginning of the twentieth century, however, new themes and approaches to lace began to be explored and Emilie Paličková Milde (1892–1973) is one of the key examples of a designer who experimented with lace as a form of artistic expression.
1938 was an important year in the history of Hungary’s authoritarian interwar regime. The nine hundredth anniversary of the death of King Stephen I (Saint Stephen, c. 975–1038), Hungary’s first king, was declared a Jubilee Year, and a long series of celebrations and commemorations were organised on the occasion. One of the most significant projects was the Ruin Garden in Székesfehérvár: a new memorial site set up to preserve and make accessible the ruins of the basilica Stephen had founded in the town in the early eleventh century. The garden was flanked by a mausoleum built to house a sarcophagus believed to have been the king’s. Behind the sarcophagus, elevating the sacral aura of the space, the wall was divided by a tall and imposing stained-glass window. Its maker, Lili Sztehlo (1897–1959), was the most prominent artist working in this technique in interwar Hungary.
The Hungarian town of Szentendre is known for its small museums dedicated to individual artists, but the Margit Kovács Museum stood out in popularity after it first opened in 1973. Looking at the ceramicist’s Bundt-Cake Madonna, it is not hard to understand why. As the title indicates, the conical shape of the Madonna’s body is designed to recall a cake; the white glazing on the surface, then, makes us think of the cake’s icing. The baby Jesus wears the same, cake-shaped garment, but a tiny one, and his mother holds him lovingly, gently bending her neck to touch her face to the baby’s crown. It is a sweet composition, and it is also a very well-formed one, which unites simple, pure form with intricate surface decoration, so that the ceramic sculpture as a whole appears robust and solid, rather than finicky. It represents a cake that is not only sweet, but also filling; a dessert of considerable substance.
We are pleased to announce that Professor Megan Brandow-Faller (City University of New York) and CRAACE research fellow Julia Secklehner have been awarded an events grant from the Botstiber Foundation for Creativity from Vienna to the World, an online project that includes lectures, a blog and an online exhibition. The project connects aspects of design and women’s history, pedagogy, migration history and cultural transfer to trace the achievements of migrant women designers who moved to the United States from Central Europe in the first half of the twentieth century.
Built in 1928 on one of the slopes of Zlín’s hilly and quite bare landscape, the family home of Berty and Fanuška Ženatý became known as The American House. It was a replica of a house that the couple owned in the United States, where they had lived and worked for a few years. The villa was rebuilt in the new location upon the wish of the manufacturer Tomáš Baťa (1876–1932) for whom it was meant to serve as a model house that could be easily replicated for the employees of his factories.