Artwork of the Month, February 2021: Experiment with Two Negatives at the Bauhaus by Irena Blühová (1932)

A portrait of a man and a woman, overlapping in one image through the merging of two negatives. She, looking pensive and serious, he, excited and happy. Dissecting the images, thin white lines add an additional layer to the composition, splitting it into six uneven parts.

With all these different elements, which overlap and interrupt each other, and create a lively impression of two portraits, February’s Artwork of the Month is quite a playful image – despite its rather prescriptive title: Experiment with Two Negatives at the Bauhaus. Indeed, the photograph is one of the most experimental works by its author, the Slovak photographer Irena Blühová (1904–1991). It not only gives us a glimpse into student photography at the Bauhaus but also relates to less explored aspects of the school’s history – social photography and student activism – and the role in it of one of Slovakia’s best-known interwar photographers.

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Milada Maresova Charity Bazaar

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.

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Artwork of the Month, January 2021: Japan – The Land of Contrasts by Alice Schalek (1925)

‘How much does the Austrian President Masaryk receive as his salary?’[1] Alice Schalek (1874–1956) was asked this question by a Japanese reporter in Tokyo during her journey there in 1923–24. Perceptions changed a lot after the First World War. The enterprising and renowned traveller Tomáš Garrigue Masaryk (1850–1937) had evidently been more successful with his countless diplomatic trips and obtained more publicity than the actual leaders of the first Austrian Republic, such as Karl Renner (1870–1950) or, later, Ignaz Seipel (1876–1932). And this might as well describe Schalek’s mission and the purpose of her trips: venturing into political affairs and social events in foreign countries and utilising them to promote herself (and, to a lesser extent, the interests of Austria). For this, the journalist and photographer Schalek literally had to explore new ways of entrepreneurship, especially as a woman travelling the world on her own.

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Milada Marešová, A Bride with a Cigarette

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.

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Awakening, gobelin by Noémi Ferenczy, 1926-27

Noémi Ferenczy: An Artist in Changing Times

If we organised a poll in Hungary to find the best-known twentieth-century Hungarian woman artist, Noémi Ferenczy (1890–1957) would probably be the strongest contender. She is arguably also the best-known applied artist; one of the few positioned in the mainstream canon as autonomous artistic personalities. Ferenczy was, indeed, an outstanding practitioner of her craft. Credited with introducing the art of gobelins to Hungary, she employed the technique to create a unique, self-contained pictorial world. Her artistic creativity has been highlighted by numerous studies and exhibitions, most recently by the retrospective organised at the Ferenczy Museum Centre in Szentendre and the accompanying extensive, bilingual catalogue-monograph authored by Emőke Bodonyi.[1] This article will focus on how Ferenczy made her way in the turbulent political conditions of early- and mid-twentieth century Hungary. She was a woman, daughter of a well-known artist, a committed Communist, a strong personality who wished to work alone and make a living from her craft. Her career and reputation were shaped – sometimes helped, sometimes hindered – by these aspects, as well as by the radical political and cultural shifts that marked Hungary’s twentieth-century history.

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