Friedl Dicker-Brandeis, This Is What It Looks Like

Artwork of the Month, September 2020: This Is What It Looks Like, My Child, This World by Friedl Dicker-Brandeis (c. 1933)

This is what it looks like, my child, this world, that is what you have been born into, there are those born to shear and those born to be shorn. That, my child, is what it looks like in this world of ours and that of other countries, and if you, my child, do not like it, then you will just have to change it.

Set above a busy photo-collage of a newborn baby surrounded by newspaper cut-outs, these words call out for action in a world of political tension. Together with the images below it, they show a violent and turbulent world in which the baby seems already lost in its first moments of life. Forming part of a series of six photo collages created in Vienna in the early 1930s, This Is What It Looks Like gives a glimpse into anti-fascist photographic work in interwar Austria.

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Artwork of the Month, June 2020: A Walk Through the Metropolis by Erika Giovanna Klien (1923)

The artwork of the month for June 2020 is A Walk Through the Metropolis by Erika Giovanna Klien (1900–1957). It is perhaps the most ambitious and imposing example of the short-lived Viennese art movement known as ‘Kinetism’ that flourished in the early 1920s. Executed in gouache on paper, it consists of seven one meter-square panels laid alongside each other resulting in a work that is seven meters in length. The city it depicts is a site of thrilling, dynamic encounters, between the spectator and the physical environment, between buildings, and between the spectator and unspecified others on the street. The metropolis is a place of life and energy, and the work communicates, too, a sense of urban noise. Yet who was Klien, and what was Kinetism?

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Artwork of the Month, November 2019: Slovak Lourdes by Anna Lesznai (1924)

Framed by soft hills and picturesque huts, November’s Artwork of the Month transports us to the countryside of eastern Czechoslovakia in a painting by Anna Lesznai (1885-1967).  Born and raised as the daughter of an ennobled Hungarian-Jewish family in Körtvélyes, then Upper Hungary, Anna Lesznai was one of the core female members of the Hungarian pre-war avant-garde. In the context of the Arts and Crafts revival at the turn of the twentieth century, which found enthusiastic reception in late-Habsburg Hungary, her craftwork gained much attention, alongside her poetry and fairy-tales for children. However, Lesznai also produced graphic designs, painted, taught at Dezső Orbán’s Atelier art school in Budapest in the 1930s and successfully participated in a number of exhibitions. Forced to emigrate after the rise of the Horthy regime because of her involvement in the Hungarian Republic of Councils in 1919, Lesznai lived between Vienna and the family estate in Körtvélyes (from 1920 Hrušov, Czechoslovakia; part of Slovakia since 1993). Based on an interest in folk art and peasant culture from the region, which she had begun to study in the early 1900s, Lesznai produced numerous watercolours in the 1920s and 30s which focused on life in the villages surrounding her estate and received enthusiastic reception when exhibited in Vienna.

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Artwork of the Month, October 2019: Nudes by Erzsébet Korb (1921)

Artistic concepts tend to travel quickly, but they also change during travel. Moreover, they scatter in different directions when affected by certain historical, societal or cultural conditions. The turmoil after the First World War left the newly founded nation states in Central Europe reeling, especially Hungary, which lost a huge part of its territory after the Treaty of Trianon (1920). At the end of the First World War, a part of the Hungarian art scene moved forward from its post-impressionist traditions and followed a neo-classicist upswing that happened in France, Italy, and all around Europe.[1] Often considered a direct reaction to the chaos in post-war societies, the new classicism in Europe evolved differently in every region and is still not fully explored today.

Erzsébet Korb (1899–1925) started her career in the years of the war. She was born in 1899, as the oldest daughter of the well-known Hungarian architect Flóris Korb (1860–1930). He raised his daughters in an artistic environment and later enabled them to follow their careers as painters or dancers. Erzsébet’s talents in drawing and painting were noticed early. Already in 1916, at the age of 17, she exhibited three works at the National Salon in Budapest. Her paintings were heavily influenced by the new classicism. As a young female painter, she altered those tropes and gave them slight nuances. Therefore, most of her female figures show shorter hair and a rather strong body, while men often appear androgynous. Not meant as a direct critique of societal change, but rather driven by formal developments within Hungarian art, her depiction of naked women express deep, heartfelt mourning over a troubled world.

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City of Women

On 25th January 2019 the Belvedere Museum formally opened its exhibition City of Women: Female Artists in Vienna, 1900-1938. The exhibition continues until 19th May. Presenting the work of no fewer than 53 women artists, it is an ambitious project that builds on and extends earlier exhibitions by the Belvedere; despite the unpromising title, The Women of Klimt, Schiele and Kokoschka (2015-16), for example, was a serious examination of the painters’ oeuvre in the context of changing gender identities and discourses of femininity.

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