What would an exhibition look like that exclusively acknowledged women’s contributions to modern design? A possible answer to this question can currently be found at the Museum of Applied Arts (MAK) in Vienna, where Women Artists of the Wiener Werkstätte puts the work of the Viennese Workshops (Wiener Werkstätte, WW) design company’s female artists and designers in focus. It is the first large show at the MAK since its reopening after the lockdown, having had to be postponed for over six months. The accompanying publication Women Artists of the Wiener Werkstätte, was already published in 2020, offering an introduction to topics such as toy design, ceramics and training in thematic essays, as well as biographies of all the WW’s female artists whose details could be traced.
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.
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.
‘How much does the Austrian President Masaryk receive as his salary?’ 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.
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.