New Objectivity or New Realisms? Trends in the Successor States of Austria-Hungary, with a Special Focus on Czechoslovakia

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F75032333%3A_____%2F18%3AN0000081" target="_blank" >RIV/75032333:_____/18:N0000081 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.bozar.be/en/activities/133869-beyond-klimt" target="_blank" >https://www.bozar.be/en/activities/133869-beyond-klimt</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

New Objectivity or New Realisms? Trends in the Successor States of Austria-Hungary, with a Special Focus on Czechoslovakia

Popis výsledku v původním jazyce

The New Objectivity (“Neue Sachlichkeit”) of the Weimar Republic, commonly seen as lasting from 1919 to 1933, has been extensively researched. However, this does not necessarily apply to the Austro-Hungarian successor states on either side of the Danube. Here, the influence of German centers of artistic production and a German-speaking population continued to play a significant role. Throughout the 1920s—alongside the prevailing Modernist styles of Expressionism and Post-Expressionism and (abstract and Constructivist) avant-garde influences—we also find Modern Realisms that were associated with the German production centers. Grouped together under the term “New Objectivity” are a vast array of intriguing, often conflicting, iterations of Modern Realism. In contrast to its importance in Germany, the New Objectivity phenomenon had not been paid much attention in interwar Czechoslovakia and its fellow Austro-Hungarian successor states. This was due—to some extent—to the complexities of the term’s formal definition and terminological differentiation. National notions of art history had thus far stood in the way of attempts to raise the profile of New Objectivity in the successor states and, in the case of Czechoslovakia, this had led to the marginalization and suppression of the German- and Hungarian-speaking artists who provided New Objectivity with its momentum. It was viewed as the product of a German cultural milieu, and as such was considered an unwanted addition to the country’s art-historical account. In their search for a new identity and a place within the redrawn map of Europe, the countries of the Little Entente (Czechoslovakia, Romania, and Yugoslavia) looked to France for direction. Czechoslovakia in particular rejected any form of nostalgia for the Habsburg Monarchy—from which the young republic was eager to distance itself in the early 1920s. The collapse of Austria-Hungary into a series of successor states redrew the political map of Central Europe. Yet, despite the new borders, the lasting cultural impact of the German Reich on countries previously under Habsburg rule prevailed, and the region’s cultural and social interrelationships were not severed completely; certain common features persisted. It may seem somewhat forcibly construed, but New Objectivity still clearly had validity in these regions and its proponents could also be found among artists whose everyday language of communication was not German—although merely accepting this idea as a possibility continues to have political connotations, even to this day. The numerous manifestations of New Objectivity make a definitive classification impossible. The range of receptions of New Objectivist influences that came out of Weimar Germany was extensive and was transported by individuals, many of whom were to remain misunderstood at home.

Název v anglickém jazyce

New Objectivity or New Realisms? Trends in the Successor States of Austria-Hungary, with a Special Focus on Czechoslovakia

Popis výsledku anglicky

The New Objectivity (“Neue Sachlichkeit”) of the Weimar Republic, commonly seen as lasting from 1919 to 1933, has been extensively researched. However, this does not necessarily apply to the Austro-Hungarian successor states on either side of the Danube. Here, the influence of German centers of artistic production and a German-speaking population continued to play a significant role. Throughout the 1920s—alongside the prevailing Modernist styles of Expressionism and Post-Expressionism and (abstract and Constructivist) avant-garde influences—we also find Modern Realisms that were associated with the German production centers. Grouped together under the term “New Objectivity” are a vast array of intriguing, often conflicting, iterations of Modern Realism. In contrast to its importance in Germany, the New Objectivity phenomenon had not been paid much attention in interwar Czechoslovakia and its fellow Austro-Hungarian successor states. This was due—to some extent—to the complexities of the term’s formal definition and terminological differentiation. National notions of art history had thus far stood in the way of attempts to raise the profile of New Objectivity in the successor states and, in the case of Czechoslovakia, this had led to the marginalization and suppression of the German- and Hungarian-speaking artists who provided New Objectivity with its momentum. It was viewed as the product of a German cultural milieu, and as such was considered an unwanted addition to the country’s art-historical account. In their search for a new identity and a place within the redrawn map of Europe, the countries of the Little Entente (Czechoslovakia, Romania, and Yugoslavia) looked to France for direction. Czechoslovakia in particular rejected any form of nostalgia for the Habsburg Monarchy—from which the young republic was eager to distance itself in the early 1920s. The collapse of Austria-Hungary into a series of successor states redrew the political map of Central Europe. Yet, despite the new borders, the lasting cultural impact of the German Reich on countries previously under Habsburg rule prevailed, and the region’s cultural and social interrelationships were not severed completely; certain common features persisted. It may seem somewhat forcibly construed, but New Objectivity still clearly had validity in these regions and its proponents could also be found among artists whose everyday language of communication was not German—although merely accepting this idea as a possibility continues to have political connotations, even to this day. The numerous manifestations of New Objectivity make a definitive classification impossible. The range of receptions of New Objectivist influences that came out of Weimar Germany was extensive and was transported by individuals, many of whom were to remain misunderstood at home.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/GA17-06031S" target="_blank" >GA17-06031S: Nové realismy na československé výtvarné scéně 1918–1945</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2018

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Beyond Klimt: New Horizons in Central Europe

ISBN

978-3-903114-57-9

Počet stran výsledku

12

Strana od-do

278-289

Počet stran knihy

392

Název nakladatele

Hirmer

Místo vydání

Munich

Kód UT WoS kapitoly

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