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On the Philosophy of Central European Art
This book is an introduction to the history of the concept and the institution of (fine) art, from its ancient Southern European roots to the establishment of the modern system of the arts in eighteenth century Central Europe. It highlights the way the concept and institution of (fine) art, through colonialism and diaspora, conquered the world. Ryynänen presents globally competing frameworks from India to Japan but also describes how the art system debased local European artistic cultures (by women, members of the working class, etc) and how art with the capital A appropriated not just non-Western but also Western alternatives to art (popular culture). The book discusses alternative art forms such as sport, kitsch, and rap music as pockets of resistance and resources for future concepts of art. Ultimately, the book introduces nobrow as an alternative to high and low, a new concept that sheds light on the democratic potentials of the field of art and invites reader to rethink the nature of art.
Central and Eastern European Art
In this path-breaking new history, Maja and Reuben Fowkes introduce outstanding artworks and major figures from across central and eastern Europe to reveal the movements, theories and styles that have shaped artistic practice since 1950. They emphasize the particularly rich and varied art scenes of Poland, Czechoslovakia, Hungary and Yugoslavia, extending their gaze at intervals to East Germany, Romania, the Baltic states and the rest of the Balkans. While politics in the region have been marked by unstable geography and dramatic transitions, artists have forged a path of persistent experiment and innovation. This generously illustrated overview explores the richness of their singular contri...
Central European Drawings, 1680-1800
Central Europe occupies a prominent place in many realms of eighteenth-century culture. This volume is the catalogue of an exhibition of drawings, organized in 1989 by The Art Museum, Princeton University, which presents some of the little-known accomplishments of artists from the region of present-day East and West Germany, Austria, Switzerland, and parts of Poland, Czechoslovakia, and Hungary. Providing the first available survey of drawings of the period in English, the illustrated introduction to the catalogue considers the works in historical and artistic context. The book includes important drawings by artists such as Cosmas Damian Asam, Egid Quirin Asam, Matthus Gnther, and Adrian Zingg. Published for the first time are unique drawings by such important sculptors as Georg Raphael Donner and Franz Xaver Messerschmidt. The fully illustrated catalogue contains 105 entries, many of which deal with major issues of art of the time and treat the drawings exhibited in relation to works elsewhere. Biographies are presented for all the artists exhibited.
Art beyond Borders
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ
Periodization in the Art Historiographies of Central and Eastern Europe
This volume critically investigates how art historians writing about Central and Eastern Europe in the late nineteenth and early twentieth centuries engaged with periodization. At the heart of much of their writing lay the ideological project of nation-building. Hence discourses around periodization – such as the mythicizing of certain periods, the invention of historical continuity and the assertion of national specificity – contributed strongly to identity construction. Central to the book’s approach is a transnational exploration of how the art histories of the region not only interacted with established Western periodizations but also resonated and ‘entangled’ with each other. ...
Primary Documents
This text presents documents drawn from the artistic archives of Eastern and Central Europe during the second half of the 20th century.
The Art and Culture of Scandinavian Central Europe, 1550–1720
Politically and militarily powerful, early modern Scandinavia played an essential role in the development of Central European culture from the sixteenth to the eighteenth century. In this volume, Kristoffer Neville shows how the cultural ambitions of Denmark and Sweden were inextricably bound to those of other Central European kingdoms. Tracing the visual culture of the Danish and Swedish courts from the Reformation to their eventual decline in the eighteenth century, Neville explains how and why they developed into important artistic centers. He examines major projects by figures largely unknown outside of Northern Europe alongside other, more canonical artists—including Cornelis Floris, Adriaen de Vries, and Johann Bernhard Fischer von Erlach—to propose a more coherent view of this part of Europe, one that rightly includes Scandinavia as a vital component. The seventeenth century has long seemed a bleak moment in Central European culture. Neville’s authoritative and unprecedented study does much to change this perception, showing that the arts did not die in the Reformation and Thirty Years’ War but rather flourished in the Baltic region.
The Green Bloc
Expanding the horizon of established accounts of Central European art under socialism, this book uncovers the neglected history of artistic engagement with the natural environment in the Eastern Bloc. The turbulent legacy of 1968, which saw the confluence of political upheaval, spread of counterculture, rise of ecological consciousness, and emergence of global conceptual art, provides the setting for Maja Fowkes’s innovative reassessment of the environmental practice of the Central European neo-avant-garde. Focussing on artists and artist groups whose ecological dimension has rarely been considered, including the Pécs Workshop from Hungary, OHO in Slovenia, TOK in Croatia, Rudolf Sikora i...
The Art and Culture of Scandinavian Central Europe
Politically and militarily powerful, early modern Scandinavia played an essential role in the development of Central European culture from the sixteenth to the eighteenth century. In this volume, Kristoffer Neville shows how the cultural ambitions of Denmark and Sweden were inextricably bound to those of other Central European kingdoms. Tracing the visual culture of the Danish and Swedish courts from the Reformation to their eventual decline in the eighteenth century, Neville explains how and why they developed into important artistic centers. He examines major projects by figures largely unknown outside of Northern Europe alongside other, more canonical artists ― including Cornelis Floris, Adriaen de Vries, and Johann Bernhard Fischervon Erlach ― to propose a more coherent view of this part of Europe, one that rightly includes Scandinavia as a vital component. The seventeenth century has long seemed a bleak moment in Central European culture. Neville's authoritative and unprecedented study does much to change this perception, showing that the arts did not die in the Reformation and Thirty Years' War but rather flourished in the Baltic region.
