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A new theory of culture presented with a new method achieved by comparing closely the art and science in 20th century Austria and Hungary. Major achievements that have influenced the world like psychoanalysis, abstract art, quantum physics, Gestalt psychology, formal languages, vision theories, and the game theory etc. originated from these countries, and influence the world still today as a result of exile nurtured in the US. A source book with numerous photographs, images and diagrams, it opens up a nearly infinite horizon of knowledge that helps one to understand what is going on in today’s worlds of art and science.
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Aus dem Inhalt: K. Janke: Probleme der Definition eines Arbeitsbildes � C. Hoffmeister: Europ�ische Industriegem�lde zwischen Rokoko und Romantik � C. Bertsch: Anmerkungen zu einem vernachl�ssigten Bildtypus der Zwischenkriegszeit � H. K�hler: Die Darstellung des Schmiedes � L. U. Scholl: Arbeit und Industrie in der deutschen Marinemalerei � C. Roth: Herrscherarbeit und Untertanenarbeit in Beispielen aus der Ikonographie Wilhelms II. � C. Muysers: Arbeit im buergerlichen Portrait � A. Schroyen: Die Rezeption der Arbeitsdarstellungen von Arthur Kampf im 3. Reich und ihre Aufarbeitung durch die Kunstgeschichte nach 1945 � C. Kivelitz: Der Begriff der Arbeit in Propagand...
The period which ended with Austria's political eradication and the inner and outward emigration of its artists witnessed a great variety of tendencies and the appearance of numerous significant artists, many of whom were prevented from developing their talents. This diversity of movements and personalities contributed to the formation of a complex and often contradictory stylistic image of the era.
Empire of Ecstasy offers a novel interpretation of the explosion of German body culture between the two wars—nudism and nude dancing, gymnastics and dance training, dance photography and criticism, and diverse genres of performance from solo dancing to mass movement choirs. Karl Toepfer presents this dynamic subject as a vital and historically unique construction of "modern identity." The modern body, radiating freedom and power, appeared to Weimar artists and intelligentsia to be the source of a transgressive energy, as well as the sign and manifestation of powerful, mysterious "inner" conditions. Toepfer shows how this view of the modern body sought to extend the aesthetic experience bey...
Erasures and Eradications in Modern Viennese Art, Architecture and Design challenges the received narrative on the artists, exhibitions, and interpretations of Viennese Modernism. The book centers on three main erasures—the erasure of Jewish artists and critics; erasures relating to gender and sexual identification; and erasures of other marginalized figures and movements. Restoring missing elements to the story of the visual arts in early twentieth-century Vienna, authors investigate issues of gender, race, ethnic and sexual identity, and political affiliation. Both well-studied artists and organizations—such as the Secession and the Austrian Werkbund, and iconic figures such as Klimt a...
This study examines the role played by regional cultures in modern art and visual culture in Central Europe between 1918 and 1938. Analysing paintings, photographs, prints, and illustrated magazines in relation to topics such as tourism, social activism, rural exoticism, gender, and ethnic diversity, the book offers a fresh perspective on Central European art and visual culture. It pays particular attention to Austria, a country often ignored in histories of modernism in Central Europe, yet one where the countryside gained high visibility as a part of modern culture between the wars. Examples from Czechoslovakia and Hungary also play an important role in comparison and challenge the national...
Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art. Tracing the history of the women’s art movement in Secessionist Vienna—from its origins in 1897, at the Women’s Academy, to the Association of Austr...