A Dissertation Submitted to the Faculty of the Graduate School of Arts And

Total Page:16

File Type:pdf, Size:1020Kb

A Dissertation Submitted to the Faculty of the Graduate School of Arts And AN ART OF THEIR OWN REINVENTING FRAUENKUNST IN THE FEMALE ACADEMIES AND ARTIST LEAGUES OF LATE-IMPERIAL AND FIRST REPUBLIC AUSTRIA, 1900-1930 A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences at Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History By Megan Marie Brandow-Faller, B.A./M.A. Washington, D.C. April 2010 Copyright 2010 by Megan Marie Brandow-Faller All Rights Reserved ii AN ART OF THEIR OWN REINVENTING FRAUENKUNST IN THE FEMALE ACADEMIES AND ARTIST LEAGUES OF LATE-IMPERIAL AND FIRST REPUBLIC AUSTRIA, 1900-1930 Megan Marie Brandow-Faller, M.A. Thesis Advisor: James P. Shedel, Ph.D. ABSTRACT Focusing on the institutionalization of women’s art education, this dissertation traces the development of the concept of Frauenkunst, (women’s art) originally connoting substandard, amateurish works intended as distraction rather than vocation, as well as certain lower genres (flower-painting, still-life, etc) associated with slavish reproduction rather than creative innovation, in Austrian artistic-educational systems circa 1900-1930. The originally-private, later state-subsidized Viennese Women’s Academy, which gained official institutional parity with Austria’s premier state academies of fine and applied arts, assumes particular significance for the question of a distinct “women’s art.” Originally founded by a private-league, the Women’s Academy gradually became integrated in late-Imperial Austria’s mainstream institutional framework: gaining rights of public incorporation in 1908, increased levels of state- funding and employment of key personnel, and the privilege of issuing degrees equal to the Austrian Academy of Fine Arts. Both undercutting and reinforcing the existence of a gendered aesthetic, Austria’s single-sex academy and artists leagues brought the concept of Frauenkunst full circle: reinventing the stereotypes against which women artists had traditionally struggled. The Viennese Women’s Academy represented a unique case in point of institutional equality of difference. While similar institutions in Central Europe closed iii after women were integrated into the mainstream state academies, the Viennese Women’s Academy experienced a renaissance just as Austria’s state Academy began accepting female students in 1919/20. Preceding women’s admission to the Academy, the state equipped the Women’s Academy with Courses in Academic Painting and Sculpture granted official institutional parity with the state Academy and extended government contracts to core-faculty. This sense of institutional equality of difference, pitted on the distinct pedagogical needs of female art-students, justified the Women’s Academy’s continued existence after women’s admission to the state Academy. Austria’s Women’s Academy occupied a liminal space between state-affiliated and league-school, the fine and applied arts, and public and private institution. iv TO ADAM v ACKNOWLEDGEMENTS A great many groups, institutions, and individuals have played important roles in supporting my research on women’s art institutions in late Imperial and First Republic Austria and in the writing of this dissertation, from conception to completion. Foremost among these groups, I wish to thank the History Department at Georgetown University for its constant encouragement of and interest in my work. In particular, I am indebted to the Graduate Studies Committee for its generous financial support of the research that went into this dissertation and for the chance to teach an undergraduate seminar related to the theoretical questions on European women artists I faced in writing this dissertation. I have found excellent professional role models in many of the professors with whom I have had the pleasure working during my time at Georgetown, including Alison Games, Amy Leonard, John McNeill, Aviel Roshwald, and my mentor James Shedel. In particular, Dr. Shedel has played an instrumental role in guiding my career, and I wish to express my gratitude for all of the careful attention he has devoted not only to reading my dissertation, but in serving as an enthusiastic and critical soundboard for conference papers, publications, and other projects. Naturally, I am equally indebted to the other members of my dissertation committee, Dr. Catherine Evtuhov and Dr. Ilona Sármány- Parsons, for their insightful comments on my chapters. I remain particularly grateful to Dr. Sármány-Parsons for her generosity in introducing me to academic life in Hungary. Among the many institutional grants financially supporting my research, I must first acknowledge Dr. Lonnie Johnson and the Austrian-American Educational Committee for awarding me a 2007-08 Fulbright Research Grant, which funded the bulk of my archival fieldwork in Austria. I am also grateful to the Cosmos Club of vi Washington D.C. for Young Scholars Awards in 2006 and 2008, which allowed me to undertake secondary research trips to London, Munich, and Budapest. A 2008 P.E.O. (Philanthropic Educational Organization) Scholar Award generously funded the writing and completion of my dissertation. I would also like to thank the Wolfsonian Florida International University’s Scholars in Residence Program (in particular Dr. Frank Luca and the staff of the Wolfsonian Research Library) for my three weeks in residence in Miami in the Summer of 2007, where I had the chance to digest a good deal of the collection’s rare periodicals, books, and ephemeral materials relating to Central Europe. Mag. Edeltrud Desmond at the Austrian Cultural Forum in New York deserves particular mention for her kindness in sharing the ACF’s resources with me. Last but not least, my sincere thanks to the Phi Alpha Theta History Honor Society for a 2007-08 Doctoral Scholarship which helped defray expenses in copying and related archival fees. Librarians and archivists in various institutions in Central Europe have provided essential assistance to my research, including the Austrian National Library, the Austrian State Archives, the Vienna City Archives, the Wienbibliothek im Rathaus, the Graphische Sammlung Albertina, the Archives and Study Collections of the Austrian University for Applied Art, the Austrian Museum of Applied Arts Library, the Academy of Fine Arts Library and Archives, and the Vienna City Museum. In particular, I wish to thank Mag. Brigitte Mersich in the Austrian National Library’s Sammlung von Handschriften und alten Drucken for her invaluable assistance in making newly catalogued materials available to me. Likewise, I wish to acknowledge Mag. Elisabeth Köhler in the manuscripts division of the Wienbibliothek im Rathaus for her patience in procuring countless files and boxes for me. At the Vienna City Archives, I am grateful to Dr. Ingrid vii Ganster for her assistance in pulling materials, and, along with Dr. Michaela Laichmann, making the files of the Modeschule der Stadt Wien accessible. Dr. Ingrid Höfler is to be especially thanked for her generosity in sharing (and copying) the Schulbuchsammlung des Bundesministeriums für Unterricht, Kunst und Kultur’s rare extant copies of the Kunstschule für Frauen und Mädchen yearly reports. Also deserving of special mention are Dr. Markus Kristan at the Albertina’s Loos Archive; Dr. Beatrix Bastl and Mag. Ferdinand Gutschi at the Academy of Fine Arts Archive; Elke Doppler and Robert Filip at the Wien Museum; Mag. Elke Handel at the Oskar Kokoschka Zentrum/ Sammlungen der Universität für angewandte Kunst; Mag. Stefan Lehner at the Belvedere Archive; Dr. Arthur Stögmann of the Hausarchiv der Sammlungen des Fürsten von und zu Liechtenstein; and Mag. Rudolfine Lackner of the Association of Austrian Women Artists. The specialized knowledge and expertise of these individuals proved instrumental in finding women artists’ voices in the archives. In London, I remain indebted to the staffs of the British Library Manuscripts Department, the Women’s Library Archival and Museum Collections at London Metropolitan University, and the National Art Research Library at the Victoria and Albert Museum. In New York, I extend my sincere thanks to the staffs of various art libraries, particularly the Metropolitan Museum of Art’s Watson Library, the Henry Clay Frick Art Reference Library, as well as the New York Public Library’s Research Collections, whose rare book and periodical collection filled gaps in my files from Austria. I would also like to thank Nancy Shawcross and the staff of the University of Pennsylvania Rare Books and Manuscripts Library for their helpful assistance in during many visits. viii During the conception and writing of my dissertation, many people have provided help and guidance in focusing, refining, and developing my arguments. Among these individuals who have provided helpful criticism and suggestions on my work include Pieter Judson, Brigitte Bader-Zaar, Ilona Sármány-Parsons, and Rudolfine Lackner. I am also grateful for my exchanges with Dr. Ilse Korotin, Director of the University of Vienna’s biografiA initiative, which encouraged me to think about integrating biographical perspectives into my institutional history. Research exchanges with Dr. Julie Johnson and Dr. Deborah Holmes of the Boltzmann Institute also proved helpful in this regard. To Rudolfine Lackner, current president of the Association of Austrian Women Artists, I remain particularly indebted for allowing me to access the Association’s private archives. A special thanks to Shai Halperin of Washington D.C. and Maria Newman of Lower Hutt,
Recommended publications
  • Bibliography
    BIbLIOGRAPHY 2016 AFI Annual Report. (2017). Alliance for Financial Inclusion. Retrieved July 31, 2017, from https://www.afi-global.org/sites/default/files/publica- tions/2017-05/2016%20AFI%20Annual%20Report.pdf. A Law of the Abolition of Currencies in a Small Denomination and Rounding off a Fraction, July 15, 1953, Law No.60 (Shōgakutsūka no seiri oyobi shiharaikin no hasūkeisan ni kansuru hōritsu). Retrieved April 11, 2017, from https:// web.archive.org/web/20020628033108/http://www.shugiin.go.jp/itdb_ housei.nsf/html/houritsu/01619530715060.htm. About PBC. (2018, August 21). The People’s Bank of China. Retrieved August 21, 2018, from http://www.pbc.gov.cn/english/130712/index.html. About Us. Alliance for Financial Inclusion. Retrieved July 31, 2017, from https:// www.afi-global.org/about-us. AFI Official Members. Alliance for Financial Inclusion. Retrieved July 31, 2017, from https://www.afi-global.org/sites/default/files/inlinefiles/AFI%20 Official%20Members_8%20February%202018.pdf. Ahamed, L. (2009). Lords of Finance: The Bankers Who Broke the World. London: Penguin Books. Alderman, L., Kanter, J., Yardley, J., Ewing, J., Kitsantonis, N., Daley, S., Russell, K., Higgins, A., & Eavis, P. (2016, June 17). Explaining Greece’s Debt Crisis. The New York Times. Retrieved January 28, 2018, from https://www.nytimes. com/interactive/2016/business/international/greece-debt-crisis-euro.html. Alesina, A. (1988). Macroeconomics and Politics (S. Fischer, Ed.). NBER Macroeconomics Annual, 3, 13–62. Alesina, A. (1989). Politics and Business Cycles in Industrial Democracies. Economic Policy, 4(8), 57–98. © The Author(s) 2018 355 R. Ray Chaudhuri, Central Bank Independence, Regulations, and Monetary Policy, https://doi.org/10.1057/978-1-137-58912-5 356 BIBLIOGRAPHY Alesina, A., & Grilli, V.
    [Show full text]
  • Die Moderne - II
    Die Moderne - II Antiquariat Weinek Steingasse 14 + 16, A – 5020 Salzburg Tel. +43(0)662.88 29 49 Fax. +43(0)662.62 72 14 [email protected] www. antiquariat-weinek.at GESCHÄFTSBEDINGUNGEN: Das Angebot im Katalog ist freibleibend. Es besteht kein Lieferzwang. Alle Objekte sind, soweit nicht anders vermerkt wurde, vollständig und in gutem bis tadellosem Zustand. Klei- nere Mängel wurden im Preis berücksichtigt, doch nicht extra beschrieben. Bei berechtigter Beanstandung innert 10 Tagen nach dem Erhalt der Sendung besteht für uns die Verpflich- tung der Preisminderung oder Rücknahme. Die Bestellungen werden ohne Ausnahme in der Reihenfolge ihres Eingangs bearbeitet. Telefonische Bestellungen sind innerhalb einer Woche schriftlich zu bestätigen. An unbekannte Besteller erfolgt die Lieferung per Nach- nahme oder Vorauskassa. Inklusivpreise sind für In- und Ausland in Euro angegeben. Die Rechnung ist nach Erhalt umgehend und ohne Abzug zu begleichen. Eigentumsvorbehalt bis zum Zahlungseingang. Versand zu Lasten und mit Risiko des Bestellers. Erfüllungsort und Gerichtstand ist Salz- burg. Durch Aufgabe der Bestellung werden die Geschäftsbedingungen anerkannt. BANKVERBINDUNGEN: ÖSTERREICH : Bank Austria Konto-Nr. 843-134-066 (BLZ 12000) IBAN: AT511200084313406600; BIC: BKAUATWW. DEUTSCHLAN D : Sparkasse Berchtesgadener Land Konto-Nr. 10 40 59 (BLZ 710 500 00) UID: ATU 340 432 00. Abkürzungsverzeichnis: Anm. - Anmerkungen eighd. - eigenhändig (vom Autoren, Künstler) Anstr. - Anstreichungen Expl. - Exemplar Aufl. - Auflage fl. V. - fliegender Vorsatz Besitzsign. - Besitzsignatur Gbrsp. - Gebrauchsspuren Bibl.-Expl. - Bibliotheks-Exemplar hds. - handschriftlich Bibl.-St. - Bibliotheks-Stempel Hg. - Herausgeber EA. - Erstauflage im T. - im Text Ebd. - Einband o. O. - ohne Ort OBrosch. - Original Broschur o. Pag. - ohne Seitenzählung/ Paginierung Brosch. - Broschur o. J.
    [Show full text]
  • Notes of Michael J. Zeps, SJ
    Marquette University e-Publications@Marquette History Faculty Research and Publications History Department 1-1-2011 Documents of Baudirektion Wien 1919-1941: Notes of Michael J. Zeps, S.J. Michael J. Zeps S.J. Marquette University, [email protected] Preface While doing research in Vienna for my dissertation on relations between Church and State in Austria between the wars I became intrigued by the outward appearance of the public housing projects put up by Red Vienna at the same time. They seemed to have a martial cast to them not at all restricted to the famous Karl-Marx-Hof so, against advice that I would find nothing, I decided to see what could be found in the archives of the Stadtbauamt to tie the architecture of the program to the civil war of 1934 when the structures became the principal focus of conflict. I found no direct tie anywhere in the documents but uncovered some circumstantial evidence that might be explored in the future. One reason for publishing these notes is to save researchers from the same dead end I ran into. This is not to say no evidence was ever present because there are many missing documents in the sequence which might turn up in the future—there is more than one complaint to be found about staff members taking documents and not returning them—and the socialists who controlled the records had an interest in denying any connection both before and after the civil war. Certain kinds of records are simply not there including assessments of personnel which are in the files of the Magistratsdirektion not accessible to the public and minutes of most meetings within the various Magistrats Abteilungen connected with the program.
    [Show full text]
  • The Jewish Middle Class in Vienna in the Late Nineteenth and Early Twentieth Centuries
    The Jewish Middle Class in Vienna in the Late Nineteenth and Early Twentieth Centuries Erika Weinzierl Emeritus Professor of History University of Vienna Working Paper 01-1 October 2003 ©2003 by the Center for Austrian Studies (CAS). Permission to reproduce must generally be obtained from CAS. Copying is permitted in accordance with the fair use guidelines of the U.S. Copyright Act of 1976. CAS permits the following additional educational uses without permission or payment of fees: academic libraries may place copies of CAS Working Papers on reserve (in multiple photocopied or electronically retrievable form) for students enrolled in specific courses; teachers may reproduce or have reproduced multiple copies (in photocopied or electronic form) for students in their courses. Those wishing to reproduce CAS Working Papers for any other purpose (general distribution, advertising or promotion, creating new collective works, resale, etc.) must obtain permission from the Center for Austrian Studies, University of Minnesota, 314 Social Sciences Building, 267 19th Avenue S., Minneapolis MN 55455. Tel: 612-624-9811; fax: 612-626-9004; e-mail: [email protected] 1 Introduction: The Rise of the Viennese Jewish Middle Class The rapid burgeoning and advancement of the Jewish middle class in Vienna commenced with the achievement of fully equal civil and legal rights in the Fundamental Laws of December 1867 and the inter-confessional Settlement (Ausgleich) of 1868. It was the victory of liberalism and the constitutional state, a victory which had immediate and phenomenal demographic and social consequences. In 1857, Vienna had a total population of 287,824, of which 6,217 (2.16 per cent) were Jews.
    [Show full text]
  • Global Learning in Austria: Towards a National Strategy and Beyond
    Global Learning in Austria: Towards a National Strategy and Beyond Neda Forghani-Arani University of Vienna (Austria) Helmuth Hartmeyer Global Education Network Europe and University of Vienna (Austria) Abstract This paper discusses the development of Global Learning in Austria, paying special attention to the process and outcome of the major undertaking of developing a national strategy.The first part of the paper provides a descriptive outline of the contextual development, while the second part conjoins the description of the process of strategy development with policy discourse analysis to ask how the idea of a pedagogical response to globalisation affects policy and how engaging with policy affects that idea. The concept of Global Learning as defined in the strategy document is examined in its orientation and intent using a conceptual framework that highlights differing approaches to global citizenship education, in an attempt to situate the Strategy’s conceptual approach in the broader international discourse. Keywords: Global Learning, global education, Austria, formal education, policy discourse analysis Introduction The history and development of Global Learning1 in Austria is diverse and complex. The term ‘Global Learning’ was first used in discussions on education in the early 1990s; its conceptual roots, however, go back several decades. From the outset, far- reaching international influences have shaped the discourse on the conceptual orientation of Global Learning in Austria. Today, many actors with various orienta- tions and approaches are active in the field. The conceptual and institutional development of Global Learning in Austria has been documented, described and examined in recent years (Hartmeyer, 2008; Forghani-Arani and Hartmeyer, 2008).
    [Show full text]
  • Architektur Guide (PDF)
    w Architektur Architecture/Architecture/L’architettura/ iennaNo Arquitectura/建築:ユーゲントシュティルから現代まで #V Vom Jugendstil o bis zur Gegenwart ienna.inf From Art Nouveau .v to the Present www Inhalt/Contents Architekturzentrum Wien – Die 1970er und 1980er Architekturführungen The 1970s and 1980s in und um Wien Architecture tours in and around Vienna Aktuelle Bauten seit 1990 Modern architecture since 1990 Klassiker Late 19th and early 20th century Neue Stadtviertel New Quarters Zwischenkriegszeit The interwar years Stadtpläne City Maps Wiederaufbau After World War II www.wienarchitektur.at Informationen für Gäste: wien.info Information for visitors: vienna.info Besuchen Sie uns auch auf: facebook.com/WienTourismus facebook.com/LGBTWien youtube.com/Vienna instagram.com/ViennaTouristBoard #ViennaNow Also visit us on: facebook.com/ViennaTouristBoard facebook.com/LGBTVienna youtube.com/Vienna instagram.com/ViennaTouristBoard #ViennaNow Impressum Herausgeber: WienTourismus, A-1030 Wien Redaktion: Anneke Essl (Az W) & Robert Seydel Design: seite zwei – branding & design Layout: WienTourismus, Christian Eckart Cover: Am Donaukanal ©WienTourismus/Christian Stemper Redaktionsschluss: Oktober 2019 Alle Angaben ohne Gewähr. Änderungen vorbehalten. Printed in Austria by Druckerei Odysseus, Stavros Vrachoritis Ges.m.b.H. Gedruckt nach der Richtlinie „Druckerzeugnisse“ des Österreichischen Umweltzeichens, Druckerei Odysseus Stavros Vrachoritis GmbH, UW-Nr. 830 Printed in accordiance to the Guideline „Low pollutant print products“ of the Austrian ecolabel,
    [Show full text]
  • ANNUAL REVIEW Contents
    MAK 2018 ANNUAL REVIEW Contents Preface of the Board of Directors ............................................................................................................................................................... 3 MAK Exhibitions 2018 .................................................................................................................................................................................................... 4 MAK Events 2018 ............................................................................................................................................................................................................... 14 MAK Collection / Purchases / Donations 2018 .................................................................................................................... 15 MAK Research Projects 2018 ........................................................................................................................................................................... 17 MAK Publicatios 2018 ................................................................................................................................................................................................. 18 MAK Library and Works on Paper Collection .............................................................................................................................. 18 EU Projects 2018 ..............................................................................................................................................................................................................
    [Show full text]
  • Gedächtnisstütze: Eine Gedenktafel Für Eugenie Goldstern (PDF, 5,7
    Gedächtnisstütze Eine Gedenktafel für Eugenie Goldstern “In der komplizierten und wechselhaften Geschichte der mitteleuropäischen Staatenwelt stellen Fragen des ‘kollektiven Gedächtnisses’ neue und wichtige Forschungsansätze für das kulturelle Selbstverständnis ihrer Bewohner dar. Historische Gedächtnisorte (lieux de mémoire) dienen, wie dies Pierra Nora und andere im Rahmen von systematischen historischen Forschungen über Frankreich gezeigt haben, der symbolischen Vergegenwärtigung von Menschen und Personen. Sie sollen ein Gruppenbewußtsein schaffen oder erhalten. Die Untersuchung der Inhalte, Formen und Funktionen derartiger Gedächtnisorte (Bauwerke, Denkmäler, Begräbnisse, Straßennamen etc.) kann Hinweise auf Veränderungen der nationalen, religiösen, politischen, kulturellen und staatlichen Identitäten geben. ”1 Auf der Internationalen Tagung der Akademie der Konrad-Adenauer-Stiftung und der Hebraic Graduate School of Europe in Berlin geht es um „Israel in Europa – Europa in Israel.” Den Schwerpunkt bilden “Die Schoa, die Krise der Geisteswissenschaften und das jüdische Erbe Europas.” Am 21.11.2009 spricht Michel Cullin, Professor für Politikwissenschaft an der Diplomatischen Akademie, Wien über „Eugenie Goldstern und der Frankojudaismus.” Der Kulturausschuss der Stadt Wien beschließt am 7.6.2011, daß Frauen durch Benennung von Straßen, Plätzen oder Parks geehrt werden : „Rosa - Weber - Weg“, „Makebagasse“, „Marianne - Pollak - Gasse“, „Hlawkastraße“, „Polkorabplatz“, „Toskaweg“, „Adelheid-Popp-Park.“2 „Die Tagung soll die kulturphilosophischen, gesellschaftlichen und politischen Aspekte des oben Aufgeführten aus der Perspektive der Schoa, der Krise der Geisteswissenschaften und des Jüdischen Erbes Europas im Spannungsfeld von Israel in Europa und Europa in Israel thematisieren. Die Frage der Verbindung zwischen Religion, Philosophie, Wissenschaft und Kunst wird im Mittelpunkt stehen, auf der Suche nach einer Kulturellen Magna Charta für Europa.”3 “Es war Eugenie Goldstern aus Bukarest, die sich auf die Hochalpen spezialisierte.
    [Show full text]
  • Diplomarbeit
    DIPLOMARBEIT Titel der Diplomarbeit: Der lange Weg zur Modernen Galerie in Wien Verfasserin Barbara Sauer angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2008 Studienkennzahl lt. Studienblatt: A 312 315 Studienrichtung lt. Studienblatt: Geschichte Betreuer: ao. Univ.-Prof. Dr. Gernot Heiß 1 Inhaltsverzeichnis 1 Einleitung.....................................................................................................................5 2 Quellen und Literatur .............................................................................................. 10 3 Österreich: Bildende Kunst und Museen .............................................................. 14 3.1 Die Akademie der Bildenden Künste...................................................................... 15 3.1.1 Gründung und Frühzeit der Akademie ....................................................... 15 3.1.2 Organisation und Kunstbehörde .................................................................. 15 3.1.3 Die Ära Metternich ......................................................................................... 17 3.1.4 1848 und die Folgen ....................................................................................... 20 3.1.5 Neues Statut und Neubau ............................................................................. 22 3.1.6 Die Akademiegalerie ...................................................................................... 23 3.2 Das Unterrichtsministerium .................................................................................
    [Show full text]
  • Schoen Consulting Claims Conference Holocaust Topline – AUSTRIA, US, CANADA March 2019 Screening Questions
    Schoen Consulting Claims Conference Holocaust Topline – AUSTRIA, US, CANADA March 2019 Screening Questions United States Canada Austria • {Age} 18 and older 100% Under 18 [TERMINATE] --1 General Awareness - Open Ended Questions Intro: Thank you for your participation in this survey. The next questions in the survey are about a particular historical topic – the Holocaust. These questions don’t have right or wrong answers, so please be as honest and open as you can. 1. Have you ever seen or heard the word Holocaust before? Yes, I have definitely heard about the 89% 85% 87% Holocaust Yes, I think I’ve heard about the Holocaust 7% 9% 9% No, I don’t think I have heard about the 3% 3% 2% Holocaust No, I definitely have not heard about the 1% 3% 2% Holocaust IF NO, SKIP TO Q9 2. In your own words, what does the term Holocaust refer to? OPEN ENDED WITH PRECODES (MULTIPLE ANSWERS ACCEPTED) Extermination of the Jews/Jewish people 62% 64% 58% Genocide generally 18% 19% 27% World War II 4% 32% 16% The Nazis 3% 24% 7% Adolf Hitler 3% 15% 6% Other 14% 8% 15% Not sure 3% 4% 5% 1 Throughout this document “--” indicates no response while a “blank space” indicates that the question or answer choice was not asked in that specific country. Schoen Consulting Claims Conference Holocaust Topline – AUSTRIA, US, CANADA March 2019 United States Canada Austria 3. Who or what do you think caused the Holocaust? OPEN ENDED WITH PRECODES (MULTIPLE ANSWERS ACCEPTED) Adolf Hitler 83% 48% 39% The Nazis 67% 19% 21% Jews 10% 3% 8% World War I 6% 3% 4% Germany 36% 12% 2% Antisemitism -- -- 2% Other 1% 18% 19% Not sure 4% 8% 6% 4.
    [Show full text]
  • Abstract Styles in the Vienna Workshop: a Formalist Analysis of Josef Hoffman's
    Abstract Styles in the : Vienna Workshop A Formalist Analysis of Josef Hoffman’s Two Designs Asli Arpak Massachusetts Institute of Technology, Cambridge, MA, USA [email protected] Abstract A shape grammar formalism is elaborated for the Vienna Workshop (Wiener Werkstaette) designer Josef Hoffmann’s two designs. Early instances of abstract expressionism are traced in Hoffman’s works by investigating stylistic d parallels through shape rules an computations. The analysis of Hoffmann’s two works are carried out in parallel to Terry Knight’s analysis of De Stijl artists Georges Vantongerloo and Fritz Glarner paintings with the normal form grammars. Keywords: Josef Hoffmann; Wiener Werkstaette; shape grammars; style. abstraction; . Introduction In the end of the nineteenth century, many significant Kabaret Fledermaus and ectural the Archit philosophical and artistic movements flourished in Europe that Detailing of Ceramics were fuelled by newly developing universal ideals, changing Kabaret Fledermaus (the Fledermaus Cabaret) was a theatre that political scenes, and ant const scientific and industrial opened in 1907 in the lively Vienna city and it was envisioned to advancements. Subsequent to the French Art Nouveau, be a meeting point for the Vienna avant-­‐garde and the impressionism, and the English Arts and Crafts Movement, a large 197 intelligentsia. The cabaret could ee house thr hundred guests and group of Austrian artists and designers started the Vienna its aim was to restore the cabaret culture with an artistic twist. In Workshop (Wiener Werkstaette) in 1903 nerian with the Wag ideal addition to restaging classical plays with new décor and costumes, Gesamtkunstwerk (total artwork). the Vienna Workshop artists were also producing novel Various great Austrian architects, artists, and designers were performances.
    [Show full text]
  • Inspiration Beethoven
    DE | EN 08.12.2020–05.04.2021 INSPIRATION BEETHOVEN EINE SYMPHONIE IN BILDERN AUS WIEN 1900 PRESSEBILDER | PRESS IMAGES 01 01 CASPAR VON ZUMBUSCH CASPAR VON ZUMBUSCH 1830–1915 1830–1915 Reduktion des Denkmals für Ludwig van Beethoven, 1877 Reduction of the memorial to Ludwig van Beethoven, 1877 Bronze, 53 × 24 × 27 cm Bronze, 53 × 24 × 27 cm Belvedere, Wien Belvedere, Vienna Foto: Belvedere, Wien Photo: Belvedere, Vienna 02 02 GUSTAV KLIMT GUSTAV KLIMT 1862–1918 1862–1918 Schubert am Klavier. Schubert at the Piano. Entwurf für den Musiksalon im Palais Dumba, 1896 Study for the music room in Palais Dumba, 1896 Öl auf Leinwand, 30 × 39 cm Oil on canvas, 30 × 39 cm Privatsammlung/Dauerleihgabe im Leopold Museum, Wien Private Collection/Permanent Loan, Leopold Museum, Vienna Foto: Leopold Museum, Wien/Manfred Thumberger Photo: Leopold Museum, Vienna/Manfred Thumberger 03 03 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfe am Bach. Für das Beethoven-Musikzimmer Elf at the Brook. For the Beethoven Music Room der Villa Scheid in Wien, 1898/99 of Villa Scheid in Vienna, 1898/99 Öl auf Leinwand, 176,5 × 88,3 cm Oil on canvas, 176,5 × 88,3 cm Andreas Maleta, aus der Victor & Martha Thonet Sammlung, Andreas Maleta, from the Victor & Martha Thonet Collection, Galerie punkt12, Wien gallery punkt12, Vienna Foto: amp, Andreas Maleta press & publication, Wien, 2020 Photo: amp, Andreas Maleta press & publication, Vienna, 2020 04 04 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfenreigen. Für das Beethoven-Musikzimmer
    [Show full text]