Networking of Central European Artists’ Associations via Exhibitions. The Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the Early 20th Century

Kraševac, Irena; Šlosel, Petra

Source / Izvornik: Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 2018, 16 - 36

Book chapter / Poglavlje u knjizi

Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31664/9789537875596.02

Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:254:222425

Rights / Prava: In copyright

Download date / Datum preuzimanja: 2021-09-26

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PODEST - Institute of Art History Repository Networking of Central European Artists’ Associations via Exhibitions. The The history of art exhibitions has become Secession, Hagenbund and smaller pri- Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the the subject of numerous scientific studies, vate galleries. This potential was recog- Early 20th Century particularly in the domain of the digital hu- nized by numerous artists from smaller and manities, while exhibitions on exhibitions artistically less developed cities from other DOI: https://doi.org/10.31664/9789537875596.02 are emerging as a distinct museological parts of the Monarchy. Under the influence variety, dealing with their reconstruction of Vienna’s gravitational pull, within a very and the contextualization of art works in the short time period comparable phenome- time period of their conception. As a result na began developing in the wider region, of digitally processed data, exhibitions of with local modernist artistic expressions art societies, as key points in the develop- and their presentation via exhibitions grow- ment of modern art, offer the possibility of ing stronger. The budding visual art scene a new way of viewing and interpreting the would orient itself towards the leading ar- medium of the exhibition as such as well as tistic trends of the time, determined by the the role and position of individual artists Secession and Hagenbund. Their impact within a particular art association.23 was inevitable precisely due to the fact that The art scene developing in Central Europe, a majority of artists from smaller art centers within the borders of the Austro-Hungarian of the Monarchy would come to Vienna for Monarchy, at the turn of the 19th centu- their education and would follow the de- ry, which involved the artistic networking velopment of the then modern art scene, of groups and individuals through an ex- which attracted great attention, from both change of exhibitions, guest exhibitions the artistic milieu and the wider audience. of art associations and the exhibitions of The artistic secessions that soon followed, works by individual artists at various ex- when groups of artists broke away from Irena Kraševac, Petra Šlosel hibitions and different Central European existing associations or established new locations, showed exceptional dynamic ones stem from the 1897 to 1900 period. activity and mobility. In this, the central In this way, almost in succession, the fol- position was assumed by Vienna, a tradi- lowing associations emerged: Associa- tional hub of artistic life owing to the devel- tion of Austrian Visual Artists – Secession oped infrastructure based on its arts and (Vereinigung bildender Künstler Österre- crafts schools, Kunstgewerbeschule, and ichs – Secession) and Hagenbund (Genos- the Academy of Fine Arts, and the possibility senschaft bildender Künstler – Hagen) in of art exhibitions in the Künstlerhaus, the Vienna, the Association of Polish Artists “Art” (Towarzystwo Artystów Polskich “Sz- 23 A great example of this approach is tuka”) in Krakow, the Association of Artists the exhibition dedicated to the Vienna Mánes (Spolek výtvarných umělců “Mánes”) art association Hagenbund, organized by in Prague, the Association of Croatian Art- the Belvedere Gallery in 2014. See: Agnes ists (Društvo hrvatskih umjetnika) in Zagreb Husslein-Arco, Matthias Boeckl, and Harald and the Slovenian Artistic Association Krecji, eds., Hagenbund. Ein europäis- (Slovensko umetniško društvo) in Ljubljana. ches Netzwerk der Moderne 1900 bis 1938, The artistic interconnection and networking exhibition catalogue (Vienna: Belvedere, 2014), and the digital and network display: of individuals and groups was the central Belvedere. “HAGENBUND. Ein europäisches subject of the interdisciplinary scientific Netzwerk der Moderne (1900 bis 1938)”. project ARTNET- Modern and Contemporary Accessed January 5, 2019. http://tools.fas. Artists Practices of the 20th and 21st Centu- at/hagenbund/exhibition.html. ry, which explored the exhibitions of Croa- 16 17 24 artists associations institutions exhibitions tian artists abroad, and the, until now less The Vienna Secession and familiar, archival resources on exhibitions Hagenbund – the Creation by foreign artists in Zagreb.25 In addition of Modern Art through an to exhibits of individual artists of various Exchange of Exhibitions nationalities at annual and thematic group exhibitions of the Vienna Secession and The example of the Société des Artistes

Mánes Hagenbund associations, guest exhibitions Indépendants, which revolted against the X. výstava IV. Ausstellung spolku "Mánes" of the then new artistic associations from established exhibition politics of the tra- des Künstlerbundes (Prag) Hagen (Wien) Krakow and Prague were recorded in the ditional Société nationales des beaux-arts Künstlerbund exhibition spaces of these two associations, in Paris in 1884, and whose separation was Društvo Hagen hrvatskih as well as their less known guest exhibitions termed “une sécession“, inspired a series umjetnika in Zagreb at the very cusp of the 20th cen- of similar secession art trends in the wider 26 Izložba češkog tury. (Fig. 1) European cultural landscape. After a group umjetničkog društva of artists left the Munich Künstlergenossen- "Mánes" (Zagreb) 24 Irena Kraševac, Željka Tonković, II. izložba Umjetnički schaft and established the Association of Društva “Umjetničko umrežavanje putem izložaba u paviljon 25. Ausstellung Visual Artists of Munich “Secession” (Verein hrvatskih razdoblju rane moderne – sudjelovanje hr- umjetnika des Künstlerbundes Bildender Künstler Münchens “Secession”) (Zagreb) Hrvatsko društvo umjetnosti Hagen (Wien) vatskih umjetnika na međunarodnim izložbama od 1891. do 1900. godine,” Radovi Instituta in 1892, a group of Viennese artists, led by Gustav Klimt, followed suit, resigning Slovensko umetniško društvo Ausstellung za povijest umjetnosti, no. 40 (2016): der Vereinigung 203–17. https://www.ipu.hr/content/radovi-ipu/ from the Künstlerhaus in 1897 and estab- Izložba Hrvatskog polnischer Künstler lishing the Association of Austrian Visual društva umjetnosti „Sztuka" (Wien) RIPU-40-2016_203-217_Krasevac_Tonkovic.pdf (Zagreb) 25 Irena Kraševac, ed., 150 godina Artists– Secession (Verein bildender Kün- Sztuka Hrvatskog društva likovnih umjetnika. stler Österreichs – Secession). The exhi- I. slovenska umetniška razstava (Ljubljana) Umjetnost i institucija (Zagreb: Croatian bition program carried out in the group’s Association of Visual Artists, Institute exhibition pavilion, constructed according of Art History, 2018); The work on the to the conceptual idea of Klimt and the de- research project ARTNET – Modern and XXVI. Ausstellung Contemporary Artists Practices of the der Vereinigung XV. Ausstellung and Piotr Mizia, “Sztuka-Wiener Secession- Bildender Künstler der Vereinigung 20th and 21st Century coincided with the Mánes. The central European Art Triangle,” Österreichs Wien (Wien) bildender Künstler marking of the 150th anniversary of the Artibus et Historiae, vol. 27, no. 53 Österreichs Secession Croatian Association of Visual Artists Wien (Wien) (2006): 217–59.; Anna Brzyski, “Vienna Wiener Secession (HDLU) (1868–2018). In parallel with the Secession, Hagenbund, Szutka, and Mánes: creation of the project CAN_IS database competition and strategic collabora- (Croatian Artists Network Information tion among central European art groups”, System), systematic work was carried out Centropa, no. 11 (2011): 4–18. In very to catalogue the exhibitions that were interesting articles discussing the in- held during the 150 years of HDLU’s ex- terconnections of the exhibitions of the istence. From the very beginning, this two renowned Viennese associations and task was assigned to Art Historian Petra the Polish and Czech associations, the Šlosel, whose work was of key significance guest exhibitions of the Sztuka and Mánes for the project from the outset because associations in Zagreb are not mentioned her dedication and experience contributed – something this article intends to make to the creation of the CAN_IS database. up for. This turns the “Central European Šlosel catalogued over 1.500 exhibitions artistic triangle” into a square, posi- Fig. 1 organized by the then Art Society, today’s tioning Zagreb as a new (long neglected) Exhibitions of Central European artists associations in Croatian Association of Visual Artists. artistic hub within the bounds of the the period from 1900 to 1911 (locations and exhibitions) 18 19 26 Stefania Krzysztofowicz-Kozakowska Austro-Hungarian Monarchy. sign of architect J. M. Olbrich, best speaks to conventional academism and traditional ration of Mánes and the Hagenbund would the Art Association, focus was placed on to the group’s openness to collaboration artistic associations, attempting to obtain continue with an exhibition of the Prague artistic creation in a wider sense, fostering with contemporary artists throughout Eu- greater freedom of creation and exhibition. artists in Vienna in 1908, and reciprocal the appreciation of art works in the wider rope. Thanks to numerous guest exhibi- When shown at exhibitions organized by exhibitions by French artists in Prague in public and bolstering arts and crafts. It was tions, the Vienna art scene experienced a the Secession and Hagenbund, the works 1908 and 1909. The second guest exhibi- only when the secession of a group of artists qualitative leap forward towards a modern of Croatian artists were always exhibit- tion of the Polish Sztuka Association in the gathered around Vlaho Bukovac from the artistic expression.27 Of Croatian artists, ed individually,28 while the only collective Secession was organized in 1906, and an Art Association in 1897 that the paradigm Ivan Meštrović was a regular member of guest exhibition to be organized by the exhibition in the Hagenbund in the early would change. These artists advocated art the Vienna Secession, while other artists Croatian Art Association in the Künstler- spring of 1908.31 for its own sake, and emphasized the na- that participated in exhibitions as guests haus in 1913 never came to fruition.29 On tional character of the group, as expressed included Vlaho Bukovac, Antonija Krasnik the other hand, Czech and Polish artists The Association of in the association’s name Association of and Tomislav Krizman. exhibited their work as part of both individ- Croatian Artists and the Croatian Artists. All of the group’s artists “Innovation through exchange” was the ual and collective guest exhibitions, which Croatian Art Association as had previous experience with the studios stance assumed by the second Viennese showed the recent works of the members organizers of international or exhibitions of the artistic milieus of Paris, artistic association, Hagenbund, estab- of the associations Mánes and Sztuka. exhibitions in Zagreb in Vienna and Munich, in which the secession lished in 1900, whose exhibition program In the autumn of 1902, an exhibition of the the early 20th century associations caused media uproar and would be shown in the converted prem- Association Mánes in Hagenbund and the instigated a division of artists into “old” ises of the former market building in the Association Sztuka in the Secession were Zagreb established itself as a Central and “new”. Based on Bukovac’s efforts, the Zedlitzgasse (the so-called Zedlitzhhalle), organized simultaneously.30 The collabo- European center of art primarily due to new internal rules of the Association were according to the design of architect Josef the establishment of the Art Association adopted, and Bukovac was appointed its Urban. Hagenbund would soon become 28 For a detailed overview of the par- in 1868.32 As opposed to the then cultural President. Robert Frangeš was appointed the key platform of modern art in Central ticipation of Croatian artists at exhibi- and artistic centres of Central Europe that Deputy President, and Rudolf Valdec Sec- Europe, assuming a position between the tions in Vienna, see: Irena Kraševac, Petra Croatia was gravitating towards, Vienna retary of the Association. The Association’s avant-garde and the mainstream of the Vugrinec, eds., Izazov moderne: Zagreb and Munich, in which art associations were first members included Artur Oskar Alex- time, characterized by late impressionism – Beč oko 1900, katalog izložbe (Zagreb: founded on a basis of an already well-es- ander, Ivo Bauer, Menci Clement Crnčić, and symbolism. Of Croatian artists, the as- Galerija Klovićevi dvori, 2017), 289–291; tablished art scene and infrastructure, Bela Csikos Sesia, Oton Iveković and Fer- sociation included Artur Oskar Alexander as Stella Rollig, Irena Kraševac, and Petra comprising a network of arts and crafts do Kovačević. These are the artists that a regular member, and hosted guest exhi- Vugrinec, The Challenge of Modernism: schools, art academies and galleries, the launched Croatian modern art, declaring bitions by Tomislav Krizman, Ivan Meštrović, Vienna and Zagreb around 1900, exhibition specificity of the Zagreb scene was that their intention to revive art through indi- catalogue (Vienna: Belvedere, 2017), 231; Emanuel Vidović and Lona von Zamboni. the course of its development was the ex- vidual freedom, as demonstrated at the For Polish artists, see: Anna Brzyski-Long, Owing to these two critical artistic associ- act opposite – it was the establishment of exhibition First Croatian Salon in the Art “Unsere Polen...: Polish artist and the ations, which were open to collaborating the Art Association that would kick-start Pavilion in 1898/1899. At the very turn of Vienna Secession 1897–1904”, in: Art, cul- with younger and international artists, in- the foundation and creation of all those the century, in 1900/1991, the association ture and national identity in Fin-de-Siècle dividual Croatian, Polish, Czech and Slo- Europa, eds. Michelle Facos and Sharon L. institutions that were fundamental for its held its Second Exhibition, hosting art works venian artists had the opportunity to ex- Hirsch (Cambridge: 2003), 65–89. activities and mission. of the Slovenian Artistic Association from hibit their work in Vienna at the turn of the With the establishment and operation of Ljubljana. As early as 1902, a joint exhibi- 29 HR-HDA-HDLU, 1979, 1.4.8.7., box 13. century. In their own countries, they would Izložba u Beču, 1912, letters regarding tion of the Art Association and the Asso- follow the example of the Viennese milieu the organization of the exhibition of 31 Agnes Husslein-Arco, et. al., ciation of Croatian Artists was organized and organize the artistic life of the then Croatian artists in the Künstlerhaus. Hagenbund, 141. Ausstellung der in the Art Pavilion, and the next exhibition, active younger generations, in opposition held in 1903, demonstrated a fusion of both 30 Agnes Husslein-Arco, et.a., Hagenbund, Vereinigung polnischer Künstler “Sztuka“, 124. The guest exhibition of the Czech February – March 1908. associations under the name Croatian Art 27 Secession. Permanenz eine Idee, Wien, Mánes was organized as part of the 4th 32 Olga Maruševski: Društvo umjet- Association. This shows that, in Croatian art 1997; Marian Bisanz-Prakaken: Heiliger Exhibition of the Association Hagenbund nosti 1868.–1938.–1941. (Zagreb: The history, rather than viewing the secession Frühling. Gustav Klimt und die Anfänge der from 10th October to late November, while Croatian Society of Art Historians, 2004); as a discontinuity within the Association, it Wiener Secession 1895–1905 (Wien-München: the Polish Association Sztuka participated Kraševac, 150 godina Hrvatskog društva should be understood as an indisputably Christian Brandstätter Verlag, 1999) in the 15th Exhibition of the Secession. 20 21 likovnih umjetnika. sound and required interlude, after which a more modern artistic expression and the Association of Slovenian Visual Artists focus on artistic creation gained momen- (Društvo slovneskih upodabljajočih umet- tum. Some of the important outcomes of nikov) that exerted a strong influence on the Croatian secession were certainly the the entire Slovenian visual art of the 20th opening of the Zagreb Art Pavilion as the century.33 The Slovenian artists also took first dedicated art exhibition space to be over the Munich and Vienna secessionism constructed in Zagreb (Ill. 1), the estab- as their model of cultural politics.34 lishment of the Modern Gallery and the The first exhibition of the Slovenian Art As- popularization of art in the public through sociation was organized in 1900 in Ljublja- exhibitions and the publication of the lit- na, gathering 31 Slovenian artists, most of erature and art journal Život (Life) (Ill. 2). which lived in Ljubljana and Slovenia at the Also, numerous guest exhibitions of art time, and a few notable artists with careers associations from Ljubljana, Prague and abroad or who were outside the country, Krakow were organized during the first half in Munich or Vienna, at the time when the of the 20th century. The direct contacts exhibition was held. With 186 paintings and made by Zagreb artists with artists from sculptures exhibited, this was the largest Prague and Krakow at exhibitions in Vi- exhibition held in Ljubljana at the time.35 enna put Zagreb on the map of Central Thanks to the contacts between Sloveni- European associations, which simultane- an and Croatian artists, members of the ously contributed to the internalization of Slovenian Art Association participated in minor artistic milieus, and triggered the the Second Exhibition of the Association of national visibility of artists belonging to the Croatian Artists in Zagreb, held in the Art Slavic parts of the multinational Monarchy. Pavilion in 1900/190136 (Ill. 3). After the great Their common endeavour was to propa- gate the value of modern art through a 33 Ida Tomše, “Institucionalizacija slov- enske likovne umetnosti od 1900 do 1941,” strategy involving exhibitions, art criticism, Peristil, no. 31 (1988): 181–84. and the creation of a new form of artistic collaboration, which produced a new type 34 Beti Žerovc: Slovenski impresionisti of exhibition event – the guest exhibition. (Ljubljana: Mladinska knjiga, 2013), 19. 35 Fran Goveker, ed, Seznam in imenik I. slovenske umetniške razstave (Ljubljana: Slovenian Art Association Slovensko umetniško drušvo, 1900). The ex- hibition was held from 15 September to 15 (Slovensko umetniško October 1900. The Commission for the se- društvo) in Ljubljana lection of exhibits included Ivan Franke, Imperial advisor and professor, painter, Ivan Duffé, city advisor, Celestin Mess, The first signs of the organization of visual professor and sculptor, and the painters arts associations in Slovenia date back to Ferdinand Vesel and Matej Sternen, while 1898 and 1899, when the Slovenian Art Asso- the organization of the exhibition was Ill. 1 ciation was established in Ljubljana, which, entrusted to the painters Ivan Grohar and The Art Pavilion in Zagreb around 1900, in addition to painters, included sculptors, Rikard Jakopič. The Zagreb City Museum graphic artists, literary and dramatic artists. 36 The exhibition was held from 22 Subsequently, this Association would sep- December 1900 to 25 January 1901, accord- Ill. 2 arate into specialized artistic associations ing to the selection of the same com- The cover of journal Život, 1900, for the individual fields, among which the mission, see note 13. http://dizbi.hazu. Institute of Art History, Zagreb 22 23 most prominent position was assumed by hr/?object=list&find=druga+izlo%C5%BE- Ill. 3 The catalogue of the Second success of the Croatian Salon in 1898/1899, Zagreb public and critics. Vladimir Lunaček Exhibition of the Croatian Association of this was the first subsequent and last exhi- pointed out the works by Rikard Jakopič and Fine Artists at the Art Pavilion in Zagreb, bition to be organized by this Association. Matija Jama as the “most modern and fresh 1900/1901, The Croatian Academy of Sci- ences and Art – Fine Arts Archives, Zagreb Internal disputes that began to plague the paintings”, also commending the exhibits of Association of Croatian Artists resulted in the three female artists.38 The critique of Iso the departure of the association’s most Kršnjavi included an interesting comment agile artists – after the departure of its that could equally apply to numerous other President Vlaho Bukovac for Cavtat, and exhibitions of the time, which often merely then to Vienna and Prague, the Associa- threw art works together uncritically: “One tion lost its young promising artists Robert cannot really judge Slovenian artists based Auer i Bela Csikos Sesia, who left for New on this exhibition: had they exhibited less York. At the same time, the Association of works, it would have been better. Had they Croatian Literary Artists was faced with shown us the best works of their best artists, difficulties regarding the publication of its the entire exhibition would have been a suc- journal Život, and was embroiled in a latent cess, but this slew of failed paintings by bad dispute with the Art Association, dominated and good artists blights the overall success by Iso Kršnjavi, resulting in the closing of the of Slovenian painters.”39 In any case, this association. After Bukovac, Menci Clement exhibition prompted guest exhibitions of Crnčić took over as President of the Asso- foreign art associations in the Art Pavilion ciation of Croatian Artists, thanks to whose in Zagreb, followed by guest exhibitions of efforts a new exhibition was organized from the Czech Association Mánes and the Polish 22 December 1900 to 25 January 1901. The Association Sztuka. Fig. 2 exhibition comprised three rather dispa- Among the guest exhibitions processed, for Exhibitions of Slovenian artists’ association rate parts: I. Exhibition of the Slovenian the purposes of this article, using digital organized in Ljubljana and Zagreb in 1900. Art Association in Ljubljana, II. Collective network visualization tools developed as Exhibition of M. Cl. Crnčić, and III. Alphons part of the ARTNET scientific projects, the

Slovensko umetniško društvo Mucha Exhibition. The part of the exhibi- exhibition of the Slovenian Art Association

Društvo hrvatskih umjetnika tion devoted to the first collective guest in the Zagreb Art Pavilion was specific in Franc Berneker Umjetnički paviljon exhibition of Slovenian artists in Zagreb in- the sense that the guest exhibition of the volved 15 male and three female artists: the Slovenian artists was held in Zagreb at Rihard Jakopič painters Antun Ažbe, France Berneker, Ivan the end of the same year in which the first Ivana Kobilca Ivan Franke Franke, Ivan Grohar, Anton Gvajc, Rikard exhibition of this Association had already II. izložba Društva hrvatskih Jakopič, Marija Jama, Antun Koželj, Matej Avgusta Šantel B. Pogačnik Peter Žmitek umjetnika (Zagreb) Šernern, Ferdo Vesel i P. Žmitek, sculptors Exhibition of the Association of Croatian Ivan Vavpotič Ferdo Vesel Henrika Šantel B. Pogačnik, Alojzij Repič, Ivan Zajc i Jakob Josip Grošelj Artists in Zagreb in 1900/01. Žnider, and the female painters Ivana Ko- Anton Ažbè 38 Vladimir Lunaček, “Slovenski umjetni- Ivan Zajec bilca, Henrika Šantel and Jessie Vesel. The Ludovik Grilc Anton Gvajc Matija Jama ci,” Život, no. 1 (1901): 6–13. Ivan Jager exhibition comprised 127 works that had Jakob Žnider 39 Izidor Kršnjavi, “Druga izložba Ivan Grohar just before been shown at an exhibition in Društva hrvatskih umjetnika, I. Slovenski Josip Germ I. slovenska umetniška razstava (Ljubljana) Ljubljana,37 arousing great interest of the slikari,” Narodne novine (31 December Alojzij Progar Frančišek Horvat Jessie Vesel Anton Koželj 1900); reprint: Isidor Kršnjavi, Listovi Matej Sternen 37 Cf. the network display of the iz Slavonije – Članci, ed. Katica Čorkalo I. Zalar Alojzij Repič First exhibition of the Slovenian Art (Vinkovci: Vinkovci Branch of the Matrix Ivan Trinko Oton Rudolf Association in Ljubljana in 1900 and Croatia, Croatian Academy of Sciences the exhibition of the Slovenian Art and Arts. Vinkovci Center for Scientific Celestin Mis Ivan Cesar ba+dru%C5%A1tva+hrvatskih+umjetnika 24 25 Association held as part of the Second Research, 1995), 313–319. artists associations institutions exhibitions been held in Ljubljana. Taking into account The Mánes Association of Fine artists associations institutions exhibitions the relatively short period between the two Artists (Spolek výtvarných exhibitions of the newly established Asso- umělců „Mánes“) in Prague Władysław Ślewiński Wiener Secession Władysław Ślewiński Wiener Secession Wacław Szymanowski Wacław Szymanowski ciation, it should come as no surprise that Kazimierz Brzozowski Kazimierz Brzozowski Antonina Sikorska Antonina Sikorska Hans Vollmer Hans Vollmer Henryk Szczyglinski Jósef Czajkowski Jacek Malczewski the Zagreb exhibition involved exclusive- The Czech art association emerged from Henryk Szczyglinski Jósef Czajkowski Jacek Malczewski Józef Chełmoński Künstlerbund Hagen ly artists that had already exhibited their a group of Czech students in Munich that Kazimierz Stabrowski Feliks JabłczyńskiJózef Chełmoński Künstlerbund HagenLeon Wyczółkowski Edward Trojanowski Stanisław Masłowski Kazimierzworks Stabrowski in Ljubljana,Feliks Jabłczyński whereby the number of took its name in 1890 after the renowned XXVI. Ausstellung der Vereinigung Bildender Künstler Österreichs Wien (Wien) Leon Wyczółkowski artists in Zagreb was considerably smaller. romanticist painter Josef Mánes. Mikoláš Konstanty Laszczka XV. Ausstellung der Vereinigung bildenderEdward Trojanowski Stanisław Masłowski Oldřich Jaroslav Panuška Josef Julian Fałat Künstler Österreichs Secession Wien (Wien) Homoláč Ullman XXVI. Ausstellung der Vereinigung Bildender Künstler Österreichs Wien (Wien) Richard Pollak Józef Pankiewicz Xawery Dunikowski The network display of these two exhibi- Aleš was the first president of the associ- Adolf Karel Stanisław Kazimierz Ostrowski Konstanty Laszczka XV. Ausstellung der Vereinigung bildender Stanisław Wyspiański WiesnerOldřich Jaroslav Panuška Špillar JosefStanislaw Kamocki Künstlertions Österreichs held Secession in 1900, Wien (Wien) first in Ljubljana and ation. The association gathered painters, Zdenka Braunerova Otakar Karol Frycz Julian Fałat Ullman Józef Mehoer Karol Tichy Homoláč Nejedlý Jan Preisler IV. AusstellungRichard des Pollak Józef Pankiewicz then in ZagrebXawery (Fig. Dunikowski 2), shows that the red sculptors, architects, writers and art crit- Wojciech Weiss Fryderyk Pautsch Adolf Alois Kalvoda Künstlerbundes Karel Ferdynand Ruszczyc Stanisław Kazimierz Ostrowski Teodor Axentowicz Stanisław Wyspiański Wiesner Hagen (Wien) Špillar Stanislaw Kamocki Abraham Neumann Bohumil Dvořák Olga Boznańska nodes representing the artists who par- ics like Otto Gutfreund, Karel Hlavaček, Zdenka BraunerovaVictor Stretti Otakar Jan SzczepkowskiKarol Frycz 25. Ausstellung Jan Stanisławski JózefLudwig MehoerPuget Karol Tichy Hugo Böttinger Nejedlý Kazimierz Sichulski Jan Preisler ticipated in both exhibitions are located Vratislav Hofman, Bohumil Kavka, Jan IV. Ausstellung des des Künstlerbundes Tadeusz Okon Anastazy Lepla Eugeniusz Zak Jan Honsa Hagen (Wien) Wojciech Weiss Fryderyk Pautsch AntonínAlois Slavíček Kalvoda Künstlerbundes Ferdynand Ruszczyc Teodor Axentowicz Jakob Glasner between the blue nodes, which represent Kotěra, Josef Mařatka, Vladimir Županský, Hagen (Wien)Antonin Hudeček Stanislaw Czajkowski Abraham Neumann Bohumil DvořákStanislav Sucharda Sztuka Ausstellung der Vereinigung polnischerOlga Boznańska Künstler "Sztuka" (Wien) the exhibitions, whereas the red nodes rep- Antonin Hudeček, Jindřich Průcha, Antonin Tavik Miloš Jiránek Victor Stretti Jan Szczepkowski Karel Myslbek Ludwig Puget František Joža Uprka 25. Ausstellung Piotr Hipolit Krasnodębski Jan Stanisławski Stanislaw Podgorski Jan Bukowski Włodzimierz Tetmajer Šimon Arnošt Hofbauer Hugo Böttinger des Künstlerbundes Kazimierz Sichulski resenting the artists who only participated Slaviček, Joža Úprka, Max Švabinský, Jan Artur Markowicz Edward Wittig Tadeusz Okon Anastazy Lepla Eugeniusz Zak Bohumil Kafka Otakar Španiel Ladislav Šaloun Jan Honsa Hagen (Wien) Hendrik Glicenstein Antonín Slavíček Stanisław Dębicki in the Ljubljana exhibition remain on the Preisler and many others. They organised Max Švabinský Henryk Hochman Jakob Glasner Josef Mařatka Karol Maszkowski Rudolf Bém Antonin Hudeček Stanislaw Czajkowski periphery of the display, outside of the in- their first exhibition in 1898 together with a Stanislav SuchardaJan Štursa Sztuka Ausstellung der Vereinigung Josef František Kupka Anna Boudová Stefan Filipkiewicz Henryk Kuna Józef Czekierski Francois Jabtczynski polnischer Künstler "Sztuka" (Wien) TavikJelinek Miloš Jiránek tersection area. This clearly demonstrates journal named Volné Směry in which they FrantišekKarel Myslbek Władysław Jarocki František Joža Uprka Bronislaw Pelczarski Piotr Hipolit Krasnodębski Bílek Stanislaw Podgorski Jan Bukowski Włodzimierz Tetmajer Šimon Arnošt Hofbauer that all artists whose works were shown published their aims and objectives and Izložba Hrvatskog društva umjetnosti (Zagreb) Artur Markowicz Edward Wittig Bohumil Kafka Otakar Španiel Ladislav Šaloun Hendrik Glicenstein in Zagreb had previously participated in emphasised the importance of organising Jindřich Tomec Tymon Niesiołowski Stanisław Dębicki Max ŠvabinskýJosef Loukota Józef Krasnowolski Henryk Hochman Mánes Josef Mařatka the first exhibitionKarol Maszkowski of their association in exhibitions of works by Czech and other IzložbaRudolf češkog Bém umjetničkog društva "Mánes" (Zagreb) Jan Rubczak Gustav Gwozdecki Josef Kratina Jan Štursa Vlastimil Homan Ljubljana. European artists as well as fostering of ar- František Kupka František Kaván Alfons Karpinski Stefan Filipkiewicz LadislavJosef Jan Kofránek Anna Boudová František Pečinka Henryk Kuna Józef Czekierski Ignacy Pieńkowski Francois Jabtczynski 40 Jelinek Jan Letzel The network display of all guest exhibi- tistic individuality. The exhibitions of works Richard LaudaFrantišek Dušan Jurkovič Bronislaw Pelczarski Władysław Jarocki Bílek Jan Kotěra tions covered by this analysis (Figl. 3) also by foreign artists organised in Prague by Stanislav Lolek X. výstava spolku "Mánes" (Prag) Hrvatsko Izložba Hrvatskog društva umjetnosti (Zagreb) Bela Čikoš-Sesija Umjetnički paviljon indicates the isolated position of the 1900 The Mánes Association of Fine Artists left društvo umjetnosti Menci Clement Crnčić JindřichTomislav Tomec Krizman Tymon Niesiołowski exhibitions held in Ljubljana and Zagreb an important mark in the history of Czech Ivan Meštrović Josef Loukota Józef Krasnowolski Mánes Robert Frangeš Mihanović Rudolf Valdec Izložba češkog umjetničkog društva "Mánes" (Zagreb) Jan Rubczak Gustav Gwozdecki in relation to other exhibitions taking into art exhibitions, starting from 1902 and the VlahoJosef Bukovac Kratina Vlastimil Homan consideration that the collective guest ex- exhibition of works by August Rodin to the Slava Raškaj Joso Bužan František Kaván František Pečinka II. izložbaAlfons Društva Karpinski hrvatskih umjetnika (Zagreb) LadislavFerdo Jan KovačevićKofránek hibition of the Slovenian Art Association in exhibition of French avant-garde artists Ignacy Pieńkowski Jan Letzel Slovensko umetniško društvo Richard Lauda Društvo hrvatskihDušan umjetnika Jurkovič Zagreb was also the only guest exhibition organised in 1914, which had a significant Anton Ažbè Jan Kotěra Peter Žmitek of works by Slovenian artists organised impact on Czech artists resulting in their Ivan Grohar Stanislav Lolek X. výstava spolku "Mánes" (Prag) HrvatskoHenrika Šantel Rihard Jakopič Anton Gvajc abroad. They are linked to the rest of the inclination toward cubism. Bela Čikoš-Sesija Umjetnički paviljon društvo Anton Koželj Avgusta Šantel network via the guest exhibition organized The Mánes Association of Fine Artists from Tomislav Krizman umjetnostiFranc Berneker B. Pogačnik Menci Clement Crnčić I. slovenska umetniška razstava (Ljubljana) Ivan Meštrović Matija Jama Alojzij Repič Ivan Jager by Association of Croatian Artists (rep- Prague presented the works of its members Ivan Cesar Ivan Franke Josip Germ Robert Frangeš Mihanović Rudolf Valdec Ivana Kobilca Jessie Vesel resented with an orange node) and the in Vienna at the 4th Hagenbund exhibition Ferdo Vesel Ivan Vavpotič Vlaho Bukovac Matej Sternen Celestin Mis exhibition space of the Art Pavilion (rep- held in 1902. The exhibition was held in par- Ivan Zajec Alojzij Progar Slava Raškaj Jakob Žnider Joso Bužan II. izložba Društva Frančišekhrvatskih Horvat umjetnika (Zagreb) resented with a green node) as the venue allel with the exhibition of the Polish Sztuka Ferdo Kovačević Ludovik Grilc Ivan Trinko I. Zalar Slovensko umetniškoof the društvo guest exhibition of the Czech Art Association, which had a guest exhibition

Društvo hrvatskih umjetnika Oton Rudolf Josip Grošelj Association Mánes organised in 1904 and at the Secession, thus demonstrating the Anton Ažbè of the Polish Art Association Sztuka organ- openness of Vienna to art phenomena in Peter Žmitek Ivan Grohar ised in 1911. other (national) centres of the Monarchy. Henrika Šantel Rihard Jakopič Anton Gvajc Fig. 3 Anton Koželj Avgusta Šantel Exhibitions of Central European artists’ associations Franc Berneker B. Pogačnik 40 Krzysztofowicz-Kozakowska and Mizia, in the period from 1900 to 1911 (artists’ associa- I. slovenska umetniška razstava (Ljubljana) Matija Jama Alojzij Repič Ivan Jager “Sztuka-Wiener Secession-Mánes. The cen- tions, exhibitions and participants) Ivan Cesar Ivan Franke 26 27 Josip Germ tral European Art Triangle,” 225. Ivana Kobilca Jessie Vesel Ferdo Vesel Ivan Vavpotič Matej Sternen Celestin Mis Ivan Zajec Alojzij Progar Jakob Žnider Frančišek Horvat Ludovik Grilc Ivan Trinko I. Zalar

Oton Rudolf Josip Grošelj Viennese critics, primarily Ludwig Heve- Bém, Jugo Böttinger, Arnošt Hofbauer, Jan si and Berta Zuckerkandl, pointed out the Honsa, Antonin Hudeček, Josef Jelínek, Mi- importance of Švabinski, Uprka, Slaviček, loš Jiránek, Dušan Jurković, Franta Kavan, Hudeček and Preisler together with Kup- Ladislav Kofránek, František Kupka, Rich- ka and Šimon, as young raising stars.41 ard Lauda, Stanislav Lolek, Josef Loukota, Hagenbund achieved a very good collab- Josef Mařatka, František Pečínka, Antoniín oration with the Mánes in Prague, which Slavíček, Viktor Stretti, František Šimon, Max evolved in one of the most fruitful interna- Švabinský, J. Tomec, Jóža Uprka, František tional art networks.42 Voves, sculptors František Bílek, Buhumil The connection between Prague and Za- Kafka, Josef Kratina, Stanislav Sucharda, greb resulted in guest exhibitions present- Ladislav Šaloun, O. Španiel, Jan Štursa, ing works by Croatian artists at the Mánes architects Jan Kotĕra and J. Letzel, and a Pavilion in 1903 and a reciprocal exhibition single female artist, Anna Boudová. of the Mánes Association the Art Pavilion Iso Kršnjavi commented the collaboration organised in May 1904. Documentation by saying the following: about those exhibitions has been preserved thanks to catalogues supported by the his- Exhibitions like this one have to be ob- torical archives.43 (Ill. 4) The works by the served from a practical point of view. following Croatian artists were presented No matter how his profession might be in Prague at the 10th exhibition organised noble and beautiful, an artist has to by the Mánes Association: Josip Bauer, Vla- live of his work and he needs to, as any ho Bukovac, Joso Bužan, Menci Clement other worker, look for a compensation, Crnčić, Bela Csikos Sesia, Tomislav Kriz- wherever he might find one.44 man, Ferdo Kovačević, sculptors Robert Frangeš, Ivan Meštrović and Rudolf Valdec Apart from the review of art critique re-af- together with Slava Raškaj as the only fe- firming art creation in particular countries, male artist. As many as 192 works by Czech one of the results of the exhibition was sell- artists were transported for the exhibition ing of artworks by Croatian artists in Prague held in Zagreb including works by Rudolf as well as selling of artworks by Czech art- ists in Zagreb, out of which the wooden relief 41 Agnes Husslein-Arco, et. al., showing Jesus and Magdalena by František Hagenbund, p. 124.; http://digi- Bílek became one of the first acquisitions tale-bibliothek.belvedere.at/viewer/ of the collection of the Modern Gallery in image/1411477732019/1/LOG_0000/ Zagreb, founded in 1905.45 42 Agnes Husslein-Arco, et. al., Hagenbundi digital http://http://tools. 44 Izidor Kršnjavi, “Naša umjetnost”, Narodne fas.at/hagenbund/exhibition.html; http:// novine, no. 261 (14 November 1903): 245. digitale-bibliothek.belvedere.at/viewer/ 45 The Croatian Academy of Sciences and image/1412675348091/1/ Art, Fine Arts Archives, Documentation on 43 The Croatian Academy of Sciences and the exhibitions held in Zagreb, Envelope Art, Fine Arts Archives, Documentation F 594, The exhibition of the Manes on the exhibitions held in Zagreb, Association of Fine Artists. The records Envelope F 594, the exhibition of the indicate that works by Bela Csikos Sesia, Manes Association. http://dizbi.hazu. Menci Klement Crnčić, and Josip Bauer were Ill. 4 hr/object/1660; http://dizbi.hazu.hr/?- sold in Prague, while works by the Czech The catalogue of the exhibition of the Mánes Association of object=list&find=katalog+izlo%C5%BE- artists Josef Kratina, Stanislav Lolek, FineSucharda, Artists, Theand Art Joža Pavilion Uprka in Zagreb, were sold 1904. inThe Croatian Academy of Sciences and Art – Fine Arts Archives, Zagreb be+manes+zagreb Antonin Slaviček, Viktor Stretti, Stanislav 28 29 Zagreb. The network display of all guest exhibitions Jan Stanisƚavski in 1890 started the found- covered here (Fig. 3) indicates the four ex- ing initiative in Paris. A Separate Exhibition hibitions associated with the The Mánes of Painting and Sculpture was organised Association of Fine Artists located next to in 1897 in Krakow and in November a new the left margin of the network. Having in association was founded with the aim “to mind that they do not have any participants improve artistic life in the homeland and in common, the guest exhibition of Croatian organise exhibitions both at home and artists organised by the Mánes in Prague in abroad.“46 This international cooperation 1903 is located more marginally in relation comprised a number of exhibitions during to the three exhibitions of works by Czech the period 1897–1914 in the following cit- artist organised in Vienna in 1902 and 1908 ies: Vienna, St. Louis, Munich, Düsseldorf, and in Zagreb in 1904. In the part of the Antwerp, Leipzig, Dresden, Rome, Venice, network display linked to the three guest ex- Prague, Budapest and Berlin.47 Having in hibitions of Czech artists organised abroad, mind that the Association of Polish Artists six groups of red nodes indicate the Czech Sztuka appeared in public relatively fre- artists. Three groups of nodes located mar- quently and that Polish artist had an open ginally next to blue nodes, which indicate access to the European art market, the As- the exhibitions, present those artists who sociation was not very active in organising exhibited their works in the framework of a reciprocal exhibitions of other art associ- single and corresponding exhibition while ations in Krakow.48 three groups of red nodes located inside Polish artists had individual exhibitions of the field bounded by blue nodes for the organised in the Secession in Vienna,49 three exhibitions indicate the artists who and the first group exhibition of works by participated in several exhibitions. At the the members of the Sztuka Association same time, the central position is taken by was organised in the autumn of 1902 at the group of seven artists whose works were the Secession Pavilion in the framework of showcased on all the three exhibitions. Vis- their 15th exhibition50. The critics praised ualisation of the network clearly suggests it – Ludwig Hevesi in particular who wrote that the exhibitions held in a short period about the national character of the Polish of time, i.e. in Vienna in 1902 and in Zagreb exhibition, describing it as a “grand pussée in 1904, comprised a significantly higher number of common participants (19) in 46 Krzysztofowicz-Kozakowska and Mizia, comparison to the parallel display of the “Sztuka-Wiener Secession-Mánes. The cen- two exhibitions in Vienna (7) or the exhibi- tral European Art Triangle,” 219-20. tion held in Zagreb and subsequently the 47 Ibid, 219; Brzyski, “Vienna Secession, one held in Vienna (10). Hagenbund, Sztuka and Mánes: competition and strategic collaboration among central The Association of Polish Europen art grups,” 4–18. Artists “Art” (Towarzystwo 48 Krzysztofowicz-Kozakowska and Mizia, Artystów Polskih “Sztuka-Wiener Secession-Mánes. The cen- “Sztuka”) in Krakow tral European Art Triangle,” 219. There was only one guest exhibition recorded,

The Association of Polish Artists Sztuka was that of the Mánes Association in Krakow. Ill. 5 established in opposition to then official 49 Ibid, 221, note 25. The catalogue of the exhibition of the Croatian Art Associa- The Association of Friends of Fine Arts in 50 Ibid, http://digitale-bibliothek.belve- tion, The Art Pavilion in Zagreb, 1911. The Croatian Academy of Sciences and Art – Fine Arts Archives, Zagreb Krakow and Lvov. Józef Cheƚmoński and dere.at/viewer/image/1413884320733/1/ 30 31 de tristesse”, and emphasising the quali- Robert Frangeš Mihanović, Oton Iveković, it that those paintings do not fall off their inclination toward the Serbian artists.55 ty of the painters such as Józef Mehoffer, Vilim Jenčik, Ferdo Kovačević, Miroslav the walls and those sculptures off In the framework of the network display of Stanislav Wyspiański, Ruszczyc, Leo Wy- Kraljević, Anka Löwenthal Maroičić, Ce- their pedestals out of fear from that all of all guest exhibitions covered here (Fig. czólkowski and Kontanty Laszceska.51 The lestin Medović, Franjo Pavačić, Zdenka vehement antipathy, that disapprov- 3), the position of The Association of Polish next exhibition of the Sztuka Association at Pexidr-Srića, Zora Preradović, Elsa Rech- al and resistance so characteristic Artists Sztuka is closest to the centre owing the Secession in Vienna followed in 1906, nitz, Iva Simonović, Jelka Stuppi, Branko for such a heavy and suffocating to the highest number of group exhibitions with a prominent appearance of works by Šenoa, Nasta Šenoa-Rojc, Rudolf Spiegler, atmosphere?... Upon inspecting all held according to the parameters attribut- Jan Stanislavski, Ferdynand Ruzczyc and Antun Štefic and Rudolf M. Valić. Andrija works by the Polish artists, one sim- ed to the guest exhibitions organised by Karol Frycz.52 Milčinović described the unconventional ply has to make the conclusion: The other central European art associations Polish researchers were unable to establish artistic vibrancy of the two art associa- Poles do not know us, that is rather (five exhibitions in total), but also owing if the Association of Polish Artists Sztuka tions and nations, very much visible at this obvious, otherwise they would have to the highest number of collaborations had a guest exhibition organised in Zagreb exhibition, by saying: not sent the works of art that so ruth- with other associations by way of cultur- i n 191153 (Ill. 5). The Art Pavilion organised lessly disturb our peace and ‘calm’ al exchange in the form of exhibitions. As the exhibitions of works by Polish artists, This wall around us does not allow behind which we are hiding. (...) opposed to the Mánes Association, whose members of the Sztuka Association and us to breathe or to live. Our artists Nowadays, the Poles are most cer- appearances in Vienna were organised ex- members of the Croatian Art Association invited the Association of Polish Art- tainly the first among the Slaves in clusively by Hagenbund, the network display in parallel, which provided a possibility to ists Sztuka in this politically charged doing so because they were success- clearly indicates that the Association of compare and critically appraise the two atmosphere. One may support any ful in preserving their authenticity Polish Artists Sztuka had two exhibitions national segments of art production. Polish kind of artistic perspective, one may while marching next to the French organised at the Secession (one in 1902 and artists were present with 82 artworks as foster artistic values in everything and the others who had opened the one in 1906) together with the exhibitions follows: 17 painters: Teodor Axentowicz, produced over the past few decades new horizons in art. And although organised at the Hagenbund in Vienna (two Stanislav Czajkowski, Stefan Filipkiewicz, or one may neglect everything that they live in different cities and dif- exhibitions in 1908). Gustaw Gwozdecki, Vlastimil Hoffmann, piled up in old galleries; one may ferent parts of the country, in many The position of red nodes representing François Jabtczynski, Wladislav Jarocki, also be a vigorous opponent of this ways they stand as one. A few more Polish artists in relation to blue nodes in- Alfons Karpinski, Josef Krasnowolski, Jozef or that group, however, one must exhibitions like this and maybe the dicating the exhibitions to which they are Mehoffer, Tymon Niesiolowski, , Stanislav admit that inviting the members artistic life in Zagreb will breathe the linked depending on their participation in Podgorski, Ignacy Pienkowski, Jan Rub- of the Sztuka to Zagreb is a great life it was breathing ten or fifteen this case reveals that those artists whose czak, Ferdinand Ruszczyc, Jan Stanislawski merit of the Art Association. The Art years ago. It is better to remain un- works were presented at one exhibition hold and Wojciech Weiss, 2 sculptors: Henrik Association had invited the Czech popular, criticised and even perse- marginal positions on the network display Glicenstein, Bronislav Pelczarski, and one artists from the Mánes at the time, it cuted than adored and close to the on the one hand, and a more central po- female painter, Olga Boznańska. Croa- invited Vereščagin, Slovenian artists, audience that still has not developed sition in the network of interconnections tian artists were presented by the works Serbs and Bulgarians but never had a real interest in art.54 between the artists who took part in more by Robert Auer, Leopoldina Auer-Schimdt, they made such a distinct choice like than one exhibition on the other. Five artists Ivan Benković, Anka Bestall, Joso Bužan, in the case of the Sztuka. That act The critic evokes the inspiring and com- who took part in all five group exhibitions Menci Klement Crnčić, Bela Csikos Sesia, stands as a proof of self-awareness, petitive early modern period before the of the works by the members of the Sztuka enthusiasm, and patriotism to such First Croatian Salon and “the suffocating are located at the centre i.e. Teodor Ax- 51 Ibid. an extent that one remains taken atmosphere” of the artistic life in Zagreb entowicz, Józef Mehoffer, Jan Stanisławski, 52 Krzysztofowicz-Kozakowska and Mizia, aback wondering: is this possible? was a reflection of turbulent events taking Wojciech Weiss and Olga Boznańska as the “Sztuka-Wiener Secession-Mánes. The cen- Is it possible to inspire so much life, place after the separation of a group of only female artists. tral European Art Triangle,” 224; http:// so much diversity and young aspi- young Croatian artists that participated digitale-bibliothek.belvedere.at/viewer/ ration and intention by way of pre- at the International Exhibition in Rome in image/1414425130841/1/LOG_0000/ senting so many already established parallel with this exhibition and thus showed 53 Katalog izložbe Hrvatskog društva artistic directions and significant 55 Sandi Bulimbašić: Društvo hrvatskih umjetnosti : u Zagrebu 1911. od 1. svibnja artworks having recently emerged umjetnika “Medulić “ (1908–1919) umjetnost do 1. lipnja (Zagreb: Dionička tiskara u from those artistic directions. One 54 Andrija Milčinović, “Umjetnička izlož- i politika (Zagreb: The Croatian Society Zagrebu, 1911). cannot do anything but ask how is 32 33 b a,” Savremenik, no. 8 (1911), 526–529. of Art Historians, 2016), 227–259. Conclusion

Jaroslav Panuška

In addition to individual appearances on Dušan Jurkovič Oldřich Homoláč the exhibitions at the Secession and the Josef Jelinek Bohumil Dvořák Hagenbund in Vienna, both of which served Max Švabinský František Bílek Alois Kalvoda Josef Kratina Ladislav Šaloun as platforms for organising exhibitions to Stanislav Lolek present modern art from Central Europe Adolf Wiesner Stanislav Sucharda Jan Preisler Zdenka Braunerova Hans Vollmer František Kupka Miloš Jiránek Antonin Hudeček and meeting points and places to learns Jan Kotěra Kazimierz Stabrowski about artists from other parts of the Mon- František Pečinka Josef Ullman IV. Ausstellung des Künstlerbundes Hagen (Wien) archy, a special attention was given to Tadeusz Okon Karel Myslbek Victor Stretti Karel Špillar guest exhibitions presenting the work of Mánes Edward Wittig Rudolf Bém Arnošt Hofbauer Eugeniusz Zak art associations organised between Vienna, Anna Boudová Joža Uprka Künstlerbund Hagen Jan Štursa Krakow, Prague and Zagreb. In Vienna, The Hendrik Glicenstein Izložba češkog umjetničkog društva"Mánes" (Zagreb) Józef Czekierski Association of Polish Artists Sztuka had two Hugo Böttinger Ladislav Jan Kofránek Tavik František Šimon guest exhibitions organised at the Seces- Stanislaw Kamocki Stanislaw Czajkowski Karol Tichy Bohumil Kafka sion in 1902 and 1906 and one exhibition Josef Loukota Josef Mařatka Antonín Slavíček Henryk Szczyglinski Karol Maszkowski Leon Wyczółkowski Jan Honsa at the Hagenbund in 1908 followed by one Richard Pollak Jan Letzel 25. Ausstellung des Künstlerbundes Hagen (Wien) Xawery Dunikowski exhibition organised in Zagreb in 1911. The Richard Lauda Józef Chełmoński Otakar Nejedlý Józef Mehoer Antonina Sikorska Tomislav Krizman Otakar Španiel Mánes Association of Fine Artists had two František Kaván Rudolf Valdec Wojciech Weiss Joso Bužan Teodor Axentowicz Sztuka Stanisław Kazimierz Ostrowski exhibitions organised at the Hagenbund Stefan Filipkiewicz Hrvatsko društvo umjetnosti Jan Stanisławski in 1902 and 1908, respectively and in 1904 Menci Clement Crnčić XV. Ausstellung der Vereinigung bildender Künstler Österreichs Secession Wien (Wien) they exhibited their works in Zagreb as a X. výstava spolku"Mánes" (Prag) Jacek Malczewski Wiener Secession Henryk Hochman reciprocal visit following the guest exhi- Izložba Hrvatskog društva umjetnosti (Zagreb) Józef Pankiewicz bition of the Croatian Art Association in Robert Frangeš Mihanović Slava Raškaj Umjetnički paviljon Ausstellung der Vereinigung polnischer Künstler"Sztuka" (Wien) Prague in 1903. Taking into account that Vlastimil Homan Konstanty Laszczka Stanisław Wyspiański Jakob Glasner the guest exhibitions of the Mánes and the Jindřich Tomec XXVI. Ausstellung der Vereinigung Bildender Künstler Österreichs Wien (Wien) Alfons Karpinski Feliks Jabłczyński Sztuka art associations that took place in Ivan Meštrović Julian Fałat Vlaho Bukovac Francois Jabtczynski Jósef Czajkowski Kazimierz Sichulski Zagreb have not been in the focus of any Gustav Gwozdecki Jan Rubczak Olga Boznańska Józef Krasnowolski Piotr Hipolit Krasnodębski Ferdo Kovačević Tymon Niesiołowski Stanislaw Podgorski research done by Czech or Polish art his- Ferdynand Ruszczyc Edward Trojanowski Władysław Ślewiński torians so far, by extending the network of Ivan Jager Bela Čikoš-Sesija Društvo hrvatskih umjetnika Karol Frycz exhibitions to cover Zagreb we are contrib- Bronislaw Pelczarski Wacław Szymanowski Oton Rudolf Franc Berneker Stanisław Dębicki Ludwig Puget Władysław Jarocki uting to the network of modern art in Cen- Ignacy Pieńkowski Anton Gvajc tral Europe during the first decade of the Ludovik Grilc Anton Ažbè Stanisław Masłowski Jan Szczepkowski th 20 century by adding another overlooked Matej Sternen Alojzij Repič Slovensko umetniško društvo Fryderyk Pautsch Alojzij Progar Jan Bukowski art centre. Visualisation of digital data by II. izložba Društva hrvatskih umjetnika (Zagreb) Henryk Kuna way of different networks indicating artistic Abraham Neumann collaboration between art associations and Anastazy Lepla I. slovenska umetniška razstava (Ljubljana) Kazimierz Brzozowski artists demonstrates a rather high number Artur Markowicz of artists coming from the Slavic regions of Jakob Žnider Rihard Jakopič Peter Žmitek Ivan Cesar Matija Jama Ivan Grohar the Monarchy whose works were exhibited Ferdo Vesel Josip Grošelj Anton Koželj Włodzimierz Tetmajer thanks to organised guest exhibitions. All Ivan Vavpotič Jessie Vesel Frančišek Horvat these art associations also included works Ivan Franke Ivan Trinko B. Pogačnik by female artists although their number was Fig. 4 Ivana Kobilca Henrika Šantel I. Zalar Avgusta Šantel limited i.e. only seven female painters in Exhibitions of Central European artists’ association Ivan Zajec Celestin Mis Josip Germ total exhibited their works. Ivana Kobilca, as in the period from 1900 to 1911 (red nodes present women artist participating in the exhibitions) a member of the Slovenian Art Association, 34 35 map2_1962-1963.pdf stands out with the This confirms that Czech and Polish art- quality of her paintings and the number of ists made better use of their position in exhibitions in which she participated, the Vienna as a result of conditions provid- Association of Polish Artists Sztuka reg- ed to them by their art associations while ularly included painter Olga Boznańska, Croatian and Slovenian artists had to or- while Anna Boudová exhibited her works ganise themselves because their national together with other members of the Czech associations did not have continuous or Mánes.56 The network display comprises persistent activities.57 Bringing the Slove- 147 artists in total: 89 painters, 26 sculptors nian Art Association, the Mánes Associa- and 6 fine artists from Slovenian, Czech tion of Fine Artists and the Association of and Polish circle and their activities are in- Polish Artists Sztuka to Zagreb open doors dicated in the selected examples of guest to a better critical angle for Croatian art- exhibitions in Zagreb, Vienna and Prague. ists (artists from Zagreb), audience and critique and strengthened the domestic 56 Female Croatian artists who exhibited position of artists facing turbulent phases their works at the exhibitions organised in the beginning of the 20th century due by the Society of Croatian Artists, that to their inner disputes. By switching their is the Croatian Art Association, were membership from one art association to more present than female artists who were another, their international position was affiliated to the Polish Art Association weakened by the end of the 19th century Szutka or the Manes. Jelka Stuppi, after their appearance on the Millennial Leopoldina Auer-Schmidt, Zora Preradović, Exhibition in Budapest and guest exhibi- Slava Raškaj, Anka Löwenthal Maroičić and tions in Copenhagen, St. Petersburg and Nasta Rojc had regular appearances on Paris after that. the exhibitions in Zagreb and abroad. To learn more about education of Croatian female artists and exhibitions of their works during the late 19th and the early 20th century see: Ljiljana Kolešnik, “(Ne) moguća priča. Utjecaj münchenske Akademije na žensku umjetnosti ranog moderniz- ma,“ in Akademija likovnih umjetnosti u Münchenu i hrvatsko slikarstvo, eds. Irena Kraševac, Petar Prelog and Ljiljana Kolešnik (Zagreb: Institute of Art History, 2008), 88–107; Darija Alujević, “Beč kao mjesto formiranja umjetnica hrvatske moderne i njihov udio u likovnom živo- 57 Žerovc, Slovenski impresionisti, 75. tu Zagreba,” in Izazov moderne: Zagreb The author explains that the Slovenian Art – Beč oko 1900 (exhibition catalogue), Association organised activities for only eds. Irena Kraševac and Petra Vugrinec a brief period of time because of reasons (Zagreb: Klovićevi Dvori Galery, 2017), related to its members’ reluctance and 125–174; Darija Alujević, “Women Artists of various political plots. Another associa- Croatian Modernism,” in The Challenge of tion named “Sava” was more successful and Modernism: Vienna and Zagreb around 1900 managed to organise a group exhibition (exhibition catalogue), eds. Stella Rollig, at the u Miethke Gallery in 1904. http:// Irena Kraševac and Petra Vugrinec (Vienna: digitale-bibliothek.belvedere.at/viewer/ Belvedere, 2017), 130–138. image/1433925050448/1/LOG_0000/ 36 37 Irena Kraševac, Petra Šlosel grebu 1911. od 1. svibnja do 1. lipnja. (Exhibition cat- DArtHist Austria. “Exhibitions of Modern European Paint- Prančević, Dalibor. “Sculpture by Ivan Meštrović at the Networking of Central European Artists’ alogue). Zagreb: Dionička tiskara u Zagrebu, 1911. ing 1905–1915”. Accessed January 5, 2019. https://www. Grafton Galleries in 1917: critical and social contexts.” Associations via Exhibitions. The Slovenian Art darthist.at/projektdetail/exhibitions-of-modern-euro- Sculpture Journal, vol. 25, no. 2 (2016): 177–192. Association, Czech Mánes and Polish Sztuka in Kraševac, Irena. Ivan Meštrović i secesija. Beč – pean-painting-1905-15.html Zagreb in the Early 20th Century” München – Prag: 1900.–1910. Zagreb: Institut za povi- Prančević, Dalibor. 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