Structure, Network, Discourse Anatomy of an Artists Association
Maximilian Kaiser
With its program the Hagenbund helped to shape Vienna’s cultural life for nearly forty years. In that time the artists union averaged between twenty-two and seventy-one regular members (fig. 1) – as compared with the Künstlerhaus and the Secession, a rather manageable number. In its strategic orientation, however, the Hagenbund clearly differed from the other associations, since it placed more importance on its corresponding members who did not live in Vienna. They provided the basis for contacts with other artists and artists groups and thus brought outside stimuli to Vienna. Having the Zedlitzhalle as an exhibition space made it possible for the union to design an indepen- dent program. This is ultimately what lent the Hagenbund its rank and position among the three major Viennese art organizations. Moreover, it also served as the cornerstone for a system of ex- changes with which the group could engage in exhibitions on a national and international level, and many of its guests became corresponding members after participating in its shows. Artists groups invited to Vienna made it possible for the Hagenbund to present itself in their home cities in return. The union essentially supported itself with the entrance fees paid by exhibition visitors, public sub- sidies, donations from private individuals, members’ annual dues, and a percentage of the sale prices of works of art. Its economic survival was ultimately dependent in large part on its program and its variety. Against this background, and because of the complexity of the subject, a study using the network analysis method suggested itself as a way of obtaining an understanding of the mechanisms at work behind this system.1
Art-historical Network Analysis Simply put, a network describes the social relationships between people. Network analysis is simply the investigation of these relationships and the patterns and structures arising from them. To de- scribe the characteristics of a network, it is customary to point to the rhizome, one of whose charac- teristics is the fact that it “can be broken and destroyed at any given spot; it [then] continues to grow along its own or other lines.”2 A network‘s potential thus derives from the fact that it can be sampled in various ways with respect to dynamics, topography, or other such parameters and yet does not suffer any loss of its original significance. As a scientific method, network analysis had its origins in sociology. Subsequently, in addition to economics and the communication sciences, it has become established mainly in the scientific disci- plines. In the early 1990s, the scholars John Padgett and Christopher Ansell managed to demon- strate the applicability of network analysis to historical subjects and sources and popularize it with 103 140
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0 1902 1906 1910 1914 1918 1922 1928 1930 1934 1938
PARTICIPANT STRUCTURE 266 MEMBERS 790 GUESTS
1908 1912 1922 1930 87 MEMBERS 98 MEMBERS 104 MEMBERS 128 MEMBERS 57 Full 54 Full 61 Full 39 Full Fig. 1: Development of the membership and guest numbers in the 25 Corresponding 44 Corresponding 83 Corresponding 81 Corresponding Hagenbund between 1900 and 1938 8 Extraordinary
their study “Robust Action and the Rise of the Medici (1400–1434).”3 In the past few years, a new generation of historians, benefitting from the further development of the technique, has advanced and intensified methodical-conceptual discussion with network analysis. As opposed to using the term “network” purely as a metaphor, in their view “network-theoretical concepts” have the advan- tage that they are defined abstractly, “and thus make possible a more universal comparability. [. . .] Altogether, working with these network-theoretical concepts offers a chance to step back from es- tablished presuppositions within the source material or scholarly discussion and consider the actors’ relationships with an unprejudiced eye.”4 The Hagenbund was rediscovered as a subject for Austrian art history in the 1970s. First exhibition projects and monographs on individual artists followed.5 Since no central archive for the union has survived, study has had to rely to date on fragments distributed among countless archives. It is only in the exhibition catalogues and reviews in the daily press and art journals that one finds a heteroge- neous corpus of sources extending across the Hagenbund’s entire life span. From this perspective, it is understandable that from the beginning the project “Hagenbund Exhibition Chronology” has been thought of as a study of great benefit to scholarship.6 The numbering and listing of exhibitions has expanded from time to time. However, it has to be recognized that in categorizing the exhibi- tions it is important to consider more than simply the group involved or the location. Today we know of a total of 252 exhibition projects associated with the Hagenbund (fig. 2). These can be categorized as either the Hagenbund’s own exhibitions in the Zedlitzhalle, its participation in shows elsewhere in Austria and abroad, and rentals of the Zedlitzhalle by other groups. One difficulty is the fact that an exhibition project can consist of several simultaneous individual, group, or special exhibitions. It is therefore necessary to break down the initial classification still further, to count the individual elements and assign them to the appropriate subcategories. All in all, one then arrives at 320 individual elements. However, this degree of detail in the chronology does not provide any more precise information about how frequently individual artists exhibited and in what context. In short, the individual, the group perspective, and the dynamics are all of interest. For the following analysis of the exhibition program as a network – from now on referred to for simplicity’s sake as the exhibitor network – the first two basic categories are most important.
104 HAGENBUND-EXHIBITIONS 15%
32% 24% 252 Hagenbund-Exhibitions 9% 320 Individual Elements
4% Hagenbund-Exhibitions 56% Group exhibitions | Solo exhibitions | Special exhibitions 5% 20% Leasing of Zedlitzhalle by other groups Group exhibitions | Solo exhibitions | Special exhibitions 11% 19% Participations outside of the Zedlitzhalle 5% Participations abroad | Participations in Austria Fig. 2: Statistics of the Hagenbund-exhibitions according to categories
In art history there is a certain skepticism about network analysis as a method. Regina Göckede emphasizes, for example, that “such attempts to adopt it [will encounter] a series of methodological difficulties, mainly having to do with the field’s most basic tools, the exploitation and evaluation of primary sources.”7 What may be true of relationships gathered from letters, diaries, and other man- uscripts, which can reveal definite qualities from the perspective of the individual, can only rarely be readily transferred to entire groups of people. If only because such sources have often not sur- vived and become available for study to the same extent. The starting point for a reconstruction of the exhibitor network is therefore published material like catalogues and reviews. In both types of sources one finds lists of the names of artists who participated in exhibitions associated with the Hagenbund. But with a single list one still has not created a complex network. It becomes a matter of the gathering all these lists and combining them, for ultimately it is those artists who repeatedly participated in Hagenbund exhibitions who establish the connections between the individual events. These structural similarities make it possible to reconstruct and analyze the entire program as an exhibitor network. Julia Gelshorn points out another fundamental problem, namely that “immaterial relationships always tend to be visualized in the same way as material ones, as scaffolds, plumbing, circuitry, or embroidery [. . .] whose causality, stability, even reality are of a different kind than those of immate- rial relationships.”8 For that reason critical commentary and a system of reference are needed. To that end each link that ties the individual intersections together needs to be coded into the network with a series of attributes – for example the exhibition’s opening date, its title, the exhibitor’s mem- bership status at the time of his participation, and his given role in the context of the exhibition. With this information various detail issues can be investigated, resulting in an understanding of the mechanisms at work behind the program.
Network #1 Center and Periphery In early 1922, Franz Ottmann made an interesting observation in a discussion of contemporary Viennese exhibition activity: “At present an overview is only made easier for us through the forma- tion of groups, which are here not attuned to a common intent but simply thrown together by chance and the caprice of historical development.”9 The mix of participants in the exhibition chronology or chain of events is determined not so much by chance as by “strokes of fate.”10 Each separate exhibition was put together under specific conditions, its participants selected deliberately and with care. Therefore the individual exhibition per se represents a unique and non-repeating event. One feature of network analysis is the possibility of counting frequencies in various ways.11 Applied to the exhibitor network, it is the repeated participation in exhibitions that is of interest. If this were not the case, we would not be talking about an artists group or association. All the artists who helped to shape the program as participants form the inner circle. “The various applications of the reticular model nevertheless show that every network in which one node presents more connections than another must also be understood as the picture of a power structure, no matter how the power is distributed.”12 Following this logic, one finds among the most frequent participants – the top
105 Oslo Stockholm
Riga
Moskau
Hamburg Berlin 525 km Amsterdam Warschau London Düsseldorf Dresden Brüssel Reichenberg Karlsbad Prag Katowice Troppau Krakau Nürnberg Brünn Paris Göding Kaschau 1034 km Augsburg Linz Wien München St. Pölten Baden Budapest Bern Graz 214 km Meran New York 6976 km Venedig St. Louis 7952 km
Florenz
Barcelona Rom
200 km 200 Meilen © Maximilian Kaiser, CC BY SA 3.0 Rio de Janeiro 9876 km
twelve artists, say – for the most part those artists who were not only regular members of the Ha- group exhibitions in Zedlitzhalle by artists associations not from Vienna, genbund but also held its leading posts. all participations in Austria and abroad including Delegation and But what about the guests, the members who did not exhibit so frequently and did not live in Vien- ! 4# $ % ' 5 na itself, namely those found on the periphery of the exhibitor network? How do they fit into the exhibitions between 1900 and 1938. In case of traveling exhibitions all venues were taken into account. overall picture? In general the term “structural holes” is applied to those actors within a network who stand between two groups and connect one with the other. From this point of view, and by maximizing non-redundant information, they generate valuable insights.13 Such patterns can also be found in the exhibitor network. They are generally guests who exhibit more frequently or corre- sponding members who after their first participation in a group show stay in contact with the Ha- genbund as individuals, not as members of their original group.14 As mentioned earlier, power is associated with highly connected actors in the center of the network. Nevertheless, there are also concepts that place other qualities in the foreground. A study of the most important people cur- rently effecting change in Austria presented in February 2014 draws parallels between the periphery and the innovative potential of individual actors. “The established ones are successful only to the degree that they are capable of making contact with the periphery and using its potential – for that is where innovation takes place.”15 This model can be applied to the Hagenbund exhibitor network. For the inner circle, contact with the periphery offered the potential not only for stylistic innova- tions, but also for contacts with outside organizations and chances to exhibit outside of Vienna. This helps to explain the Hagenbund’s internationalism, and allows us to reconstruct its sphere of influence (fig. 3).
106 Network #2 Discourse and Criticism From the beginning, discourse about the Hagenbund centered on its “young art and moderate modernism”and “international art in the national context.” Because the various stylistic trends and currents tended to be of brief duration, the canonization of modern art can be traced over a rela- tively manageable span of time. Reducing the process of its acceptance to a purely art-historical level would mean ignoring the social circumstances. “Art critics provide another kind of documen- tation of acceptance, they not only discuss the artworks themselves but also the way the exhibitions were presented and the catalogue texts. Reviews show the extent to which critics identified with works of art and the exhibit, which various positions, from conservative to progressive, stand out.”16 Gregor Langfeld, who has studied the reception of German art in the United States, also asks “whether the reviewer’s intention was to canonize, upgrade, depreciate, or rehabilitate?”17 “It is very easy to overrate the potential of network study. The countless indicators of phenomena it provides always require more precise investigation.”18 To confront this danger pointed out by Maxi- milian Schich, art criticism is introduced on another level as a kind of control over the results of the analyses. By way of this network level, it is possible to study more precisely the effect of the exhibi- tion program. Not only were some artists canonized, there is also the interesting phenomenon that others were not recognized in the media at all or were mentioned only by specific critics. This group, along with vilified avant-gardists and well-respected Academy professors, constitutes a kind of white noise in the background of the Hagenbund exhibitions. As yet there has been very little study of the everyday lives of Vienna’s art critics and the interactions between critics, art, and artists.19 The many caricatures found in the period’s daily papers make it clear that attendance at an exhibition gave one a certain social cachet (fig. 4). One rare instance of personal contact between critic and artist is related in Arthur Roessler’s monograph on the artist Anton Faistauer. Roessler describes in detail his first encounter with Faistauer at the Galerie Pisko on the occasion of a press preview of an exhibition of the Neukunstgruppe in 1909.20 Another indi- cation of the influence of art criticism is the fact that in 1927 an Association for the Protection of Austria’s Creative Artists was founded with the express goal of helping artists defend themselves legally against negative reviews that affected their sales.21 From the perspective of a Hagenbund artist, Georg Ehrlich provides a pointed and quite personal assessment: “I have learned a lot about myself from much criticism. My best published criticism has confirmed that I am still very young, for which I am obliged to my parents, and that my gift is not particularly great, something I wouldn’t even believe myself.”22
Fig. 4: RUDOLF HERRMANN cartoon “In the exhibition“, in: VZ, year 69, episode 150, June 3, 1923, p. 9
107 Fig. 5. Overall network of exhibitions and artists of the Hagenbund between 1899 and 1938
This bimodal network shows the two categories exhibitions and participating artists. The more often an artist took part in exhibitions, the larger his name is displayed in the diagram and the more centrally it is
positioned. The frequency of participation was also directly proportional Richard to the probability of an artist being a member, and in turn, of being Georg Müller-Breslau ! Hans Nadler Anton Josef Pepino course of the Hagenbund’s entire existence, two centers can primarily Fritz Beckert Oskar Bergman # Woldemar von Reichenbach Alfred Bergström Johannes Ufer # $ * + Sigge Bergström Walter Besig
Ecke Hedberg
* * $ * * Eugen Bracht Al Oscar Björck
Fr an inner circle of members, which resulted in the program of this period Selmar Werner Bernhard Österman
Artur Bendrat being somewhat homogeneous. Slightly removed from this inner circle, Carl Larsson
Osmar Schindler $ ! / Anshelm Schultzberg August Wilkens made up of artists such as Ameseder, Kasparides or Suppantschitsch. Carl Milles Oscar Hullgren Infrequent participants such as the group of Swedish or Norwegian artists Ernst Burmester Ferdinand Boberg Walter Zeising Carl Johann Becker-Gundahl are to be found at the edge of the diagram. However, those artists of the Anders Zorn 18. Hagenbun
Wilhelm Claudius
Alois Kolb QW XY $ $ $ # Gunnar Hallström Ferenc Szablya Frischauf Carl Seffner participation in an exhibition, are grouped between the center and the Pelle Swedlund Hermann Bek-Gran Georg Oskar Erler János Göröncsér periphery. Axel Fahlcrantz Schwedische Künstler 1910
Walter Friederici The loss of the Zedlitzhalle as an exhibition space and the outbreak of Emil Österman Arnold Gara $ Alf Wallander Hagenbund’s exhibition activities in the period between 1912 and 1919 Erik Lindberg 4 P 7 &
Ernst Norlind $ $ $ # * Ilona Máté Eu
Gottfrid Kallstenius Hu [ # Róbert Lénárd Olle Hjortzberg
Stemolak and Graf bridged this time period. Ödön Edmund Moiret Wilhelm Emanuel Behm
Kéve Ausstellung 1910 B
$ * # * * Erszi Fejérvári
C
26. Hagenbund-Ausstellung 1908 as Mayer-Marton, Pajer-Gartegen, Hauser and Peschka, who took part in Lajos Kozma
the greatest number of exhibitions after the return to the Zedlitzhalle. Valeria Dénes Anna Boudová-Suchardová
The fact that the Hagenbund now had to share the exhibition space with Elemérne Kornis von Tóthvárad Zdenka Braunerova
other associations and that cultural-historical exhibitions and special Gyula Tichy Théo van Rysselberghe shows were also held there meant that the program as a whole became Jószef Szöri Josef Jelínek $ Stefi Redlich-Fischer Miloš Jiránek Stefan Filipkiewicz
Jan Bukowski which meant that in this period more members than guests exhibited František Kupka Reszö Bálint
Martin Benka # $ Ladislav Šaloun Xawery Dunikowski
: ! ! ' Józef Czekierski
Józef Czajkowski
Jaroslav Votruba Edward Wittig
! " B$
<' ! S Arnošt Hofbauer Emil Hlavica ! " %& *
Karol Tichy Mikulaš Aleš
Petr Pištelka + , !
30. Hagenbund-Ausstellung 1909 Henryk Glicenstein František Julius Pelikan Ladislav Beneš Edward Trojanowski Rich František Hlavica
Henryk Hochman % ' ( ) ' Emanuel Hallm František Ondrúšek
Jan Szczepkowski
Ladi <' ! * Abraham Neumann
@ ' QD (
Anastazy Lepla Wilhelm Busch
Piotr Hipolit Krasnodebski ! " ' "
?
% & " ' Theodor von Ehrmanns d.Ä. &' ! Ludwik Puget
Josef Koudelka Karol Maszkowski
Henryk Kuna Arnošt Hrabal
Jano Köhler
Theodor Ehrmann Gedächtnisausstellung 1926
Theodor von Ehrmanns d. J.
Vettore Zanetti-Zilla Key:
Guest 1900–1908 Member 1909–1919 Board 1920–1926 Exhibition 1927–1934 1935–1938
108 7. Hagenbund-Ausstellung 1903
Hans Fronius
Kollektivausstellung Hloucal 1920 Ruppert Edlinger
Paul Horst-Schulze
Anton Hollitzer Albert Weisgerber Arthur Kaan Ferdinand Brunner Anton Hans Karlinsky Carl Otto Czeschka Heinrich Knirr Alfred von Pflügl Ernst Borsdorf Friedrich Beck Otto Prutscher Alois Reznik Karl Schmoll von Eisenwerth Theodor Charlemont Erwin Puchinger Kionobu Okuno Martin Schrott Joseph von Rheden Johann Nepomuk Geller Wilhelm Schleifer Bruno Reiffenstein Karl Kostersitz Heinrich Rauchinger Julius Zuber Fritz Schiebl nig Othmar Fritsch Karl Kaser Josef Breitner Paul Cohn Karl Pippich Theodor Würinger Franz Vcelar Kamillo Kronich Hugo Charlemont Ricco Weber Adolf Thomann Leopold Ebert Paul von Salis-Soglio Karl Hofmann Feri Angerer August Schaeffer von Wienwald Alfred Zoff Karl Sandtner Edmund Hesse Josef Friedrich Franz Jaschke Clemens von Pausinger Margret Bilger Josef Grossmann Christian Plattner Günther Baszel Hanns Letz Karl Maria Schuster Moritz Unterwalder Rudolf Chmelik Karl Markus Heinrich Zita Herta Jirasko Heribert Potuznik Albin Egger-Lienz Ernst Riederer Friedrich Widter Ferdinand Stransky ! ( Umberto Veruda Karoline Kubin Karl Petricek Margarete Zellner duard Veith Emilie Mediz-Pelikan + ! ) Richard Klein S. Zimmermann Kinder-, Jugend- und Künstlergraphik Richard Tautenhayn Leopold Widliczka Marianne von Kamler Robert Oerley Alfred Hofmann ecker Josef Müllner
Carl Hassmann Franz Pomassl Mara Kralj-Jeraj Franz Barwig d. J. Lilli Schüller-Berndt Viktor Lurje Friedl Dicker-Brandeis Otto Trubel Arthur Brusenbauch Franz Knappitsch Ausstellung Humplik und Jone 1926 Gyula Derkovits Robert Steiner Carl Zahraddnik Fritz Pontini Elisabeth Köppl Malina Wrede Hugo Henneberg Bohuslav Kokoschka Heinrich Kühn Karl Angerer Walter Barwig Edgar Jené Karl Mediz Josef Tautenhayn d. J. Otto Exinger Julius Zimpel Leopold Burger Friedrich von Radler Karli Schumann Erwin Müller Rudolf Podaný Leo Kober Willy Streit Walter Rupp Vilma Eckl Leo Haas Josef Straka Carl Rabus \) Eugen Schroth Eduard Stella Johann Hazod Ernst Plutzar Anton Hanak Josef Gassler Ines von Taxis Karl Hagenauer Elli Herrmann Michael Ruppe Stanislav Lolek + ! Vally Wieselthier Roman Havelka Robert Eigenberger Heinrich Krippel Leo Diet Roman Wachtel Hanns Kobinger Robert Sterl Franziska Zach Heinz Steiner $ ! Hans Hloucal Josef Dobrowsky Alexander Flaschner Peter Palffy Konrad Widter ová Anton Kling Gerhart Frankl @ Maximilian Florian Franz Xaver Messerschmidt Ausstellung für kirchliche Kunst 1912 Richard Harlfinger Eugen Herzig Greta Freist hmid-Reutte Gustav Johannes Buchner Hans Rathausky Josef Huber-Feldkirch Ferdinand Kitt 2. Studien- und Skizzenausstellung 1900 Marino M. Lusy Werner Seidl Adolf Schnabel Karl Józsa Edgar Jantsch August Lüdecke Karl Hügin Theodor Klotz-Dürrenbach Albert Schreyer Ludwig von Zumbusch Rudolf Fänner Karl Krattner René Beeh R. Kömpfner 1. Studien- und Skizzenausstellung 1899 Die Kunst im Leben des Kindes 1902 Ilse Bernheimer Heinrich Brüne Hans Ruzicka-Lautenschlager Hagenbund Wanderausstellung 1900 Leopold Prinz Sergius Pauser Soter Vonášek Maria Schwamberger-Riemer ' Alpine Kunstausstellung 1909 Alfred Wimmer Karl Josef Nerud Franz Thiele Vojtech Preissig Adolf Kašpar Karl Caspar Albert Jakob Schloss Gustav Gurschner Rudolf Feischl Eduard Ameseder 8. Ausstellung Glaspalast München 1901 Elisabeth Koller Margarete Hamerschlag Leona Abel Egon Hofmann Karl Sterrer Hagenbund-Ausstellung bei Emil Richter 1903 Bettina Ehrlich-Bauer Arthur Weiss er Walter Fraenkel Gojmir Anton Kos Hagenbund-Ausstellung bei Miethke 1901 Gerty Salus Alois Thum Anna Müller-Werner Thomas Theodor Heine Gotthardt Kuehl 2. Hagenbund-Ausstellung 1902 Hagenbund-Ausstellung in Graz 1903 Fritz Stattler Robert Schiff Hagenbund-Ausstellung in Brünn 1903 Biennale Venedig 1926 Hugo Sweerts-Sporck Hans Gassebner Ernst Payer Ludwig Ferdinand Graf Gedächtnisausstellung 1933 Václav Vrbský Franz Schaffgotsch Valentin Kos Rudolf Dimai Eduard Kasparides Deutsch-Nationale Kunstausstellung Düsseldorf 1902 Hans Ranzoni d. Ä. Maria Caspar-Filser Josef Steiner Roxane Cuvaj Hans Wilt Hagenbund-Ausstellung in Linz 1903 Auguste Gorhan 5. Hagenbund-Ausstellugn 1902 Erich Karl Wagner Johanna Kampmann-Freund Friedrich Aduatz nuška Weltausstellung St. Louis 1904 Josephine Weixlgärtner Hans Strigl Grete Wilhelm Johanna Feigl-Zellner Raimund Germela Rudolf Konopa 1. Hagenbund-Ausstellung 1902 73. Hagenbund-Ausstellung 1937 Rudolf Pointner Marie Louise von Motesiczky Helene Arnau Ivan Napotnik Tone Kralj im Hagenbund 1935 9. Ausstellung Glaspalast München 1905 Friedrich Inhauser osé Rose Miryam Silberer Georg Gerlach Max Suppantschitsch Wettbewerbsausstellung Olympischen Spiel Berlin 1936 Alfred Cossmann Egge Sturm-Skrla Georg Jung Gottfried Goebel Aloys Wach Josef Hendel Hans Weber-Tyrol Österreichische Ausstellung London 1906 Ernst Paar Alfred Wesemann Franz Kaiser Hans Stockbauer Kunstausstellung Dresden 1908 Georg Perschke Richard von Drasche-Wartinberg Ernst Huber rl Langer 5. Aussstellung Wirtschaftsverband 1917 Carl Leopold Hollitzer Hagenbund-Ausstellung bei Pisko 1907 Veno Pilon Lois Pregartbauer Alfred Kubin Józef Krasnowolski Hella Weiss wental 16. Hagenbund-Ausstellung 1905 Robert Kloss Egon Vitalis Biel Wilhelm Victor Krausz Karl O'Lynch of Town Oswald Roux 15. Hagenbund-Ausstellung 1905 Béni Ferenczy Adolf Kaufmann Kunstausstellung Düsseldorf 1911 Ö. Kunst d. Gegenwart 1937 Emerich Schaffran Georg Pevetz Sigmund Forst 4. Aussstellung Wirtschaftsverband 1917 Josef Floch Franz Senkinc Jagdausstellung 1910 904 Hans Gött Aquarellausstellung Dresden 1911 Theodor Stundl Gustav Bamberger Wirtschaftsverband 1921 Theodor Fried Franz Joseph Rederer Hans von Hayek Alexander Pock Grete Wolf-Krakauer 1. Kunstausstellung Baden 1916 Kunstausstellung Zentralverband 1928 Trude Schmidl-Wähner Rolf Henkl Emanuel Franz Hegenbarth Wilhelm Hejda Wilhelm Kaufmann Roland Rainer Alex Székely 51. Hagenbund-Ausstellung 1925 Carl Fahringer Sammlung Carl von Reininghaus 1932 Ervín Hefter 50. Ausstellung Secession 1918 Hermine Ginzkey Joseph Urban9. Hagenbund-Ausstellung 1903 54. Ausstellung Secession43. Hagenbund-Ausstellung 1919 1923 Wilhelm Klier Ferdinand Pamberger Kunstausstellung Rom 1911 63. Hagenbund-Ausstellung Artur Buschmann August Hoffmann von Vestenhof August Roth Tomislav Krizman 10. Ausstellung Glaspalast München 1909 36. Hagenbund-Ausstellung 1920 Kunstausstellung in London 1925 62. Hagenbund-Ausstellung 1931 Albert Reuss Kunstausstellung Nürnberg 197 France Zupan Janina Grossmann Josef Heu 41. Hagenbund-Ausstellung 1922 72. Hagenbund-Ausstellung Helen von Steinbüchel Alexander Demetrius Goltz 58. Hagenbund-Ausstellung 1929 Rudolf Ray Rapaport Hans Sidonius von Becker Rolf Eugen Heger Katharina Zirner 3. Aussstellung Wirtschaftsverband 1916 56. Hagenbund-Ausstellung 1928 Franz Windhager Kunstausstellung in Barcelona 1929 Adolf Wolf-Rothenhan Hagenbund-Ausstellung in Kaschau 1922 71. Hagenbund-Ausstellung chner Ferdinand Dorsch 22. Hagenbund-Ausstellung11. Hagenbund-Ausstellung 1907 1904 Anny Schröder-Ehrenfest 49. Hagenbund-Ausstellung 1924 74. Hagenbund-Ausstellung Karl Josef Gunsam Theodor Axentowicz Hans Andre Josef Johann Beyer Victor Eckhardt von Eckhardsburg Ludwig Ferdinand Graf Moderne Österreichische Malerei 1931 opold Forstner Sigmund Walter Hampel 39. Hagenbund-Ausstellung 1921 Edith von Knaffl-Granström 54. Hagenbund-Ausstellung 1927 Matthias May Franz Wimmer Fritz Hegenbart Kunstausstellung n Karlsbad 1931 67. Hagenbund-Ausstellung Hagenbund-Ausstellung in Göding 1914 Gottfried Richter Adolf Loos August Brömse Rudolf Junk Österreichische Kunstausstellung 1924 69. Hagenbund-Ausstellung 1935 Walther Erich Heller Berthold Löffler Adolf Luntz 2. Aussstellung Wirtschaftsverband 1915 Oskar Strnad Kunstausstellung in den USA 1930 Georges Kars harda Max Kahrer Heinrich Lefler 42. Hagenbund-Ausstellung 1922 Hildegard Jone Johannes Troyer 29. Hagenbund-Ausstellung 1909 12. Hagenbund-Ausstellung 1904 Notgeldausstellung 1933 Maximilia Kurzweil 8. Hagenbund-Ausstellung 1903 Theodor Kern Hans Bren Alfred Keller Herbert Graf Schaffgotsch Olympiade Amsterdam 1928 Georg Mayer-Marton Louise Merkel-Romée 52. Hagenbund-Ausstellung 1926 Michael Powolny Kunstausstellung in Nürnberg 1925 Hugo Baar 1. Aussstellung Wirtschaftsverband 1915 Agnes Speyer Otto LendeckePaul Junghanns Kunstausstellung in Prag 1928 Karl Strobl 21. Hagenbund-Ausstellung 1906Franz Barwig d. Ä. 57. Hagenbund-Ausstellung 1928 David Edström Anton Peschka Rudolf Wacker Karl Stemolak Alfred Loeb János Halápy Viktor Hammer ' ! & 17. Hagenbund-Ausstellung 1906 Otto Barth Kunstausstellung in Bern 1931 Hagenbund-Ausstellung in Brünn 1911 Kunstausstellung in Budapest 1925 Robert Pajer-Gartegen uf Kunstausstellung in St. Pölten 1925 70. Hagenbund-Ausstellung ]*' Heinrich Revy Ernst Schrom Thomas Riss 32. Hagenbund-Ausstellung 1910 Hagenbund-Ausstellung in Meran 1909 Hagenbund-Ausstellung in Prag 1929 Brüssel 1937 Viktor Planckh Claudia Owen k 37. Hagenbund-Ausstellung Teil 2 1921 Leopold Krakauer Grafikausstellung im Hagenbund 1930 Bertha Tarnay Ernesztin Szablya-Frischauf 13. Hagenbund-Ausstellung 1904 Georg Merkel Carry Hauser Robert Kohl Theodor Allesch-Alescha 19. Hagenbund-Ausstellung 1906 Biennale Venedig 1907 Ludvik Vacátko Frida Konstantin-Lohwag Gino Parin 47. Hagenbund-Ausstellung 1924 Rudolf Kriser Richard Lux Kunstausstellung in Berlin 1927 Ferdinand Michl Georg Ehrlich Frieda Salvendy Staatspreis-Ausstellung 1934 Kunstausstellung Düsseldorf 1913 Sándor Járay Maximilian Reinitz Karl Huck Fritz Heckerling Ludvik Kuba Imre Simay Karl Lamparski Fritz Schwarz-Waldegg 59. Hagenbund-Ausstellung 1929 Gustav Gwozdecki 5. Ausstellung Freie Bewegung 1922 Rudolf Sieck 45. Hagenbund-Ausstellung 1923 Eduard Gaertner Kaffi Tatitino im Hagenbund 1936 Margarete Munk Aquarellausstellung Dresden 1909 Leo Delitz Grete Neuwalder-Breuer 33. Hagenbund-Ausstellung 1910 Kunstausstellung in Florenz 1927 Leopold Blauensteiner Sidonie Springer Ernst Wagner Franz LerchOtto Rudolf Schatz Kunstausstellung n Karlsbad 1930 Fritz Berthold Neuhaus Jan Honsa Eduard Thöny Raoul Frank Jakob Löw Joseph Ortloff 25. Hagenbund-Ausstellung 1908 Karl Josef Rumpold Viktor Tischler Kunstausstellung in Warschau 1930 34. Hagenbund-Ausstellung 1911 Oskar Laske Ferdinand Zach 40. Hagenbund-Ausstellung 1921 Peter Breithut Charles Bernhard Lipka Józef Mehoffer Gustav Schütt Wolfgang Born Hans Unger 38. Jahresausstellung des Künstlerhauses 1913 Tibor Gergely Vratislav Hlava 37. Hagenbund-Ausstellung Teil 1 1920 Verkaufsausstellung Hagenbund 1925 Versteigerung 1934 Alois Leopold Seibold Sommerausstellung des Hagenbundes 1932 Sirius Korngold 35. Hagenbund-Ausstellung 1912 Anton Bleichsteiner Michael Frank-Bauer Hans Boehler Hermann Ebers Ferdinand von Reznicek Adolf Gross Josef Dobner Erwin Lang Maurice de Vlaminck !'& ] $ Georg Philipp Wörlen 53. Hagenbund-Ausstellung 1926 Elida Preis 1928 Kazimierz Sichulski Felix Albrecht Harta 68. Hagenbund-Ausstellung Viktor Stretti 23. Hagenbund-Ausstellung 1907 Atelierbesuche Wiener Festwochen 1934 Otto Bauriedl Kees van Dongen Friedrich Feigl n Lino Vesco Ferdinand Staeger 60. Hagenbund-Ausstlelung 1930 Fritz Gross Josef Humplik Móric Góth Budapest 1935 ? ! %& " Otto Kopp \! !! Luise Fraenkel-Hahn Franz von Zülow 65. Hagenbund-Ausstellung Viktor Beranek Rudolf Bachmann Andre Dunoyer du Ségonzac 31. Hagenbund-Ausstellung 1909 Léopold Gottlieb Karl Hauk Alfred Justitz ! |' , ' ! " Paula Rösler Hugo Boettinger Paul Ress Jules Pascin Praemienausstellung der RAVAG 1935 Georges Rouault Wilhelm Wodnansky Karl Alexander Wilke Robert Philippi Franta Uprka 27. Hagenbund-Ausstellung 1908 50. Hagenbund-Ausstellung 1925 Elisabeth Popper ! < Alois Kalvoda Johann Victor Krämer Ludwig Heinrich Jungnickel Chantal Quenneville A. Licher František Šimon 55. Hagenbund-Ausstellung 1927 Otto Breuer er Wojciech Weiss Arthur Oskar Alexander Adria-Ausstellung 1913 Albert Paris Gütersloh Hagenbund-Ausstellung bei Würthle 1923 Anna Lesznai Mela Muter Irma Stern Grete Brzezowsky Kunstausstellug Nürnberg 1915 Marion Walder Frans Masereel Ferdinand Gold Hagenbund-Ausstellung in Budapest Maria1923 Fischer Max Unold Willibald Zunk ! " @ Otakar Nejedlý Anton Kolig Lilly Steiner Tone Kralj Marianne Seeland Max ŠvabinskýMarianne Stokes Václav Malý Bohumil Kafka ' ' !D Anton Machek Antoš Frolka Oskar Kokoschka Jan Bulas Tibor Bottlik Kunstausstellung Rom 1914 Johannes Fischer Walther Teutsch Karl Rössing ! " ) " Elza Kövesházi-Kalmár Marie Laurencin Jakób Glasner Robin Christian Andersen Lovis Corinth Henri LeFauconnier Josef Anton Schmid-Fichtelberg Franziska Esser-Reynier Alfons Purtscher Julius Wolfgang Schülein Karl Fränkel \! !! Josef Ullmann Otto Bruenauer mil Anner Konstanty Laszczka Nora Purtscher-Wydenbruck Heinrich Karl Scholz Hans Katzler 11. Ausstellung Glaspalast München 1913 Willy Eisenschitz Ladislaus Kondor Jan Štursa Arthur Markowicz Richard Lauda % !! Olga Wisinger-Florian Richard Seewald Nande Vidmar Marcel Gromaire , ! Jakub Obrowský Klara Gumpertz Sebastian Isepp Fran Stiplovšek Viktor von Belányi Robert Obtresal Karel Špillar Anton Faistauer Serge Fotinsky ! " { , ' 38. Hagenbund-Ausstellung 1921 Drago Vidmar Juan Gris Jan Preisler Hans Hammer France Kralj Józef Pankiewicz Adolf Schinnerer Jaromír Stretti-Zamponi Raoul Dufy Moritz Melzer Fred Hopf Walter Dittrich Fryderyk Pautsch Ivan Mestrovic Friedrich Capelari Otto Hettner André Derain Vlastislav Hofman Armin Horovitz Egon Schiele Robert Fink Otakar Španiel Charles Dufresne Hilda Kotányi-Pollak Emilie Dworsky Hans Trudel Matija Jama Helene Funke Friedrich Koch Paul Signac Robert Delaunay Elisabeth Weber-Fülöp Rudolf Paul Hirschenhauser Henri Matisse Adolf Arthur Dehn Sonderausstellung für Malerei 1911 Franz von Stuck Daniel Staschus Emil Pacovský 7 Lily Gödl-Brandhuber Emma Schlangenhausen Hermine David Emil Filla Václav Špala Marc Chagall Wilhelm Schmidt Georg Jilovský Edmund Steppes Karl Schmidt-Rottluff Jószef Antal @ ' Christian Rohlfs % ' <'& '& @ ! !& ! @ D' 4 @' Georges Braque Hermann Völkerling Hans Purrmann Hans Volkert Michael Frank Bauer Manes Ausstellung 1911 Anton Nowak Paul Neuenborn Max Pretzfelder Harald Tillberg Marianne Hitschmann-Steinberger Max Slevogt Hans Neumann Hermann Grom-Rottmayer Grete Blahy József Árpád Murmann Ludwig Meidner Wilhelm Trenkler Martha Hofrichter Glauco Cambon Max Pechstein Karl Haider Emil Nolde Jacques Sternfeld \ ' !D Heinrich von Zügel Karl Grossmann Pablo Picasso Hans Meid Franz Marc 44. Hagenbund-Ausstellung 1923 Dezsö Pécsi-Pilch Adalbert Holzer Otakar Kubin Emil Witasek \ ' + P Wilhelm Schulz Walther Klemm Otto Lange Elisabeth Laske-Kesselbauer Rudolf Grossmann Zoltán Klie Olaf Gulbransson Franz Swoboda Ö. Fülöp Beck Käthe Kollwitz Béla Déry Max Liebermann César Klein Bartholomäus Stefferl Johannes Itten Sláva Tonderová-Zátková Jan Lauda Erich Heckel Bernhard Hoetger Leonti Sheynin Karl Georg Hermmerich Vincenc Beneš Auguste Rodin Ernst Ludwig Kirchner Otto Gutfreund Erwin Niestler 2. Ausstellung VBKÖ 1911 Paul Cézanne Max Slevogt Ausstellung 1929 Paul Gauguin August Hans Merkl Conrad Felixmüller Karl Hofer Franz Alois Jungnickl Lyonel Feininger Wilhelm LehmbruckPaul Haesaerts
Richard Asir von Rziha Ernst Barlach Ivan Mestrovic im Hagenbund 1935
Franz Wiegele Europäische Plastik 1931 Edvard Munch
Jan C. Vondrouš UME Ausstellung 1928 Robert Eckert Karel Vik Lovis Corinth Ausstellung 1929 Vratislav Nechleba Lovis Corinth Ausstellung 1926 Antonin Majer
46. Hagenbund-Ausstellung 1924 Hermann Haller
! ! Vladimír Silovský Jan Rambousek Antonín Procházka Jósef Václav Myslbek Friederike Koch von Langentreu František Muzika Mariska Klammer @ ! Hermine Laukota Lila Gruner @ $ Martha Bauer ? 7 N Pavel Janák Elsa Oeltjen-Kasimir ! Ella Iranyi Henriette Goldenberg Hagenbund-Ausstellung 1907 | ' Grete Wieden-Veit Antonie Ritzerow Karola Vámossyné Eleöd Ella Rothe Otakar Novotný Kamilla Possaner Olga Hadzsy Harriet Backer Ottilie Schneider Marie Olga Brand-Krieghammer Lona von Zamboni Mathilde Vollmüller Aranka Lichtenberg-Propper Valeria Telkessy Harald Brun Angela Adler Constanze Elisabeth Marguerite von Wetter-Rosenthal Hedwig Neumann-Pisling Lissi Brentano Hedwig E. Sachse Norwegische Kunstausstellung 1911 Emilie von Hallavanya Henrik Lund Jan Zrzavý Maria Weith Charlotte Chauchet-Guilleré Ida Kupelwieser Martha Reich Clementine von Wagner Marie Ressel Frederik Collett Ödön Vaszkó Anna Sóos-Korányi Marianne Frimberger Neta Tcheremissinof Tanna Hoernes Gabriele Murad-Michalowski Theodor Laureng Helene Krauss Anna Hofmann Per Deberitz !P ! ' Rega Kreidl-Winterberg Alexander Archipenko
Lajos Szadai Elfriede von Coltelli Therese von Mor Josefine von Christen Rudolf Belling Jenny Montigny Thorvald Erichsen Marie Magyar Jean Baptiste Carpeaux Antoine-Louis Barye Hermine Lindner Kurt Edzard Halfdan Larsen 5 * Emmy Róna Johanna Meier-Michel Émile Compard Hugó Scheiber +'!P $ ' a Gerber Arno Breker Gustav Heinrich Wolff Henri Laurens Bernhard Folkestad Théodore Géricault Per Krohg Moisej Kogan Charles Despiau Ossip Zadkine Renée Sintenis George Minne Miklós Göllner Emil Lahner Gusztáv Sandor Horváth Pablo Gargallo Johannes Schiffner Aristide Maillol Severin Grande !P 7 & Edgar Degas Gyula Hincz Edwin Scharff Ernesto DeFiori Kitty Kielland Miklós Hangai Szabó Paul Scheurich Chana Orloff Béla Lajos Georg Kolbe Simon Thorbjörnsen Magnhild Haavardsholm Géza Bene Ilona Karikás Pál Miháltz Franz Metzner Fritz Huf Pierre Renoir Medardo Rosso Manolo Hugué Ewald Mataré Jacques Lipchitz István Beöthy László Kemény Max Klinger Lajos Beöthy Rudolph Thygesen Arne Kavli Géza Blattner Graf Lászlo Crouy-Chanel Béla Büky Constantin Meunier Edith Dullien István Csók Mária Bartók Jószef Bató Torstein Torsteinson Jean Heiberg
Ingebrigt Hansen Vik Henrik Sörensen Dagfin Werenskiold
Erik Werenskiold Eyolf Soot Michaloff Wigdehl Kristen Holbø
Harald Oscar Sohlberg Ludvig Karsten Lars Jorde 28. Hagenbund-Ausstellung 1908 Anna Hartmann Schönheyder Hans Holm 6. Hagenbund-Ausstellung 1903 Einar Sandberg August Jacobsen
Sören Onsager Thoralf Holmboe Axel Revold Oluf Wold-Torne Odd Ottosøn Nyquist Nikolai Astrup
Arnold Böcklin
20. Hagenbund-Ausstellung 1906
109 Network Analysis as a Branch of Digital Art History Demonstrating the importance of network analysis for digital humanities in general, and for digital art history in particular, is a task of our time.23 The most important challenge for the future, howev- er, will be the development of the appropriate tools and their incorporation into the art-historical research process. Happily, museums, in which increasingly such digital methods as gamification, eye-tracking, and art-historical network analyses are being used, serve as a kind of catalyst. Recent exhibition projects like In the Network of Modernism. The Art Critic Will Grohmann (Staatliche Kunstsammlung Dresden, 2012) and Inventing Abstraction (MoMA, New York, 2013) confirm this positive trend.
1 The basis for this catalogue has been a study of sources within the framework of the two-year research project “Hagenbund – a European Network in Vienna 1900–1938,” financed by the Jubiläumsfond of the OeNB from April 1913 to April 1915. Idea and concept: Harald Krejci; project director: Matthias Boeckl; collaborating scholars: Verena Gamper, Kerstin Jesse, Maximilian Kaiser, and Axel Köhne. 2 Gilles Deleuze and Félix Guattari, Rhizom, Berlin 1977, p. 16. 3 See John Padgett and Christopher Ansell, “Robust Action and the Rise of the Medici (1400–1434),” in: American Journal of Sociology, vol. 98, no. 6 (May 1993), pp. 1259–1319. 4 Martin Düring and Linda von Keyserlingk, “Netzwerkanalyse in den Geschichtswissenschaften. Historische Netz- werkanalyse als Methode für die Erforschung von historischen Prozessen,” in: Academia.edu, URL:
110 7 Regina Göckede, “Neues Bauen in der Fremde,” in: Burcu Dogramaci and Karin Wimmer, eds., Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933, Berlin 2011, p. 97. 8 Julia Gelshorn and Tristan Weddigen, “Das Netzwerk. Zu einem Denkbild in Kunst und Wissenschaft,” in: Hubert Lo- cher (ed.), and Peter J. Schneemann, Grammatik der Kunstgeschichte: Sprachproblem und Regelwerk im “Bild-Diskurs,” Berlin 2008, p. 58. 9 Franz Ottmann, “Kunstausstellungen in Wien. Winter 1921 bis Frühling 1922,” in: DBK., vol. 5, 1922, p. 13. 10 See Rudolf Taschner, Zahl, Zeit, Zufall. Geheimnisse der Wissenschaft, Munich 2009, pp. 101–32. – Rudolf Taschner im Gespräch mit Hubert Christian Ehalt, “Die Vermessung der Geschichte. Zahlen und Fakten,” Wiener Vorlesungen, Janu- ary 29, 2013, URL: http://vimeo.com/66392021 (min. 52:20–57:12 [accessed May 22, 2014]). 11 A series of centrality measures are available to scholarship like degree, closeness, or betweenness, which follow different concepts. They are important components of current network analysis software, for example UCINET, NetDraw, Gephi, visone, etc. – See Peter Mutschke, “Zentralitäts- und Prestigemasse,” in: Roger Häussling and Christian Stegbauer, eds., Handbuch Netzwerkforschung, Wiesbaden 2010, pp. 365–78. 12 Gelshorn and Weddigen (as in note 8), p. 59. 13 Nicole Scheidegger, “Strukturelle Löcher,” in: Häussling and Stegbauer (as in note 11), pp. 145–55. 14 Examples as guests are Karel Špillar (Mánes), Bernhard Österman (Swedish art exhibition), and Jakób Glasner (Sztuka), as corresponding members Jakub Obrowský (Svum), Teodor Axentowicz (Sztuka), and Jan Honsa (Mánes). 15 Sandra Baierl and Andrea Hlinka, “Netzwerke: die wichtigsten Veränderer Österreichs,” in: Kurier. Online Ausgabe, March 10, 2014, URL: http://kurier.at/karrieren/netzwerk-die-wichtigsten-veraenderer-oesterreichs/55.251.548 (accessed May 25, 2014). 16 Gregor Langfeld, Deutsche Kunst in New York. Vermittler – Kunstsammler – Ausstellungsmacher. 1904–1957, Berlin 2011, p. 14. 17 Ibid., pp. 14f. 18 Maximilian Schich, Rezeption und Tradierung als Komplexes Netzwerk. Der CENSUS und visuelle Dokumente zu den Ther- men in Rom, diss., Munich 2009, pp. 19f. 19 The only two more thorough publications date from the early 1990s. See Rainer Fuchs, Apologie und Diffamierung des “Österreichischen Expressionismus.” Begriffs- und Rezeptionsgeschichte der österreichischen Malerei 1908 bis 1938, Vienna 1991. – Arno Maierbrugger, Federkiel und Meinungsmacht. Kunstkritik im österreichischen Feuilleton der Zwischenkriegszeit, Vienna 1995. 20 Arthur Roessler, Anton Faistauer. Beiträge zur Lebens- und Schaffensgeschichte eines österreichischen Künstlers, Vienna 1947, pp. 13–20. 21 Anonymous, “Schutzverband schaffender Künstler Österreichs,” in: AZ, vol. 40, no. 158, June 10, 1927, p. 8. 22 “Über den Wert der Kritik (Eine Rundfrage an die Künstler),” in: Der Ararat. Glossen, Skizzen und Notizen zur neuen Kunst, vol. 2, no. 4, 1921, p. 132. 23 A list of active scholars, teachers, and current projects can be found on the web site of the Arbeitskreis für digitale Kunst- geschichte. URL: http://www.digitale-kunstgeschichte.de/wiki/Hauptseite (accessed June 2, 2014).
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