‘The Strzygowski School of Cluj. An episode in interwar Romanian cultural politics’

This article examines the work of Coriolan Petranu (1893-1945), a Romanian art historian who studied the vernacular art and architecture of Transylvania. Petranu was a graduate of the Vienna School, having studied with Josef Strzygowski, and following the model of his teacher, sought to challenge existing art historical hierarchies by drawing attention to the architecture of its Romanian population. Transylvania was a contested territory, and this article examines the ways in which Petranu became enmeshed in the rivalries between Hungary and Romania over the cultural affiliation of the region and how his study of vernacular culture reflected wider debates in the early twentieth century over the nature of Romanian identity

Another Modernism? Clemens Holzmeister, Josef Frank, and the Architecture of Interwar Vienna’

The book Art and Evolution is published by the UMPRUM publishing house on the occasion of the life anniversary of Professor Jindřich Vybíral. It is composed of texts from leading domestic and foreign art and architecture historians, who in their contributions published in Czech, Slovak, English and German in the broadest sense follow the work of the celebrant: revealing overlooked continuities and unmasking often misleading images of "revolution" in art and 19th and 20th century architecture.Sborník pro Jindřicha Vybírala /A Festschrift for Jindřich Vybíral Knihu Umění a evoluce vydává nakladatelství UMPRUM u příležitosti životního jubilea profesora Jindřicha Vybírala. Je sestavena z textů od předních tuzemských i zahraničních historiků umění a architektury, kteří ve svých příspěvcích publikovaných v češtině, slovenštině, angličtině a němčině v nejširším slova smyslu navazují na práci oslavence: odhalují přehlížené kontinuity a demaskují mnohdy zavádějící obrazy „revoluce“ v umění a architektuře 19. a 20. století

Modernism and Cultural Politics in Inter-war Austria : The Case of Clemens Holzmeister

This article examines the work of the Austrian architect Clemens Holzmeister. A leading representative of Austrian architecture between the wars, and a significant figure in the i95os and i96os as teacher of the new generation of Austrian architects including Hans Hollein and Gustav Peichl, Holzmeister presents a perplexing image. In the i920s, he played an important role in the early architectural projects of Red Vienna, but in the following decade he endorsed the Austrofascist regime of Engelbert Dollfuß and Kurt Schuschnigg of i934-38. This article argues that his work presents other interpretative challenges too, for he was a prolific designer of churches, which have seldom been integrated into wider narratives of modern architecture. However his work is viewed, it was an important barometer of wider cultural and political currents in inter-war Austria, in particular the country's attempt to construct a meaningful identity after the collapse of the Habsburg empire. The aim of the article is not to rehabilitate or recover Holzmeister, but to consider the light his work casts on inter-war cultural politics in Austria, as well as the broader questions over the implicit value judgements that inform histories of modern architecture

Agency, affect and intention in art history: some observation

Recent years have seen a notable growth of interest in the operations of affect and agency in art. Works of art are said to have agency, primarily through their impact on the affectivity of the spectator. This turn is an inflection of a wider phenomenon in the humanities, motivated by interest in the theory of affect. Although it has only recently gained visibility, one can trace an art historical interest in affect back to Aby Warburg, whose work emphasised the non-rational, emotional engagement with works of art. This article explores some of the claims that have been made in relation to affect and agency in art, but it also subjects them to critical scrutiny. What does it mean to talk about art having agency? What is its purported significance for art historical inquiry? To what extent does affect theory provide a convincing theoretical basis for the idea of artistic agency? Indeed, what is understood by the idea of agency in such accounts? The article argues that while there are many attested historical cases in which works of art are said to act as if they were agents, these have to be understood in terms of culturally framed attributions of agency, rather than a general theory of affect, which may have a purely tangential significance for art historical analysis