Marta Filipová
Art and design history researcher, based at Masaryk University in Brno, trustee of the Design History Society. I am currently Principal Investigator on the Czech Science Foundation project 'Beyond the Village: Folk Cultures as Agents of Modernity, 1918-1945.' My interests include the visual arts of Central Europe, modernism, exhibition cultures and histories, and questions of identity in art and design.
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Books by Marta Filipová
The rich collection of images – mainly photographs – provides a closer look at the Czechoslovak pavilions. The design, content and context of the displays convey the idealized narrative, that was created for the fairs, and the myths on which the Czechoslovak nation and state were built. Heavy machinery, modern art, tourist destinations, or food and drink were presented as Czechoslovak, while many aspects of social life – particularly women or ethnic minorities – were strikingly underrepresented or absent. The book argues that the objects and ideas that the pavilion organizers put on display legitimized and validated the existence of the new state through the inclusion and exclusion of exhibits, people and ideas.
While the book focuses on Czechoslovakia, it also offers substantial insight into how other emerging new nations projected and sustained their image during this historical period and how interwar world’s fairs accommodated them.
Baťa ran much more than shoe production, he built a town where the company’s first factory was founded and he also owned a vision of the future of his workers and the entire state. As a company, Baťa also put up their own pavilions at world’s fairs in Brussels and Paris presented not only their products, but also a happy community of workers whose work life, past time, education and health were well looked after. By the late 1930s, Baťa built factories, towns and culture of living, not dissimilar to those of Ford, Pullmann and similar giants. They also shared an interest in using the world’s fair as a useful tool for displaying and promoting the company worldview. This text explores previously neglected questions about the links between entrepreneurialism and statehood on the one hand and eugenic visions of progress on the other and claims that these came to visual prominence at world's fairs especially in the times of radicalised nationalism of the 1930s.
Table of contents:
List of Illustrations
Acknowledgments
Introduction
Claire Morelon
PART I: PERMANENCE AND REVOLUTION: NATIONAL POLITICS IN THE TRANSITION TO THE SUCCESSOR STATES
Chapter 1. Negotiating Post-Imperial Transitions: Local Societies and Nationalizing States in East Central Europe
Gábor Egry
Chapter 2. State Legitimacy and Continuity between the Habsburg Empire and Czechoslovakia: The 1918 Transition in Prague
Claire Morelon
Chapter 3. Strangers among Friends: Leon Biliński between Imperial Austria and New Poland
Iryna Vushko
Chapter 4. Ideology on Display: Continuity and Rupture at Exhibitions in Austria-Hungary and Czechoslovakia, 1873–1928
Marta Filipová
PART II: THE HABSBURG ARMY'S FINAL BATTLES
Chapter 5. Reflections on the Legacy of the Imperial and Royal Army in the Successor States
Richard Bassett
Chapter 6. Imperial into National Officers: K.(u.) K. Officers of Romanian Nationality Before and after the Great War
Irina Marin
Chapter 7. Shades of Empire: Austro-Hungarian Officers, Frankists, and the Afterlives of Austria-Hungary in Croatia, 1918–1929
John Paul Newman
PART III: CHURCH, DYNASTY, ARISTOCRACY: THE POST-WAR FATE OF IMPERIAL PILLARS
Chapter 8. “All the German Princes Driven Out!”: The Catholic Church in Vienna and the First Austrian Republic
Michael Carter-Sinclair
Chapter 9. Wealthy Landowners or Weak Remnants of the Imperial Past?: Central European Nobles during and after the First World War
Konstantinos Raptis
Chapter 10. Sinner, Saint―or Cipher?: The Austrian Republic and the Death of Emperor Karl I
Christopher Brennan
PART IV: HISTORY, MEMORY, MENTALITÉ: PROCESSING THE EMPIRE'S PASSING
Chapter 11. “What Did They Die For?”: War Remembrance in Austria in the Transition from Empire to Nation State
Christoph Mick
Chapter 12. “The First Victim of the First World War”: Franz Ferdinand in Austrian Memory
Paul Miller
Afterword
Pieter M. Judson
The volume is particularly interested in the relationships between modernity and nation building, the global and local in art, and the arts and contemporary politics. Modernism in the Czech speaking space is seen as a multi-directional phenomenon with a multitude of exchanges and influences that took place across regional and national borders. In this way, the volume includes attention to the alleged peripheries of modernism found in the locations beyond Vienna, Berlin, Paris, and Moscow.
It has three main aims:
1. to consider the development of art criticism, history and theory in the political, cultural, ethnic and social context of Bohemia, the late Habsburg Empire and the interwar successor state of Czechoslovakia;
2. to challenge the established narratives of modernism in Central Europe that tend to privilege the avant-garde at the expense of other, coexisting forms of artistic expression, such as cubism versus historicism, progressivism versus regionalism;
3. to open up the subject to new audiences and contribute to their understanding of art and writing of art in Central Europe through translations of key texts into English.
It will do so by examining key texts by historians, art historians, art critics and journalists writing mainly in Czech such as F. X. Šalda, Renata Tyršová, Vincenc Kramář, Josef and Karel Čapek, Karel Teige, as well as the work of others writing in German, Slovak, English and French, such as William Ritter, Meier-Graefe, and Adolf Loos. Therefore the book is concerned with the narratives in which works of art were framed, interpreted and conceptualized.
The individual case studies included explore the role of these exhibitions in the global exhibitionary network and consider their ‘marginality’ related to their location and omission by academic research so far. The chapters also highlight a number of important issues from regional or national identities, the role of modernisation and tradition, to the relationship between capital cities and provincial towns present in these exhibitions. They also address the key topic of colonial exhibitions as well as the displays of arts and design in the context of the so-called marginal fairs. Cultures of International Exhibitions 1840-1940 : Great Exhibitions in the Margins therefore opens up new angles in the way the global phenomenon of a great exhibition can be examined through the prism of the regional, and will make a vital contribution to those interested in exhibition studies and related fields.
Řada českých a zahraničních autorů zde zkoumá možnosti interpretace různých druhů obrazů, od komiksu, digitální fotografie přes mapy a vědeckou ilustraci až po umělecká díla. Zamýšlejí se také nad nejrůznějšími politickými, estetickými a filozofickými otázkami, které tyto interpretace předkládají.
Z obsahu:
Matthew Rampley: Pojem vizuální studia
Richard Williams: Architektura ve vizuální kultuře
Jan Michl: Vidět design jako redesign
Petra Trnková: Fotografie v dějinách umělecké fotografie
František Kůst: Estetická role nových médií
Tomáš Pospiszyl: Vzpoura mozků. Komiks a ideologie dvacátého století
Ladislav Kesner: Obrazy a modely ve vědě a medicíně
J. B. Harley: Mapy, vědění a moc
Marta Filipová: Vizuální studia v českém prostředí
James Elkins: Sbohem, vizuální kulturo
Papers by Marta Filipová
The rich collection of images – mainly photographs – provides a closer look at the Czechoslovak pavilions. The design, content and context of the displays convey the idealized narrative, that was created for the fairs, and the myths on which the Czechoslovak nation and state were built. Heavy machinery, modern art, tourist destinations, or food and drink were presented as Czechoslovak, while many aspects of social life – particularly women or ethnic minorities – were strikingly underrepresented or absent. The book argues that the objects and ideas that the pavilion organizers put on display legitimized and validated the existence of the new state through the inclusion and exclusion of exhibits, people and ideas.
While the book focuses on Czechoslovakia, it also offers substantial insight into how other emerging new nations projected and sustained their image during this historical period and how interwar world’s fairs accommodated them.
Baťa ran much more than shoe production, he built a town where the company’s first factory was founded and he also owned a vision of the future of his workers and the entire state. As a company, Baťa also put up their own pavilions at world’s fairs in Brussels and Paris presented not only their products, but also a happy community of workers whose work life, past time, education and health were well looked after. By the late 1930s, Baťa built factories, towns and culture of living, not dissimilar to those of Ford, Pullmann and similar giants. They also shared an interest in using the world’s fair as a useful tool for displaying and promoting the company worldview. This text explores previously neglected questions about the links between entrepreneurialism and statehood on the one hand and eugenic visions of progress on the other and claims that these came to visual prominence at world's fairs especially in the times of radicalised nationalism of the 1930s.
Table of contents:
List of Illustrations
Acknowledgments
Introduction
Claire Morelon
PART I: PERMANENCE AND REVOLUTION: NATIONAL POLITICS IN THE TRANSITION TO THE SUCCESSOR STATES
Chapter 1. Negotiating Post-Imperial Transitions: Local Societies and Nationalizing States in East Central Europe
Gábor Egry
Chapter 2. State Legitimacy and Continuity between the Habsburg Empire and Czechoslovakia: The 1918 Transition in Prague
Claire Morelon
Chapter 3. Strangers among Friends: Leon Biliński between Imperial Austria and New Poland
Iryna Vushko
Chapter 4. Ideology on Display: Continuity and Rupture at Exhibitions in Austria-Hungary and Czechoslovakia, 1873–1928
Marta Filipová
PART II: THE HABSBURG ARMY'S FINAL BATTLES
Chapter 5. Reflections on the Legacy of the Imperial and Royal Army in the Successor States
Richard Bassett
Chapter 6. Imperial into National Officers: K.(u.) K. Officers of Romanian Nationality Before and after the Great War
Irina Marin
Chapter 7. Shades of Empire: Austro-Hungarian Officers, Frankists, and the Afterlives of Austria-Hungary in Croatia, 1918–1929
John Paul Newman
PART III: CHURCH, DYNASTY, ARISTOCRACY: THE POST-WAR FATE OF IMPERIAL PILLARS
Chapter 8. “All the German Princes Driven Out!”: The Catholic Church in Vienna and the First Austrian Republic
Michael Carter-Sinclair
Chapter 9. Wealthy Landowners or Weak Remnants of the Imperial Past?: Central European Nobles during and after the First World War
Konstantinos Raptis
Chapter 10. Sinner, Saint―or Cipher?: The Austrian Republic and the Death of Emperor Karl I
Christopher Brennan
PART IV: HISTORY, MEMORY, MENTALITÉ: PROCESSING THE EMPIRE'S PASSING
Chapter 11. “What Did They Die For?”: War Remembrance in Austria in the Transition from Empire to Nation State
Christoph Mick
Chapter 12. “The First Victim of the First World War”: Franz Ferdinand in Austrian Memory
Paul Miller
Afterword
Pieter M. Judson
The volume is particularly interested in the relationships between modernity and nation building, the global and local in art, and the arts and contemporary politics. Modernism in the Czech speaking space is seen as a multi-directional phenomenon with a multitude of exchanges and influences that took place across regional and national borders. In this way, the volume includes attention to the alleged peripheries of modernism found in the locations beyond Vienna, Berlin, Paris, and Moscow.
It has three main aims:
1. to consider the development of art criticism, history and theory in the political, cultural, ethnic and social context of Bohemia, the late Habsburg Empire and the interwar successor state of Czechoslovakia;
2. to challenge the established narratives of modernism in Central Europe that tend to privilege the avant-garde at the expense of other, coexisting forms of artistic expression, such as cubism versus historicism, progressivism versus regionalism;
3. to open up the subject to new audiences and contribute to their understanding of art and writing of art in Central Europe through translations of key texts into English.
It will do so by examining key texts by historians, art historians, art critics and journalists writing mainly in Czech such as F. X. Šalda, Renata Tyršová, Vincenc Kramář, Josef and Karel Čapek, Karel Teige, as well as the work of others writing in German, Slovak, English and French, such as William Ritter, Meier-Graefe, and Adolf Loos. Therefore the book is concerned with the narratives in which works of art were framed, interpreted and conceptualized.
The individual case studies included explore the role of these exhibitions in the global exhibitionary network and consider their ‘marginality’ related to their location and omission by academic research so far. The chapters also highlight a number of important issues from regional or national identities, the role of modernisation and tradition, to the relationship between capital cities and provincial towns present in these exhibitions. They also address the key topic of colonial exhibitions as well as the displays of arts and design in the context of the so-called marginal fairs. Cultures of International Exhibitions 1840-1940 : Great Exhibitions in the Margins therefore opens up new angles in the way the global phenomenon of a great exhibition can be examined through the prism of the regional, and will make a vital contribution to those interested in exhibition studies and related fields.
Řada českých a zahraničních autorů zde zkoumá možnosti interpretace různých druhů obrazů, od komiksu, digitální fotografie přes mapy a vědeckou ilustraci až po umělecká díla. Zamýšlejí se také nad nejrůznějšími politickými, estetickými a filozofickými otázkami, které tyto interpretace předkládají.
Z obsahu:
Matthew Rampley: Pojem vizuální studia
Richard Williams: Architektura ve vizuální kultuře
Jan Michl: Vidět design jako redesign
Petra Trnková: Fotografie v dějinách umělecké fotografie
František Kůst: Estetická role nových médií
Tomáš Pospiszyl: Vzpoura mozků. Komiks a ideologie dvacátého století
Ladislav Kesner: Obrazy a modely ve vědě a medicíně
J. B. Harley: Mapy, vědění a moc
Marta Filipová: Vizuální studia v českém prostředí
James Elkins: Sbohem, vizuální kulturo
- a selection of exhibitions held in major cities of Central Europe (such as Vienna, Prague, Budapest, Lwow),
- art historical responses to folk art as a rich source for many architects and painters,
- modernist critique of folk art as national and as a derivate of high art.
A Review of: Richard Biegl, Roman Prahl and Jakub Bachtík, eds, Století ústavu pro dějiny umění na Filozofické fakultě Univerzity Karlovy [A Century of the Institute for Art History at the Faculty of Arts of Charles University]. Prague: Charles University, 2020. 942 pp. ISBN: 9788073089627.
How did the political stances of individual organisers, designers and artists influence their work for the institutions and events concerned?
Who were the visitors, and did they experience the exhibitions as intended?
To what extent did individuals, employed in the national displays, influence the meaning and interpretation of the exhibition?
How did the social and cultural identities of visitors determine interpretation of the content of the display?