Views of Albion

The Reception of British Art and Design in Central Europe, 1890–1918

by Andrzej Szczerski (Author)
©2015 Monographs XVIII, 482 Pages
Series: Internationalism and the Arts, Volume 1


Views of Albion is the first comprehensive study of the reception of British art and design in Central Europe at the turn of the twentieth century. The author proposes a new map of European Art Nouveau, where direct contacts between peripheral cultures were more significant than the influence of Paris. These new patterns of artistic exchange, often without historic precedence, gave art during this period its unique character and dynamism.
Beginning with an analysis of the concept of Central Europe, the book examines knowledge about British art and design in the region. In subsequent chapters the author looks at the reception of the Pre-Raphaelites in painting and graphic arts as well as analysing diverse responses to the Arts and Crafts Movement in Germany, Austria, Poland, Bohemia, Slovakia, Hungary and Southern Slavic countries. The epilogue reveals the British interest in Central Europe, echoed in the designs Walter Crane, Charles Robert Ashbee and publications of The Studio.
The book questions the insularity of British culture and offers new insights into art and design of Central Europe at the fin de siècle. It presents the region as a vital part of the international Art Nouveau, but also shows its specific features, visible in the works of artists such as Alfons Mucha, Gustav Klimt and Stanisław Wyspiański.

Table Of Contents

  • Cover
  • Title
  • Copyright
  • About the author(s)/editor(s)
  • About the book
  • This eBook can be cited
  • Contents
  • List of Illustrations
  • Acknowledgements
  • PART I: Britain and Central Europe
  • CHAPTER 1: Does Central Europe Exist?
  • CHAPTER 2: Knowledge of British Art and Design in Central Europe around 1900
  • PART II: The Pre-Raphaelites
  • CHAPTER 3: The Pre-Raphaelites
  • PART III: The Arts and Crafts Movement
  • CHAPTER 4: Germany
  • CHAPTER 5: Austria
  • CHAPTER 6: Poland
  • CHAPTER 7: The Czech Lands, Slovakia, and the Southern Slavs
  • CHAPTER 8: Hungary
  • Epilogue
  • Select Bibliography
  • Index
  • Series index

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Plate 1. Walter Crane, front cover of the periodical Jugend, published in Munich, no. 51, 17 December 1898.
Plate 2. Leon Wyczółkowski, The Sarcophagus of Queen Jadwiga, 1898, oil on canvas, 99.5 × 139.5 cm, Muzeum Narodowe w Warszawie [National Museum in Warsaw], © Krzysztof Wilczyński and National Museum in Warsaw.
Plate 3. Jan Preisler, Easter, Triptych, 1896, charcoal drawing, 545 × 165 mm, 545 × 430 mm, 545 × 165 mm, Muzeum umění Olomouc [Olomouc Museum of Art], photographer: Ivo Přeček.
Plate 4. Jan Preisler, Spring, 1900, oil on canvas, 112 × 70 cm, 112 × 186 cm, 112× 70 cm, Západočeská galerie v Plzni [the Gallery of West Bohemia in Pilsen], © the Gallery of West Bohemia in Pilsen.
Plate 5. Max Švabinský, The Merge of Souls, 1896, oil on canvas mounted on cardboard, 68 × 46 cm, Národní galerie v Praze [National Gallery in Prague], Photograph © National Gallery in Prague 2015.
Plate 6. Max Švabinský, The Poor Land, 1900, oil on canvas, 179 × 246 cm Národní galerie v Praze [National Gallery in Prague], © National Gallery in Prague 2015.
Plate 7. František Tavík Šimon, Eyes seen and being seen, 1900, etching on paper, 105 × 200 mm, Národní galerie v Praze [National Gallery in Prague], © National Gallery in Prague 2015.
Plate 8. Lajos Gulácsy, Paolo and Francesca, 1903, drawing and watercolour on paper, 33 × 25 cm, Szépművészeti Múzeum – Magyar Nemzeti Galéria, Budapest [Museum of Fine Arts – Hungarian ← vii | viii → National Gallery, Budapest], © Szépművészeti Múzeum – Magyar Nemzeti Galéria, Budapest/Museum of Fine Arts – Hungarian National Gallery, Budapest, 2015.
Plate 9. Jacek Malczewski, Eloe with Ellenai, 1907–9, oil on canvas, 218 × 129 cm, Muzeum Narodowe w Poznaniu [National Museum in Poznań].
Plate 10. Rezső Mihály, Dreamer. Isolde, 1910, ink and watercolor, 40 × 30, Szépművészeti Múzeum – Magyar Nemzeti Galéria, Budapest [Museum of Fine Arts – Hungarian National Gallery, Budapest], © Szépművészeti Múzeum – Magyar Nemzeti Galéria, Budapest/Museum of Fine Arts – Hungarian National Gallery, Budapest, 2015.
Plate 11. Viktor Stretti, Tower Bridge, 1913, colour aquatint on paper, 403 × 325 mm, Národní galerie v Praze [National Gallery in Prague], © National Gallery in Prague 2015.
Plate 12. František Bílek, Crucified (studium no. 1), 1896, charcoal on paper on canvas, 212 × 145 cm, Galerie hlavního města Prahy [City Gallery Prague].
Plate 13. Jakob (Gabriel) Wüger, Our Lady with Saints, fresco on the façade of St Maurus Chapel, Benedictine Abbey in Beuron, 1868–69. © Joanna Wolańska.
Plate 14. Stanisław Wyspiański, Apollo – Copernicus’s Solar System, design for stained glass window in the Medical Society in Kraków, 1904, pastel on paper, 343 × 146 cm, Muzeum Narodowe w Krakowie [National Museum in Kraków].
Plate 15. Edward Burne-Jones, The Depths of the Sea, 1887, watercolor and gouache on wove paper mounted on panel, 197 × 76 cm, Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943. 462, Copyrights: Imaging Department © President and Fellows of Harvard College.
Plate 16. A cartoon from Walter Crane’s, Cartoons for the Cause (1896), reproduced on the cover of Kalendarz Robotniczy [the Workers’ Calendar] published by Polish socialist journals Naprzód [Forward] and Nowy Robotnik [New Worker], 1897. ← viii | ix →
Plate 17. Melchior Lechter, cover of the German translation of Maurice Maeterlinck, Der Schatz der Armen, published by Eugen Diederichs in Leipzig/Florence in 1898.
Plate 18. Jan Bukowski, cover of Materiały. Wydawnictwo Towarzystwa Polska Sztuka Stosowana [Materials. Publications of the Polish Applied Art Society], no. 3, 1903.
Plate 19. Kazimierz Witkiewicz and students of the school for veterans of war in the Museum of Technology and Industry in Kraków, clock, 1916, brass, 6.5 × 33 cm, private collection, © Tomasz Kalarus.
Plate 20. The Kraków Workshops, table cloth, after 1918, batik decoration on silk, 49.5 × 91 cm, Muzeum Etnograficzne w Krakowie [The Ethnographic Museum in Kraków].
Plate 21. Stanisław Witkiewicz, the kitchen in the “House under the Firs”, Zakopane, 1897–1898, © Andrzej Szczerski.
Kazimierz Sichulski, The Adoration of Magi, 1913, tempera on paper on canvas, 156 × 312 cm, Muzeum Narodowe w Warszawie [National Museum in Warsaw], © Teresa Żółtowska-Huszcza and National Museum in Warsaw.
Plate 23. Modest Sosenko, wall paintings in the grand hall of the Institute of Music in Lviv, 1914–1915, © Veronika Drohobytska-Grzesiak.
Plate 24. Stanisław Wyspiański, wall painting in the Franciscan church in Kraków, 1895–1896. © Wiktoria Kałwak.
Plate 25. Józef Mehoffer, The Holy Trinity, mosaic in the cupola of the Armenian Cathedral, Lviv, 1912–1913, © Joanna Wolańska.
Plate 26. Zdenka Braunerová, Hen, 1902, jardiniere, glass and enamel, 19 × 26 cm, Uměleckoprůmyslové museum v Praze [Museum of Decorative Arts in Prague].
Plate 27. Mikoláš Aleš, sgraffito decoration on the façade of the Rott House in Prague, 1896–1897, © Piotr Sikora.
Plate 28. Dušan Jurkovič, the great hall in the Communal House in Skalica, 1904–1905, © Andrzej Szczerski.
Plate 29. Vojtěch Preissig, Wallpaper design, c. 1900, gouache on cardboard, 488 × 311 mm, Národní galerie v Praze [National Gallery in Prague], © National Gallery in Prague 2015. ← ix | x →
Plate 30. Jože Plečnik, veranda in architect’s own house in Ljubljana-Trnovo, 1925, © Andrzej Szczerski.
Plate 31. Ivan and Helena Vurnik, the Co-operative Business Bank in Ljubljana, 1921–1922, © Andrzej Szczerski.
Plate 32. Károly Kós, The Crow Castle in Stana 1909, Creative Commons photograph by Andrea Polereczky.
Plate 33. Aladár Körösfői-Kriesch, Women of Kalotaszeg, scherrebek technique, c. 1910, tapestry, 164 × 145 cm, Gödöllői Városi Múzeum [Gödöllő Town Museum].
Plate 34. Aladár Körösfői-Kriesch, Eagles above the Hero’s Grave, 1918, gobelin woven by Rózsa Frey, 234 × 90, Iparművészeti Múzeum in Budapest [Museum of Applied Arts in Budapest], © Museum of Applied Arts, Budapest, photographer: Ágnes Soltész-Haranghy.
Plate 35. Aladár Körösfői-Kriesch, The Fountain of Art, fresco, Music Academy, Budapest, 1907. © Andrzej Szczerski.
Plate 36. Sándor Nagy, Kata Kádár, stained glass window in the Palace of Culture in Târgu Mureș, 1912–1913, © Andrzej Szczerski.
Plate 37. Lawrence Alma-Tadema, Portrait of Ignacy Jan Paderewski, 1891, oil on canvas, 46 × 59 cm, Muzeum Narodowe w Warszawie [National Museum in Warsaw], © Krzysztof Wilczyński and National Museum in Warsaw.



XVIII, 482
ISBN (Hardcover)
Publication date
2015 (November)
Pre-Raphaelites The Studio, Robert Ashbee Alfons Mucha Gustav Klimt Stanislaw Wyspianski European Art Nouveau Walter Crane
Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien, 2015. XVIII, 482 pp., 44 b/w ill., 38 coloured ill.

Biographical notes

Andrzej Szczerski (Author)

Andrzej Szczerski is an art historian and curator based at the Institute of Art History, Jagiellonian University. He is the president of the Polish section of the International Association of Art Critics (AICA) and vice-president of AICA International. He has published previously on Polish and Central European art, design and architecture in nineteenth and twentieth centuries, including Modernizations: Art and Architecture in the New States of Central-Eastern Europe 1918–1939 and Four Modernities: Texts about Polish Art and Architecture in Twentieth Century (both in Polish). In 2009 he was a co-curator of the Symbolism in Poland and Britain exhibition at the Tate Britain in London. His current research concerns art in Central Europe since 1989.


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