The Reception of British Art and Design in Central Europe, 1890–1918
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.
CHAPTER 4: Germany
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Reference to the British solutions as a model of industrial and applied arts reforms in Central Europe around the year 1900 was nothing new, with several decades of history already behind it. Notably, relations between Central Europe and Britain did not always mirror the provinces–centre formula: occasionally, it was Britain that was following reforms implemented in the continent.
The main environment on the continent in which the modern perceptions of industrial and applied arts developed was Germany. In the reform process, the Germans managed to blend British solutions with their own local traditions, which gives grounds for rejecting a unilateralist perception of Great Britain as the sole source of the revival of the industrial and applied arts in the nineteenth century. In Central Europe, Germany acted primarily as an intermediary and source of information on British art phenomena, the Germans themselves being more resistant to British influence than other Central European communities.
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