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 7: The Czech Lands, Slovakia, and the Southern Slavs
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The Czech Lands, Slovakia, and the Southern Slavs
Within the Habsburg Monarchy, the Czechs did not obtain as much autonomy as the Poles had in the province of Galicia; hence, national issues in Bohemia were a source of constant conflicts which seemed insoluble due to the political status quo. Such conflicts did not spare the art scene, although at the institutional level the Czechs enjoyed participation in decision-making about the cultural policy of their province. Around the year 1900, the key role in the revival of applied art was played by cultural institutions in Prague.
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