The Europe that was Lost – Thoughts on Central and Eastern European Modernism
1. In Teresienburg and Berlin. Miroslav Krleža´s Teresienburg, Internationale Ausstellung Revolutionärer Künstler in Berlin, and the Uproar in Düsseldorf
27 1. In Teresienburg and Berlin Miroslav Krleža s´ Teresienburg, Internationale Ausstellung Revolutionärer Künstler in Berlin, and the Uproar in Düsseldorf He lived and worked on the Balkans, a region which the Austrian empress Ma- ria Theresa described at the end of the 18th century as nothing else than “a lot of infertile mountains and swamps infected by malaria, populated by unreliable Orthodox believers”.39 Like his literary antagonist, colleague and fellow-coun- tryman Antun Gustav Matoš a few years earlier, he had to leave Serbia accused of being an Austrian spy, although the circumstances differed in many other re- spects. Matoš had returned to the Croatian capital Zagreb in 1908 after having spent a couple of years in exile in both Genève and Paris, and after having been granted an amnesty he was soon to be described as the most prominent and influ- ential representative of Croatia s´ young modern or even Modernist literature just after the turn of the century. But Matoš died in 1914 at the age of only 41 and did never experience the collapse of the old Habsburg world during the Great War neither the fact that his twenty years younger colleague Miroslav Krleža40 in turn would be characterized as the most colorful figure of Croatian Expressionism. Krleža became the great star and was embraced in his native country as the united Yugoslavia s´ incomparably most prominent writer parallel only to Ivo Andrić, although he himself occasionally took the...
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