FOLETTI, Ivan, Ondřej JAKUBEC and Radka NOKKALA MILTOVÁ. Introduction. A Few Opening Historiographical Remarks. In Ivan Foletti, Ondřej Jakubec, Radka Nokkala Miltová. Central Europe as a Meeting Point of Visual Cultures Circulation of Persons, Artifacts, and Ideas. Řím: Viella, 2021, p. 7-15. Studia Artium Medieavalium Brunensia 11. ISBN 978-88-3313-937-1.
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Basic information
Original name Introduction. A Few Opening Historiographical Remarks
Authors FOLETTI, Ivan, Ondřej JAKUBEC and Radka NOKKALA MILTOVÁ.
Edition Řím, Central Europe as a Meeting Point of Visual Cultures Circulation of Persons, Artifacts, and Ideas, p. 7-15, 9 pp. Studia Artium Medieavalium Brunensia 11, 2021.
Publisher Viella
Other information
Original language English
Type of outcome Chapter(s) of a specialized book
Field of Study 60401 Arts, Art history
Country of publisher Italy
Confidentiality degree is not subject to a state or trade secret
Publication form printed version "print"
WWW URL
Organization unit Faculty of Arts
ISBN 978-88-3313-937-1
Keywords in English Vienna School of Art History; Max Dvořák; Jiří Kroupa; Central Europe; Nationalism; From National to Transcultural
Changed by Changed by: prof. Mgr. Ondřej Jakubec, Ph.D., učo 108186. Changed: 22/4/2022 11:27.
Abstract
Between 1900 and the inter-war period, we observe a radical shift in the perception of Central European art: the First World War catalyzed a new understanding of “cultural” heritage largely in national terms (i.e. “national heritage”). Paradoxically, such a tendency grew even stronger after the Second World War. The Nazi genocide, followed by the expulsion of German and other minorities from Central European countries, transformed modern society from the ground up. After the fall of the Iron Curtain in 1989, scholars sought to put forward an updated, “transcultural” perspective on the space of Mitteleuropa. Jiří Kroupa was certainly one of the leading figures in this process, since his scholarship systematically connected Moravia with France, Italy, Germany, Austria, and beyond. As an intellectual heir of Viennese scholars such as Max Dvořák, he constructed a non-nationalistic perspective on Central European art, combining local approaches with a truly global erudition.
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