Reviewed by: Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices ed. by Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma Mathias Meert Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma, eds., Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices. Leiden, Boston: Brill Rodopi, 2022. 453 pp. Metropolitan reality plays a key role in the study of modernity: the development of urban life in turn-of-the-century Europe affected literary and artistic movements across the continent and facilitated mobility and cultural [End Page 79] exchanges in and through various networks. Research has highlighted the importance of the major European capitals in this regard, often strengthening the view of Paris as the centre of Europe's rapidly evolving cultural life at the end of the nineteenth century. Nonetheless, other centers also existed and contributed significantly to the development of European modernism. In their edited volume Brussels 1900 Vienna, Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma focus on the importance of networks, dispositions, and connections between Brussels and Vienna, seeking to deepen and extend the research that has been done on the internationalism of the Belgian-Austrian axis. As the editors emphasize in their highly informative introduction, the complexity of European development of the fine arts in modernity cannot be grasped through a binary, center-periphery model: relations and developments in literature, music, and the visual and performing arts ultimately take shape in "networks with many ties of diverse quality" (2). The central concept of the network informs the research perspective of the overall volume and several of its collected contributions, both on a thematic and methodological level. The volume brings together sixteen contributions on various aspects of the Brussels-Vienna axis, which are divided into five sections. Besides the introduction, the volume also features a handy index with names, topics, and places. The first section ("Staging Modernisms") brings together research on key figures from European Modernism such as Maeterlinck, Hofmannsthal, and the retheatricalization movement (Anke Bosse), the critical reception of Maeterlinck's plays in Vienna (Sigurd Paul Scheichl), and the understudied reception of Schnitzler's plays in Belgium (Piet Defraeye). The second section ("Transpositions") focuses on aspects of reception and literary exchanges (Hubert Roland), Stefan Zweig's translations of Emile Verhaeren's poetry (Norbert Bachleitner), concepts of exoticism in Brussels and Vienna (Szilvia Ritz), and the relationship between Musil's novel The Man without Qualities and Art Nouveau (Aniel Guxholli). The third section ("Transformations") shifts the focus to visual arts and architecture, with contributions on the reception of Belgian art in the Viennese Secession (Inga Rossi-Schrimpf) and the role of the Belgian "other modernity" in Viennese art criticism (Sylvie Arlaud). Contributions on the understudied topic of child art, primitivism and partronage (Megan Brandow-Faller), on the Belgian symbolist painter Fernand Khnopff (Clément Dessy), and Frans Masereel's transnational visual narratives (Chris Reyns-Chikuma) also showcase the importance of [End Page 80] the various transformations taking place in the arts at the time. In the fourth section ("Resonances"), the research focuses on Vienna and Brussels as cities of music, with contributions on La Jeune Belgique and Arnold Schoenberg's well-known Pierrot Lunaire (Alexander Carpenter) and the strong tradition of violin music in Brussels, Liège, and Vienna from the nineteenth century onward (Guillaume Tardif). In the final section ("Café and Psyche"), the contributions touch upon the broader cultural networks that inform the rapidly urbanizing societies in Brussels and Vienna, respectively, with a focus on fin-de-siècle café life in Vienna and Brussels (Hans Vandevoorde) and on the international expansion (and professionalization) of psychoanalysis through translated works of Julien Varendonck and Anna Freud (Birgit Lang). While the titles of some of the sections may conceptually overlap (transposition, transformation, resonances), the various case studies nonetheless showcase a broad, complex, and diverse panorama of Belgian, Austrian, and European art. The studied corpus covers the era from the late 1880s to the early 1930s and performs multiple crossings: it not only crosses political, national, and linguistic borders but is also fundamentally intermedial, involving among others magazines, translations of (literary) texts, performances, reproductions of art, concerts, exhibitions, and so...
Read full abstract