Reviewed by: Zeitwesen: Autobiographik österreichischer Künstlerinnen und Künstler im Spannungsfeld von Politik und Gesellschaft 1900–1945: Eine Studie zu Alfred Kubin, Oskar Kokoschka, Aloys Wach, Erika Giovanna Klien und Margret Bilger by Birgit Kirchmayr Jacqueline Vansant Birgit Kirchmayr, Zeitwesen: Autobiographik österreichischer Künstlerinnen und Künstler im Spannungsfeld von Politik und Gesellschaft 1900–1945: Eine Studie zu Alfred Kubin, Oskar Kokoschka, Aloys Wach, Erika Giovanna Klien und Margret Bilger. Vienna: Böhlau Verlag, 2020. 466 pp. The fascinating study Zeitwesen was launched after Birgit Kirchmayr curated the exhibition "Kulturhauptstadt des Führers: Kunst und Nationalsozialismus in Linz und Oberösterreich" in 2008. Struck by the sparsity of the years under National Socialism in the artists' biographies, the historian set out to investigate artists' auto/biographical reflections and presentations of themselves as artists as well as their participation in contemporary discourses. To gather an appropriately varied corpus of auto/biographical texts, Kirchmayr combed [End Page 148] lexica, artists' monographs, and exhibition catalogues. Because she wanted to study artists who would have all experienced the major upheavals in the first half of the twentieth century as well as societal changes, she sought subjects who were born roughly between 1880 and 1900. In addition, Kirchmayr looked for variation among her subjects, such as rural versus urban dwellers, conservative artists versus those who embraced modernity as well as both male and female artists. In addition to the above criteria she notes that personal preference played a role in her final selection. The five artists—Kubin, Kokoschka, Wach, Klien, and Bilger—prove to be well chosen, offering the author rich and varied material for her in-depth analyses. Before Kirchmayr delves into the autobiographical texts, she presents a thorough and lucid overview of the wide range of theories guiding her study. This includes scholarship on traditional autobiography, letters, and diaries, the intersection of gender and autobiography, and collective and individual identities. She also reflects on the genesis of the primary sources, which speak to the artists' self-images. Three extensive chapters, each well researched and insightful, follow this substantial and lucid framing. I concentrate my comments on the chapter "KünstlerInnen über sich," in which Kirchmayr deals with all of the artists. In her discussion of Kubin and Kokoschka, Kirchmayr draws on Carl Pletsch's biography of Nietzsche, in which he argues that the philosopher led an auto-biographical life, by which he meant that the philosopher lived in anticipation of future biographers. She shows that like Nietzsche, Kubin and Kokoschka display characteristics of men who lived autobiographical lives. However, the two diverged in their methods of constructing themselves as artists. Kubin, a passionate reader of artists' biographies and autobiographies, penned his first autobiography in 1911 at the age of thirty-four and then in the years to follow constantly added to it. Kokoschka, realizing the importance of biographical monograms for an artist's notoriety, sought to influence his biographer by dictating what should be included in his life's story. Here, Kirchmayr draws on Liz Stanley's The Auto/biographical I, which argues that the genre distinctions between biographies and autobiographies is often nebulous. In the section on Aloys Wach, Kirchmayr again turns to Stanley to bolster her argument that the letters, diaries, and "biographische Notizen" of this lesser-known artist too reflect the blurred genre borders between biographies and autobiographies. She reads these texts as both Wach's biographical notations of his daily life as well as autobiographical reflections. [End Page 149] For example, in daily entries he often commented on an earlier time rather than chronicling the events of the day. As an even clearer example of the murky genre distinctions between biography and autobiography, Kirchmayr points to Laurenz Kilger's biography of Wach, which was based entirely on the author's own notes. In contrast, the women in this study did not consider their lives nearly as worthy of biography, nor did they lead autobiographical lives, both of which seem reserved for the male artist. Kirchmayr nonetheless finds auto/biographical texts, which provide her with much insight. As Erika Giovanna Klien did not write a conventional autobiography or a diary, Kirchmayr turns Die Klessheimer Sendboten, a text that she...