Vienna Academy Research Articles

Un especialista en realismo político clásico y en la obra de Hans Kelsen: entrevista a Robert Schuett

Robert Schuett, a former career civil servant (2011-2022), is currently a non-resident professor in international relations at the Diplomatic Academy of Vienna, a visiting fellow at the Department of Political Science at the University of Salzburg, as well as an honorary member of the School of Governance and International Affairs at the University of Durham, England. Robert Schuett was awarded a master’s degree by research in 2005 and a PhD in 2009, both in Political Science from the School of Governance and International Affairs at Durham University; the supervisor of his doctoral thesis was John C. Williams (Durham University), and his external evaluators were Chris J. Brown (London School of Economics) and Richard Little (University of Bristol). In 2007, he completed a doctoral research stay at LUISS University in Rome and, in 2010, he was a postdoctoral fellow in the Department of Psychology at the University of California, San Diego, USA. He currently lives and works in Vienna. Robert Schuett’s main areas of interest are political philosophy, international relations, and political methodology. He is particularly interested in the classical approach to political and legal theory, economics and society, ethics, and justice. Professor Robert Schuett has authored and edited numerous works, including Hans Kelsen’s Political Realism (2021), The Edinburgh Companion to Political Realism (2018), The Concept of the State in International Relations: Philosophy, Sovereignty, Cosmopolitanism (2015), and Political Realism, Freud, and Human Nature in International Relations: The Resurrection of the Realism Man (2010).

‘A New World, a New Way of Seeing’: The Role of Paper Conservation Training in the Professionalization of the Field

ABSTRACT It is often stated that conservation is rooted in ‘artistic and craftmanship traditions’. The present contribution aims at exploring this commonplace in more detail, using the development of conservation education at the Academy of Fine Arts Vienna as a model. Since its first beginnings in the early twentieth century, the programme was focussed on the conservation of paintings and sculpture exclusively. When Otto Wächter introduced paper conservation in 1965, he opened teaching activities at the Master School to a wide range of objects such as works on paper and innovative methods. Beyond these technical aspects, new forms of teaching, social structures, behaviour, and communicating, as well as general approaches to issues of ethics and aesthetics developed within this new area of specialization. In order to also document aspects of social practices and cultural patterns, over 50 guided expert interviews with former students and teachers of the programme were conducted and complemented with archival sources and published literature. This paper will characterize the genesis of a relatively new area of specialization within conservation and will discuss how it related to the tradition of ‘painter-restorers’ which had been established at Vienna Academy in the early twentieth century.

Sakrální architektura Klaudia Madlmayra

The study focuses on the sacral work of architect Klaudius Madlmayr (1881-1963), a graduate of the Vienna Academy under Friedrich Ohmann (1858-1927). Although Madlmayr began his professional career designing residential houses, and particularly state buildings (especially in Olomouc), from the second half of the 1930s he devoted himself almost exclusively to commissions for clients from the Catholic Church. In a simplified neoclassical architectural style he designed new church buildings in Brno-Židenice, Rozvadovice and Želeč, and in more than a dozen other churches he managed reconstruction work and designed a new layout, including a number of altars, mostly with retables. He collaborated with a number of conservative creative artists, among whom Julius Pelikán (1887-1969), Petr Pištělka (1887-1963) and the brothers Heřman Kotrba (1913-1989) and Karel Kotrba (1910-1973) stood out. He collaborated for a long time with the Brno Heritage Office, which consistently recommended his work and even discriminated in favour of it. The turning point came only with the arrival of a new generation of art historians who had reservations about his work. The aim of the study is to present not only Madlmayr's sacral work, but also its perception by contemporaries and clients. It does not attempt to rehabilitate his work, assessed by art history as being rather below average and regressive, but to explain the circumstances under which it was created.

“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY

The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life.
 It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc.
 On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.

Academician on the periphery : Johann Georg Walter in Modra

Despite several partial findings, our image of an academically trained painter is mostly formed by a generalizing tradition implying his position in the top ranks among artists as well as certain style uniformity. In many aspects, these ideas are anchored in the 19th century and cannot be applied to 18th century Central Europe. At that time, the k. k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of Painters, Sculptors, and Architecture) in Vienna became a crucial training institution for artists. The ambitions of this institution did not yet measure up to reality; however, its influence in the middle of the century became essential. Based on new research, this study presents an example of the heretofore unknown painter, Johann Georg Walter. After completing his studies at the Vienna Academy, Walter settled in the small wine town of Modra, outside the local artistic centres. For several decades Walter created various types of paintings, but primarily sacral paintings. He can be considered as a model example of a painter who disseminated Vienna's impulses on its periphery, one of the hundreds that the Academy trained. New findings about him also allow us to pursue a wider range of issues related to how the Vienna Academy graduates were able to find work and the issues of the transfer, modification, and rooting of its impulses outside artistic centres.

Silesian Painters and Sculptors at the Vienna Academy of Fine Arts in the Years 1726–1780. A Contribution to the History of Academism in the Early Modern Period

The Vienna Academy was the most important art academy for German-speaking artists in the Baroque period. It shaped the development of art in the capital of the Habsburg monarchy as well as on its periphery, including in Silesia, yet the relationships between Silesian sculptors and painters and the Vienna Academy have been overlooked by scholars. Research in the Academy archives sheds light on a number of important issues related to the social, economic, and artistic aspects of the education and the subsequent activities of Vienna Academy alumni. Surviving student registers record the names of Silesian painters and sculptors studying in Vienna and offer insights into other aspects of education at the Academy.

ЛЮДВІК ЗЕЛІНСЬКИЙ ТА ЙОГО СПІВПРАЦЯ З ІЛЮСТРАТОРАМИ ЧАСОПИСУ «LWOWIANIN»(1835–1842 рр.)

The constant growth of interest of both researchers and the general public in studying the formation of the so-called. local (local, narrow-regional) press, in our case – Galicia (Lviv), as well as the role of lithographers in this process, prompted us to study this initial stage of formation of the Galician press. Our task was to outline the circle of artists-collaborators of the first local lore Polish-language magazine Lwowianin in Galicia, through the prism of the biography of its publisher Ludwik Zelinsky to show the creative activity of lithographers involved in the publication of the magazine in 1835–1842. Research methodology. The study mainly used biographical, descriptive and iconographic methods. Methods of historical source, comparative-statistical, as well as general historical methods were also used. Conclusions. A review of the illustrative material of Lwowianin magazine in the context of the biography of the publisher Ludwik Zelinsky, biographical and creative, far from complete, information about the lithographers involved in his work, allows to outline the level of their creative activity in the publication. In the initial period – the period of formation of the magazine (the first half of 1835), the level of Lwowianin design was not high. This year, low-level artist E. Stoltz and amateur artist A. Tomashevsky were involved in the work of the magazine. What is especially characteristic of Stoltz, and not at all typical of other designers of the magazine, he created eight woodcuts (woodcuts). Philip Rebiger collaborated with the magazine even before he entered the Vienna Academy of Fine Arts (1837). It is the lithographs of A. Tomaszewski’s self-taught work, which he submitted to the journal during 1835–1837, that Lwowianin contains the most. Two lithographs for Lwowianin were made by professional artists T. Zhykhovych (1836) and A. Nigroni (1837). In 1839, L. Zelinsky invited the well-known professional artist and lithographer Josef Svoboda to collaborate with the magazine. for L. Zelinsky, and it is very likely that he, not P. Piller, became Auer’s first employer, inviting him to Lviv. Only A. Tomaszewski made more illustrations for the magazine, although in the end L. Zelinsky preferred K. Auer to design the last issues of the magazine. In the appendix we publish one letter of A. Tomaszewski, one letter of J. Swoboda and eight letters of K. Auer. Keywords: lithographer, lithography, carving, artist, Ludwik Zelinsky, magazine, Lwowianin, Edward Stoltz, Teofil Zhykhovych, Adolf Nigroni, Aloysius Tomaszewski, Philip Rebiger, Josef Svoboda, Carl Auer, Peter Piller, letters, Zolochiv.

A FEBRE PUERPERAL: A DESCONSIDERAÇÃO DA HIPÓTESE DE IGNÁZ SEMMELWEIS EM UM ABORDAGEM SÓCIO-CONSTRUTIVISTA

EnglishAround 1840s, Hungarian physician Ignaz Semmelweis proposed a prophylaxis for puerperal fever cases. Working at the Vienna Hospital, he was successful in his proposal; then, he proceeded to explain the cause of the disease. His hypothesis clashed strongly with the medical- scientific knowledge established at the time; nevertheless, it was warmly welcomed by the Vienna Academy of Sciences, which suggested a development of Semmelweis's work. Semmelweis declined of this grant and simultaneously attacked the medical community, which he found guilty of the disease. Finally, his proposal was totally disregarded by the community. The purpose of this article is, starting from the historiography about this episode, to introduce a social constructivist philosophical explanation of the disregard of Semmelweis’ hypothesis. portuguesNa decada de 1840, o medico hungaro Ignaz Semmelweis propos uma profilaxia para casos de febre puerperal. Atuando no Hospital de Viena, foi bem sucedido em sua proposta; em seguida passou entao a tentar explicar a causa da doenca. Sua hipotese colidia fortemente com o conhecimento medico-cientifico estabelecido na epoca; mesmo assim, ela foi acolhida com simpatia pela Academia de Ciencias de Viena, que sugeriu um desenvolvimento dos trabalhos de Semmelweis. Semmelweis recusou a oferta e, simultaneamente, passou a atacar a comunidade medica, que ele considerava culpada pela doenca. Finalmente, sua proposta foi totalmente desconsiderada pela comunidade. O objetivo desse artigo e, partindo da historiografia do episodio, apresentar uma explicacao filosofica socio-construtivista para a nao aceitacao da hipotese de Semmelweis.

Jews of Ukrainian ethnic lands are the students of the Vienna Academy of Fine Arts of the XIX – early XX centuries

Jews of Ukrainian ethnic lands are the students of the Vienna Academy of Fine Arts of the XIX – early XX centuries

The Character Heads by Franz Messerschmidt: An Example of Art Therapy.

Back to table of contents Previous article Next article Images in PsychiatryFull AccessThe Character Heads by Franz Messerschmidt: An Example of Art TherapyAntonio Perciaccante, M.D., Alessia Coralli, B.S.N.Antonio PerciaccanteSearch for more papers by this author, M.D., Alessia CoralliSearch for more papers by this author, B.S.N.Published Online:1 Sep 2017https://doi.org/10.1176/appi.ajp.2017.17050518AboutSectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail Man Looking at the Sun (1780–1783), alabaster, 42×22×30 cm, Museo Palazzo Coronini Cronberg, Gorizia, Italy (property of the Fondazione Palazzo Coronini Cronberg, Gorizia; photograph by Claudio Sclauzero, Gorizia).The Vexed Man (1771–1783), alabaster, 39.4×27.3×26 cm, J. Paul Getty Museum, Los Angeles (digital image courtesy of the Getty's Open Content program).A relationship between psychiatric illnesses and creativity is supported by the case of the German sculptor Franz Xaver Messerschmidt (1736–1783) and his most famous artistic work, the collection known as the Character Heads. It comprises 69 (49 actually known) marble, alabaster, and bronze busts, mostly self-portraits, characterized by facial distortions and dated about 1770–1780. They were found in the sculptor's studio after his death. The titles were not created by Messerschmidt but were assigned only after the sculptures were found. Erroneously, the Character Heads were believed to be Messerschmidt's study of physiognomy and pathognomy. Really, they were strictly related to the mental illness he suffered (1). Messerschmidt shared the late Baroque focus on religious and courtly subjects until 1770, when he began to sculpt the Character Heads. Although biographical accounts of him are unclear and fragmentary, it is known that in 1771 Messerschmidt started to suffer from paranoid ideas and hallucinations (1). These symptoms progressively worsened, and in 1774 he was expelled from teaching at the Art Academy of Vienna. The State Chancellor at that time justified this decision to the Empress by arguing that, despite Messerschmidt's great artistic ability, his “confusion in the mind” would damage the institution (1). Despite his elusive character, Messerschmidt agreed to meet the German writer Friedrich Nicolai in his studio (2). A report of their meeting was later published by Nicolai, and it is the only useful contemporary document detailing Messerschmidt's reasoning behind the execution of his Character Heads (2). It emerged that Messerschmidt suffered from paranoid ideas, hallucinations, and an unspecified digestive disorder causing him considerable discomfort (1, 2). The sculptor used to pinch himself to distract him from this abdominal discomfort. Some resulting facial expressions observed in a mirror were then reproduced in the Character Heads (2).The artist sculpted to display the spirits intending to destroy him and his art (1). Indeed, Messerschmidt explained that he was periodically tormented by malign spirits, the most frightful of which he called the “Spirit of Proportion.” He said that the Character Heads irritated this spirit, who visited him at night, forcing humiliating torture on him (2). Messerschmidt was convinced that if he welcomed the spirits with sculptural expressions of extreme emotions, they could be kept at bay (2).Messerschmidt's psychiatric disease, probably schizophrenia, fed his creativity, but at same time the art acted as a means to counteract his ailments. Thus, it could be considered a form of art therapy.From the Department of Medicine, San Giovanni di Dio Hospital, Gorizia, Italy; and Alto Isontino District, Azienda per l'Assistenza Sanitaria Bassa Friulana—Isontina, Gorizia, Italy.Address correspondence to Dr. Perciaccante ([email protected]).References1 Kris E: Psychoanalytic Explorations in Art. Madison, Conn, International Universities Press, 1952Google Scholar2 Nicolai F: Beschreibung einer reise durch Deutschland und die Schweiz, in Jahre 1781: Nebst Bemerkungen über Gelehrsamkeit, Industrie, Religion und Sitten. Edited by Nicolai F. Berlin, Stettin, 1783Google Scholar FiguresReferencesCited byDetailsCited byNone Volume 174Issue 9 September 01, 2017Pages 838-839 Metrics KeywordsSchizophreniaart therapyPDF download History Published online 1 September 2017 Published in print 1 September 2017

A lőcsei Baumerth festő-fivérekről

The names and the few known works by Johann and Christian Baumerth slightly run into one another in the Hungarian art historical literature. On the basis of the data in registers of birth of the evangelical church in Lőcse (Levoča) became clear that we could talk about two painters who were brothers. Johann Baumerth (11 March, 1788–5 March, 1833) worked as a teacher of drawing in the evangelical secondary school for girls in Lőcse (Levoča). His younger brother Christian (8 May, 1792–18 July, 1824) was the pupil of the painter József Czauczik and wanted to develop his knowledge in the Academy of Arts Vienna. His early work is a memorial leaf of Anna Mária Horváth Stansith, wife of Ferenc Máriássy at her death in 1810. We know a few more works of Johann Baumerth. The engravings of the cities of Rozsnyó (Rožňava) and Igló (Spišská Nová Ves) probably were made after his own drawings around 1820. Two gouache paintings (1810) by him recently appeared in art dealer’s gallery, a romantic style landscape and a biblical genre, which remind us to the early romantic landscape painting of Károly Kisfaludy (1788–1830). One of these pictures, the Shipwreck on stormy sea, was made after the composition by Claude Joseph Vernet.

Newly identified Augustinian and Pseudo-Augustinian Texts in Manuscripts of Bodleian Library, Oxford

The article presents 111 newly-identified texts in manuscripts of the Bodleian Library, Oxford, which had hitherto all been attributed to Augustine of Hippo. Only thirty of them, however, proved to be authentic, fifty originate from works of other patristic and medieval authors, while thirty-one remain anonymous. Especially remarkable is the identification of two fragments from the new letters of St Augustine discovered by Johannes Divjak in Paris and Marseille, which predate the two manuscripts of his edition. These results complement the catalogues on the manuscript transmission of Augustine’s works compiled by the Vienna Academy and continue the Author’s earlier publications on manuscripts in Germany, Great Britain, Poland, Spain, and Sweden.

L’edizione critica delle En. Ps. 101-150 di Agostino

The Commentary on the Psalms is a monumental work which for more than thirty years consumed the energies of Augustine as exegete. The extraordinary quantity of this work as well as the exceptional number of manuscript traditions which it has spawned has delayed until now the production of a critical edition carried out according to the exacting criteria of modern textual criticism. The part of the editorial project which the Vienna Academy entrusted to the Patristic Institute, the «Augustinianum» (en. Ps. 101-150) has now been completed in five volumes published in the CSEL series (voll. 95, 1-5). The editor’s intention was to incorporate the progress made in modern textual criticism to the specific case of Augustine’s treatment of the Psalms, giving due attention to the peculiar characteristics both of the text and of the manuscript tradition.

Mäzenatentum, Naturwissenschaft und Politik im Habsburgerreich und in der Ersten Republik Österreich

This paper analyzes the patronage of the sciences by Vienna’s liberal bourgeoisie in the days of the late Habsburg monarchy, a period of public and private advancements in all sciences. It specifically focuses on the establishment of scientifically highly successful prizes and institutions within the Vienna Academy of the Sciences. Regarding the research of radioactivity in particular, patronage by founding a new research institution (Institut fur Radiumforschung at the Academy) triggered and incited internationally competitive research. All this came to an end in 1938.

Traces to Nowhere, The Conductor Carlos Kleiber Directed by Eric Schulz, and: Music is the Language of the Heart and Soul: A Portrait of Mariss Jansons Directed by Robert Neumüller, and: Carmen by Georges Bizet (review)

Traces to Nowhere, The Conductor Carlos Kleiber. DVD. Directed by Eric Schulz. [Germany]: Arthaus Musik, 2011, 2010. 101553. $28.98.Music is the Language of the Heart and Soul: A Portrait of Mariss Jansons. DVD. Directed by Robert Neumuller; Gustav Mahler. Symphony No. 2. Mariss Jansons / Royal Concertgebouw Orchestra, Netherlands Radio Choir. With Ricarda Merbeth, Bernarda Fink. Munich: Unitel Classica, 2012, 2011. 709708. $39.99.Georges Bizet. Carmen. DVD. Carlos Kleiber / Chorus and Orchestra of the Vienna State Opera. With Elena Obraztsova, Placido Domingo, Yuri Mazurok, Isabel Buchanan. [Germany]: Arthaus Musik, 2012, 1978. 107263. $29.99.These German-language documentaries with subtitles portray two of the most important conductors of the latter half of the twentieth century, revealing individuals of widely divergent character, and yet drawing some remarkable parallels between them. They were sons of eminent conductors, each having to assert his identity as a practitioner in his own right. Both had their early lives disrupted by the years surrounding WWII. They share similar approaches to their craft, being meticulous preparers of scores and micromanagers in rehearsal. Kleiber prepared all his own scores and parts, frequently using those he inherited from his father. He also consulted composers' autographs where available and indulged in extensive background research. Jansons, too, prepares and rehearses his repertory thoroughly and pursues ancillary research. Both were proteges of and revered Herbert von Karajan. Both demonstrate a particular fondness for Viennese waltzes, and have conducted the popular New Year's Day concert with the Vienna Philharmonic Orchestra. The difference, of course, is that Jansons is able to speak for himself - and does so eloquently. Kleiber (who died in 2004) cannot - nor would he have done, for, as an intensely private man, he shunned all publicity and never gave interviews. Instead, there is a distinguished roster of former friends and colleagues to speak about him. Watching the two films side-by-side makes for a fascinating comparison.Music is the Language of the Heart and Soul opens in Latvia with Jansons reminiscing at the beach near his childhood home. Although the shadow of German occupation and the postwar Stalinist repression loomed over his early years, his family life and education in Riga and then Leningrad seems to have been happy and saturated in music. He conjectures that his career path was laid out before him like a sunbeam although he never felt pressured into it by his parents. It is clear that he was an industrious student. After graduating from the Leningrad conservatory he attended the Vienna Academy of Music and went on to Salzburg to study with Karajan. There is archival footing of him competing in the Karajan Competition in 1971, where he was a prizewinner. After the Soviet authorities summoned him home, he was taken on by the Leningrad Philharmonic under the wing of principal conductor Yevgeny Mravin sky. The film briefly mentions his crucial formative years as director of the Oslo Philharmonic and goes on to document his recent tenure with the Bavarian Radio Orchestra and the Concertgebouw. (His seven-year stint in Pittsburgh is never mentioned.) Transformation is a word often used to describe the effect he has on orchestras and audiences. After the death of his father and the serious heart attacks he himself suffered in 1996, Jansons has been attempting to probe ever deeper into the core of the music he performs. He comes across as a genuinely warm and sincere human being. There seems to be just a little too much padding in the film in which the camera follows him around old haunts to capture his reactions and comments. This is particularly contrived during a sequence when a young boy appears (a surrogate for the young Jansons?) expressing his wonderment at the doings in the Riga opera house. The film flits from place to place abruptly so that one is not always sure where one is, and some of the editing is somewhat abrupt. …

The iconography, design and manufacture of the 19thcentury playing-cards by the Unger family from Győr

The present article offers new evidence on the Unger playing-card making family of Győr, Western Transdanubia, as the result of a cross-disciplinary study. Mátyás Unger the Elder (1789–1862) and his like-named son Mátyás the Younger (1824–1878) produced various types of playing-cards from the early to mid-19th century. In particular, their cards, their iconography, design and production process will be analysed. The family is best known for their cards with Sopron (Oedenburg) pattern. Also discussed will be the role of Mátyás the Elder’s second eldest son Alajos Unger as a possible designer of the later Unger cards, which were of considerably higher quality than the earlier known ones by Mátyás Unger the Elder. The hitherto little-known Alajos Unger was trained as a draughtsman and painter first at the National Drawing School of his hometown and then, between 1833 and 1842, at the Vienna Academy of Fine Arts, particularly under Leopold Kupelwieser (1796–1862). Finally an innovative outside-in bottom-up method for gaining further, reliable insight into 19th century artisanal playing-card manufacturing will be proposed to determine the size, output and profitability of the Unger workshop based on material-flow simulation.

Josef Adam Mölk magyarországi műveiről

The ceiling sketch painted in bright colours in a punctiliously detailed manner against a rich architectural background has been associated with Josef Adam Mölk by researches of recent years. After studies at the Vienna Academy, and some 15 years' work in Bavaria and Tyrol, the painter took on executing frescoes and altarpieces in Styria from 1764, and worked in Lower Austria for the last twelve years of his life. During his long and prolific life he executed his designs with the help of his workshop associates. During his years in Styria there was a single occasion when he worked outside the province: in the monastic church of pilgrimage at Maria Langegg in Lower Austria in 1773. He signed a contract to paint the ceiling frescoes and altarpieces for the Servite church of the Birth of Mary in December 1772. From among the scenes of the life of Mary, her birth is seen in the presbytery; the mentioned oil sketch for this cupola fresco is kept at the Hungarian National Gallery. Mölk's fresco painting was fundamentally influenced by the Italian architect and painter Andrea Pozzo's pseudo cupola painting and artistic theory, which is also confirmed by this sketch. Its “protagonist” is the spectacular architecture. Minutely decorated, diverse architectonic elements, daringly foreshortened domes characterize the major works of this period in the churches of Rein (1766), Weizberg (1771), Pernegg (1775), the latter also containing a somewhat simplified version of the Birth of Mary composition of Maria Langegg. Mölk's only known work in Hungary is the Assumption ceiling fresco in the chancel of the Benedictine church of Zalaapáti from 1781. It is presumed that Martin Johann Schmidt who painted the altarpiece for the church contacted Mölk for the commission. An early piece by the painter is kept at the Hungarian National Museum. It is probably in connection with his appointment as court painter. The historical allegory dated 1755 is a fine example of Mölk's minutely elaborated and detailed painting style.

Life and works of Jovan Andrejevic Joles

The first Serbian anatomist Jovan Andrejevic Joles was born in Novi Sad on October 6, 1833 to a priest father. The primary school and the first four grades of the grammar school he finished in Novi Sad, and the seventh and the eighth grades in Timisoara. After finishing grammar school, Andrejevic moved to Pest where he started medical studies in 1853. He continued the studies in Prague and Vienna where he received the diploma of a doctor of medicine. During the studies of medicine, this remarkably educated and talented man demonstrated great interest in science. In his research he came to new findings he published through the report of the Vienna Academy of Sciences in the paper titled 'On the Fine Structure of the Liver' (Ueber den feineren Bau der Leber), making his mentor, professor Ernest von Br?cke, proud. Apart from the scientific work, young Andrejevic also translated literature from German and English. His interests also covered photography, art and aesthetics. He actively participated in the work of the United Serbian Youth, which brought him many problems with the ruling regime of the time. At a very early age, Andrejevic fell down with tuberculosis and had to stop his scientific work and move back to Novi Sad in 1861 where he began working as a physician. Apart from the medical practice, Andrejevic was still in the center of scientific, political, and cultural events. He continued regular correspondence with professor von Br?cke who informed him on the success of his scientific results. Apart from a number of texts and critical writings, together with Jovan Djordjevic, Andrejevic worked hard on the foundation of the Serbian National Theater in Novi Sad. During 1863, his illness aggravated and he died of tuberculosis on July 21, 1864. The memory of the first Serbian anatomist is kept by the Department of Anatomy of the Faculty of Medicine in Novi Sad where the documentation on his life and works is stored. The ground floor hall of the Faculty of Medicine holds the bust of Jovan Andrejevic.

Report of the General Assembly of the European Academy of ORL-HNS Vienna, 1st July 2007

Report of the General Assembly of the European Academy of ORL-HNS Vienna, 1st July 2007

Picturing the New Middle Class: Two 19th Century Portraits of Serbian Women

Picturing the New Middle Class:Two 19th Century Portraits of Serbian Women* Ljubomir Milanović [Illustrations] During a recent visit to Belgrade fashion designer Milan St. Marković's apartment, my eye chanced upon two portraits of young women (Figs. M-1 and M-2 in the graphic insert following p. 200 of this issue).1 What drew my attention is that the women in these paintings looked very similar, and yet they sent a markedly different message to the spectator. Their most attractive features are the dresses that fill both canvases and the clandestine eroticism emanating from their carefully comported bodies. Little is known about these sitters except that they were cousins of Mr. Marković and siblings of Stevan Petrović, better known as Knićanin (1807-59). Knićanin was a member of the Council in Serbia during the reign of prince Aleksandar Karaðorðević (1842-58) and was a commander of the Serbian volunteers in Vojvodina during the revolution of 1848.2 The author of the portraits is unknown; however, several indicators, which will be discussed later, suggest the hand of Uroš Knežević (1811-76). The rise of the new elite classes in Serbia in the nineteenth century was accompanied by a new taste for secular subjects that reflected everyday life. This interest in representations of everyday life grew stronger at every level of [End Page 181] society and elicited an artistic response. Portraiture played a crucial role in the development of these new bourgeois modes of representation. The evolution of Serbian portrait painting was therefore deeply bound up with the economic, social, and national changes that took place during the nineteenth century.3 Given that the subject of a portrait is the human body, it may be argued that ideological content plays a greater role here than in any other genre of painting.4 Baudelaire wrote that there are two ways of understanding portraiture: either as history or as fiction.5 With this insight, the French critic recognizes the conflicting demands of portraiture in relation to its dual function as historical record and transformative fiction. The discussion of portraits of Serbian women in the middle of the nineteenth century touches on the broader question of the role of women in society at large, of their emancipation and participation in the exercise of social power. During the nineteenth century interest in human personality and the desire for self-knowledge increased. With this, however, came heightened investment in the use of representations as a key form of public self-fashioning. The new visual idioms of nineteenth century Serbian female portraiture attempted to satisfy the paradoxical demands for naturalism on the one hand, and the evolving social roles of their sitters on the other. Visual representations could ideologically reconcile these two opposing impulses by giving the semblance of the real while furthering the social aspirations of their subjects. Corporeal rhetoric was a key component of this program. This new body language paralleled the traditional rules of verbal action, which encompassed every aspect of behavior, posture, gesture, facial expression, and even dress, i.e. all the instruments which a "speaker" can use in order to make a desired impression on his or her audience. In this paper I will, therefore, argue that we may view the portraits of Petrović sisters in light of their social context as manifested in the representation of their gestures, clothing, compartment, and other indicators of the evolution of women in nineteenth century Serbian culture. [End Page 182] Uroš Knežević was a well-known Serbian portraitist of the nineteenth century.6 Most of his commissions came from members of the middle class who tried to find a way for a more public means of self presentation. Knežević become famous for his keen eye for detail. In his attempt to be more historically accurate, the artist meticulously noted every particular detail of the elaborate costumes of the epoch. After completing two years at the Vienna Academy of art, where he was educated in the classical tradition, he introduced romantic elements into his paintings: brighter color, contemporary fashion, and often included some folk elements. These innovations were employed in order to emphasize the status of the individual...