Verfügbarkeit: Dějiny uměleckého spolku Metznerbund 1920-1945

Dějiny uměleckého spolku Metznerbund 1920-1945: = Die Geschichte des Kunstvereins Metznerbund 1920-1945

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Bibliographische Detailangaben
1. Verfasser:	Habánová, Anna ca. 20./21. Jh (VerfasserIn)
Format:	Buch
Sprache:	Czech German
Veröffentlicht:	Liberec Technická univerzita v Liberci [2016]
Schlagworte:	Metznerbund Geschichte 1920-1945 Künstler Böhmen Protektorat Böhmen und Mähren Tschechoslowakei
Online-Zugang:	Inhaltsverzeichnis Literaturverzeichnis Register // Personenregister Abstract
Beschreibung:	366 Seiten Portäts, Faksimiles
ISBN:	9788074943225

Internformat

MARC


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Datensatz im Suchindex

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adam_text	OB/AH INHALT U/LECHTILÄ JOUTÉZ OBOU NÁRODÚ. DÉJINY UMELECKÉHO IPOLKU METZNERBUND Y CECHÄCH 1920-1945 EDIER WETTITREIT DER BEIDEN VÖLKER. DIE GEICHICHTE DEI KUNITVEREINI METZNERBUND IN BÖHMEN 1920-1945 8-21 IPOLKY NEMECKY HOYORÍCÍCH VYTVARNYCH UMÉLCÚ - OD CONCORDIE K METZNERBUNDU VEREINE DEUTICHIPRACHIGER BILDENDER KÜNITLER - VON DER CONCORDIA ZUM METZNERBUND 22-45 MIMO CENTRUM 1ENJEITJ DEI ZENTRUMI 46-59 ZPlT Y PRAZE, NA CEITl K PROMÉNÍ ZURÜCK IN PRACv AUF DEM WEG ZUR VERÄNDERUNG 60-77 DEUTICH- BÖHMIICHER KÜNITLERBUND YI. VEREIN DEUTICHER BILDENDER KÜNITLER 78-105 PRAHA BRNO PRAG BRÜNN 106-119 DRÄZDANY ÚITÍ NAD LABEM PRAHA DREIDEN AUIIIG PRAG 120-133 METZNERBUND A JEHO NEJEN TEPLICKE ZACÄTKY DER METZNERBUND UND IEINE NICHT NUR AUF TEPLITZ BEICHRÄNKTEN ANFÄNGE 134-143 ITANOYY A REGULACE CINNOITI IATZUNG UND TÄTIGKEITI- REGULATION 144-149 LIBERECKÄ METZNERBUNDHALLE A DAL/I yy/TAYNI PRO/TORY IPOIKU DIE REICHENBERCER METZNERBUNDHALLE UND ANDERE AU//TELLUNG/RÄUME DE/ VEREIN/ 150-159 UMlLECKA CINNO/T /POLKU NAPRiC CA/EM A MI /TEM DIE KÜN/TLERI/CHE TÄTICKEIT DE/ METZNERBUNDE/ QUER DURCH ZEIT UND RAUM 160-203 HO/PODAR/KE AKTIVITY METZNERBUNDU DIE WIRT/CHAITLICHEN AKTIVITÄTEN DE/ METZNERBUNDE/ 204-209 CELOREPUBLIKOVE PREHLIDKY METZNERBUNDU V MEZIVÄLECNEM OBDOBf REPUBLIKWEITE AU//TELLUNGEN DE/ METZNERBUNDE/ IN DER ZWI/CHEN- KRIEG/ZEIT 210-245 TRICÄTÄ A VÄLECNÄ LETA 1930ER 1AHRE UND KRIEG/IAHRE 246-281 KONEC DA/ ENDE 282-287 ANTOLOGIE 289-310 ANTHOLOGIE 311-337 BIBLIOGRAFIE BIBLIOGRAPHIE 339-350 /EZNAMY CLENÜ /POLKU MITGLIEDER- VERZEICHNI//E 351-356 1MENNY REJ/TRI K PER/ONENREGI/TER 357-361 EDICNi POZNÄMKA EDITION/NOTIZ 362 /UMMARY 363-366 LITERATUR* LITERATURVERZEICHNIS A 141 Ausstellung des Mährischen Kunstvereines vom 27. März bis 24. April 1921. Sudetendeutsche Künstler (kat. vyst. / Ausst.-Kat.), Mährischer Kunstvercin, Brünn 1921 2. Ausstellung deutscher Künstler aus Böhmen, Prager Tagblatt33,1909, c. / Nr. 86,27.3., s. / S. 10 F. A. (Friedrich Adler], Weihnachtsausstellung der Concordia, Prager Tagblatt 16,1892, c. / Nr. 341, 11.12., s./S. 4 F. A. [Friedrich Adler], Weihnachtsausstellung der Concordia, Prager Tagblatt 17,1893, c. / Nr. 344, 12.12.. 5,/S.6-7 F. A. [Friedrich Adler], Weihnachtsausstellung der Concordia, Prager Tagblatt 18,1894, c. / Nr. 349, 18.12., s./S. 5 F. A. [Friedrich Adler), Weihnachtsausstellung des Vereines deutscher bildender Künstler, Prager Tagblatt 19,1895, c. / Nr. 339,8.12, s. / S. 5 F. A. [Friedrich Adler], Weihnachtsausstellung des Vereines bildender Künstler, Prager Tagblatt 22, 1898, c. / Nr. 348,18.12., s. / S. 7 Paul Adler, Deutschböhmische Künstler (Zur Ausstellung im Sächsischen Kunstverein), Dresdner Neueste Nachrichten 22,1914, c. / Nr. 13,15.1,, s. / S. 1 Wladimir Aichelburg, Das Wiener Künstlerhaus 1861-1986.125 Jahre in Bilddokumenten, Wien 1986, s./S. 50-53 Heine von Alemann, Kunstvereine als gesellschaftliches Ereignis. Einige Überlegungen zum Prozeß der Ausdifferenzierung von sozialen Institutionen der Kunstvermittlung (5 Diagramme), v: / in: Peter Gerlach, Vom realen Nutzen idealer Bilder: Kunstmarkt und Kunstvereine, Aachen 1994 Aufruf! Deutschböhmische Künstlcrgenosscnschaft„Metzner“. Neuorganisation der deutschen Künstlcrschaft in Böhmen, Deutsche Zeitung Bohemia 92,1919, c./ Nr. 89, 12.7.,s./S.6 Ein Aufruf, Deutsche Arbeit 8,1909, c. / Nr. 4., s. / S. 400-401 Ausgestaltung der Reichenberger Gemäldesammlung, Reichenberger Zeitung 67, pri loha k c. 1/1927,31.12., s. / S. 6-7 B Jitka Balcarovä, „Jeden za vsechny, vsichni zajednoho!“ Bund der Deutschen a jehopredchüdcivprocesu utväreni„sudetonemeckeidentity“, Praha 2013 [aro Beran, Liberecky kraj ve vytvamem umeni, cästprvni-Krajina (kat. vyst.), Liberec 1954 Marie Bergmanovä, Sbirka 12 3. Stopy historie vakvizicich, Galerie Stfedoceskeho kraje, Praha 2010 Beschränkung von Vereinsausstellungen im Rudollinum, Prager Tagblatt 37,1912, c. / Nr. 65, 6.3.,s./S.6 Max Brod, Prazsky kruh, Praha 1993 Max Brod, Zivotplny bojü, Praha 1994 C Josef Capek, Vystava spolku Deutsch-böhmischer Künstlerbund, pofädanä Krasoumnou jednotou pro Cechy v Praze (Rudollinum), v: / in: Josef Capek, publicistika 2, vytvame eseje a kritiky 1905-1920, Praha 2012, s./S. 42-43 Josef Capek, II, vystava Skupiny vytvamych umelcü, Josef Capek, publicistika 2, vytvame eseje a kritiky 1905-1920, Praha 2012, s. / S. 53-59 Zdcnka Cepeläkovä, Vytvame umeni na Karlovarsku mezi dvema välkami, v: Anna Habänovä (ed.), MladiIvi v kleci. Umelecke skupiny nemecky hovoricich vytmmikü z Cech, Moravy a Slezska v mezivälecnem obdobi (kat. vyst.), Oblastni galerie v Liberci, Liberec - Revnice 2013, s. 202 219 / Zdcnka Cepeläkovä, Die bildende Kunst in der Region Karlsbad zwischen den beiden Weltkriegen, in: Anna Habänovä (ed.), Junge Löwen im Käfig. Künstlergruppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien in der Zwischenkriegszeit (Ausst.-Kat), Oblastni galerie v Liberci, Liberec - Revnice 2013, S. 202-219 D Deutschböhmen im Bilde, Prager Tagblatt 33,1909, c./Nr. 143,30.5., s./S. 18 Deutschböhmische Kunstausstellung 1912 in der Aussiger Volksbücherei, Prager Tagblatt 37,1912, c./Nr. 268,28.9., s./S. 5 Die deutschböhmische Kunstausstellung in Aussig, Prager Tagblatt 37,1912, c. / Nr. 306,5.11., s. / S. 5 Die dcutschböhmische Kunstausstellung in Karlsbad, Prager Tagblatt 37,1912, c. / Nr. 206,28.7., s./S. 8 Deutschböhmische Künstlertage, Prager Tagblatt 39,1914, c./Nr. 191,14.7., s./S. 5 Deutschböhmischer Künstlcrbund, Prager Tagblatt 33 19°9 c. / Nr. 28,28.1., s. / S. 9 E Eröffnung der Ausstellung in Bodenbach, Prager Abendblatt 1897, c. / Nr. 160,16.7., s. / S. 2 Eröffnung des neuen Handelskammergebäudes und der Kunstausstellung in Eger, Prager Tagblatt 24.1900.0. /Nr. 185,7.7., s./S. 5 I E. F, Kunst, Sport und Salon 7,1904, c./ Nr. 52, 24.12., s./S. 13 J. F, Kunstausstellung, Mährisches Tagblatt42, 1922, c. / Nr. 115,20.5., s. / S. 5 Ales Filip - Roman Musil (edd.), Gabriel von Max (kat. vyst. / Ausst.-Kat.), Zäpadoceskä galerie v Plzni, Plzen Revnice 2011 Karl Fischer, Frühjahrsausstellung des Metznerbundes, Olmütz II, Mährisches Tagblatt 52, 1932, c./ Nr, 199,24.5., s./S. 2-3 Fünfzig Jahre Concordia 1871-1921, Prag 1921 C Peter Gerlach, Vom realen Nutzen idealer Bilder: Kunstmark und Kunstvereine, Aachen 1994 Gesellschaft zur Förderung deutscher Wissenschaft, Kunst und Literatur in Böhmen, Prager Abendblatt 1902, c./ Nr. 65,19.3., s./S. 2 Gönnertage der Kreisgruppe Reichenberg des „Metznerbundes“, Reichenberger Zeitung 61, 1920, c./Nr. 143,20.6., s./S. 6 Grillparzerfeier, Prager Abendblatt 1870, c. / Nr. 292, 10.12., s./S. 2 Grosse Kunstausstellung 1927.48. Jahresausstellung der Genossenschaft der bildenden Künstler Wiens (kat. vyst. / Ausst.-Kat.), Künstlerhaus Wien, Wien 1927 H 1. h., Deutsche Künstler aus Böhmen in den Wiener Frühjahrausstellungen, Deutsche Arbeit 2,1903, c./Nr.8, s./S. 654-655 Ivo Habän, Brncnsky Düm umelcü jako vystavni centrum, v: / in: Jana Vränovä - Lubomir Slavicek (eds.), wo letDomu umeni mesta Brna (kat. vyst. / Ausst.-Kat.), Düm umeni mesta Bma, Brno 2010, s./S. 71-95 Ivo Habän, Praha - Dräzdäny. Skupina Die Pilger a spirituälni tendence poeätku dvacätych let, v: Anna Habänovä (ed.), Mladi Iri vkleci. Umelecke skupiny nemecky hovoricich vytvarnikü z Cech, Moravy a Slezska vmezivälecnem obdobi (kat. vyst.), Oblastni galerie v Liberci, Liberec - Revnice 2013, s. 40-59 / Ivo Habän, Prag - Dresden. Die Pilger und die spirituellen Tendenzen der frühen zwanziger Jahre, in: Anna Habänovä (ed.), Junge Löwen im Käfig. Künstlergmppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien in der Zwischenkriegszeil (Ausst.-Kat.), Oblastni galerie v Liberci, Liberec - Revnice 2013, S. 40-59 Ivo Habän, Na dohled Vidne, ve stinu Prahy? Mährischer Kunstverein a Vereinigung deutscher bildender Künstler Mährens und Schlesiens „Scholle“, v: Anna Habänovä (ed.), Mladi Ivi v kleci. Umelecke skupiny nemecky hovoricich vytvarnikü z Cech, Moravy a Slezska v mezivälecnem obdobi (kat. vyst.), Oblastni galerie v Liberci, Revnice - Liberec 2013, s. 60-79/ Ivo Habän, In Sichtweite von Wien, im Schatten von Prag? Die Vereinigung deutscher bildender Künstler Mährens und Schlesiens „Scholle“, in: Anna Habänovä (ed.), Junge Löwen im Käfig. Künstlergruppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien 347 Prameny a literatura Quellen- und Literaturverzeichnis in der Zwischenkriegszeit (Ausst.-Kat.) Oblastni galerie v Libcrci, Revnice - Libérée 2013, S. 60-79 Ivo Habän, Junge Kunst: mezi Francü a némeckou novou vécnosti, v: Anna Habänovä (ed.), Mladi Ivi v kleä. Uméleckéskupiny nèmecky hovoricich vÿtvamikù z Cech, Moravy a Slezska v mezivdlecném obdobi (kat. vyst.), Oblastni galerie v Liberci, Revnice - Libérée 2013, s. 104-117 / Ivo Habän, Junge Kunst: Zwischen Frankreich und der deutschen Neuen Sachlichkeit, in: Anna Habânovâ (ed.),junge Löwen im Käfig. Künstlergruppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien inder Zwischenkriegszeit (Ausst.-Kat.), Oblastni galerie v Liberci, Revnice - Libérée 2013, S. 104-117 Ivo Habän, Prager Secession: nèmecky sen v multikultumi Praze, v: Anna Habânovâ (ed.), Mladi Ivi v kleä. Umélecké skupiny nèmecky hovoriäch vÿtvamikù z Cech, Moravy a Slezska v mezivdlecném obdobi (kat. vÿst.), Oblastni galerie v Liberci, Revnice - Libérée 2013, s. 118-151 / Ivo Habän, Prager Secession: Ein deutscher Traum im multikulturellen Prag, in: Anna Habânovâ (ed.), Junge Löwen im Käfig. Künstlergruppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien in der Zwischenkriegszeit (Ausst.-Kat.), Oblastni galerie vLiberci, Revnice - Libérée 2013, S. 118-151 Anna Habânovâ, Historie liberecké vystavni haly Metznerbundu v Schückerstrasse 21, dnesni Prazské ulici, Fontes Nissae 10,2009, s. / S. 59-68 Anna I labânovâ, Plânovanâ novostavba galerijni budovy v Liberci v prvni polovinë 20. stoleti, Fontes Nissae 11,2010, s. / S. 75-107 Anna Habânovâ, „Edler Wettstreit der beiden Völker“. Die Anfänge der Tätigkeit der Reichenberger Kreisgruppe des Metznerbundes, die Oktobergruppe und Erwin Müller, Umeni 59, 20ii, c./Nr. 5, s./S. 415 426 Anna Habânovâ (ed.), Mladi Ivi vkleci. Umélecké skupiny nèmecky hovoricich vÿtvamikù z Cech, Moravy a Slezska v mezivdlecném obdobi (kat. vÿst.), Oblastni galerie v Liberci, Revnice - Libérée 2013 / Anna Habânovâ (ed.), Junge Löwen im Käfig. Künstlergruppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien in der Zwischenkriegszeit (Ausst.-Kat.) Oblastni galerie v Liberci, Revnice - Libérée 2013 Anna Habânovâ, Metznerbund - dlouho ocekâvanÿ ideâl? V: Anna Habânovâ (ed.), Mladi Ivi v kleä. Umélecké skupiny nèmecky hovoricich vÿtvamikù z Cech, Moravy a Slezska v mezmlecném obdobi (kat. vÿst.), Oblastni galerie v Liberci, Revnice - Libérée 2013, s. 20-39 / Anna Habânovâ, Der Metznerbund - das längstersehnte Ideal? In: Anna Habânovâ (ed.), Junge Löwen im Käfig. Künstlergruppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien in derZwischenkriegszät (Ausst.-Kat.), Oblastni galerie v Liberci, Revnice - Libérée 2013, S. 20-39 Anna Habânovâ, Oktobergruppe, v: Anna Habânovâ (ed), Mladi Ivi v kleä. Umélecké skupiny nèmecky hovoricich vytwmikü z Cech, Moravy a Slezska v mezivdlecném obdobi (kat. vÿst.), Oblastni galerie v Liberci, Revnice - Liberec 2013, s. 80 -93 / Anna Habänovä, Die Oktobergruppe, in: Junge Löwen im Käfig. Künstlergmppen der deutschsprachigen bildenden Künstler aus Böhmen, Mähren und Schlesien in derZwischenkriegszät (Ausst.-Kat.), Oblastni galerie v Liberci, Revnice - Liberec 2013, S. 80-93 Anna Habänovä, Erwin Müller (kat. vyst. / Ausst.- Kat.), Oblastni galerie Liberec, Liberec 2014 Hugo Haberfeld, Deutschböhmische Kunst auf der Reichenberger Ausstellung Mai Oktober 1906, Deutsche Kunst und Dekoration 19,1906-1907, s./ S. 139-160 Die Hauptversammlung des Metzner-Bundes, Prager Tagblatt 46,1921, c. / Nr. 96,25.4., s. / S. 5 Hauptversammlung des Metznerbundes, Verband deutscher Kunstschaffender in der tschl. Republik, Kreis Nordmähren und Olmütz, Mährisches Tagblatt 48,1928, c./Nr. 134,12.6., s./S. 5 Hauptversammlung des Metznerbundes, Verbandes deutscher Kunstschaffender in der Tschl. 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Architektura, historie, vystaty, kulturni cinnost 1910-2000 (kat. vyst. / Ausst.-Kat.), Düm umeni mesta Bma, Brno 2000, s./S. 36-44 Prameny a literatura Quellen- und Literaturverzeichnis 350 JMENNŸ REJITRÎK PERIONEN- RECHTER Jmennÿ rejstfik zahmuje jména z hlavni stati, antologie textù a popisek. Odpovidâ rozlozeni ceskémutacetextu. Das Personenregister enthält die Namen, die im Text der Abhandlung, in der Anthologie und den Bildunterschriften genannt werden. Angeführt ist die Seitenzahl der tschechischen Fassung. A Adamek, Alfred 299 Adler, Egon 110,176,176 Adler, Friedrich 26,40,88 Adler, Paul 122 Alemann, Heine von 10 Ameseder, Eduard 50,55 Ascher, Emst 110,122,122 B Baar, Hugo 54,108,110,114,116 Baar, Lona 114 Bach, Alexandr 10 Barlach, Emst 294,298,308,309 Bartel, Harry 299 Barvitius, Viktor 34 Barwig, Franz 114,192 Saudisch, Heinrich 162-170,170,250,299 Bauer, Leopold 300 Baucmfreund, Jakub 230 Baum, Fritz 290 Beckert, Adolf 300 Beckert-Schider, Marey 298 Bendel, Rudolf 294 Bencsch, Josef 295 Bcnesovä, Katefina 18 Beran, Bruno 308 Beranjaro 16 Berger 290 Berger, Arnold 194 Berger-Bergner, Paul 241 Berti, Otto 272,308 Bibus, Felix 194,198,299,308 Birke, Emst 198 Bitzan, Rudolf 64,291 Bloch, Ferdinand 172 357 Bock,Jiri 18 Böhm, Alfred 290 Böhm, Gustav 110,111,294 Bondy, Walter 125,297 Böttger, Rudolf 308 Brentano, Franz 28 Brod, Max 28,68,96 Brömsc, August 60,82,82,86,93,94,120,142, 173,174,176,180,198,212,289,290,291,292, 293,294,295,296,297,300,302,307,309 Brozik, Vaclav 28 Bruder, Anton 194,295,299,308 C Croy, Gustav 20,294 Czech, Emil 194 Czcrmak 301 Czcschka, Karl Otto 64,84 e Capek, Josef 96 D Dalbajewa, Birgit 18 Daumier, Honoré 96 Decker, Karl 234,298,299 Dietel, Franz 124,128,218,290,292,293 Dietrich, Eva 293 Dietrich, Hartwig 299 Ditz, Walter 119 Dix, Otto 294,308,309 Döblinger 290 Dobrowsky, Josef 220,222,297,298,308 Dom, Alfred 179,290,294,295,297,299,308 Dressier, Roman 227,243,298,301 Duras, Mary 296,297,299,308 i Eckhardt, von Eckhardsburg Viktor 56 Egger-Lienz, Albin 308,309 Ehlen, Ottilie 24 Ehlen, Otto 24 Ehrenhaft, Ludwig 114 Eichhoff, Karl 194,294 Eichler, Viktor 16,134135- 225.254» 275,299 Eisner, Pavel 96 Elbogen, Elvira 171 Enzmann, Eduard 239 Erben, Gottfried 249 I Faistauer, Anton 293 Fauconnier, Henri Le 296 Feigl, Friedrich 69,70,76,82,96,106 107,118, 122.127.291.296.297.298 Felgenhauer, Richard 16,143,232,233,236,271, 290.295.299 Filla, Emil 120 Fischei, Alfred von 114 Fischer, Karl 194,198,202 Fischer, Karl Richard 156,301 Fischer-Geising, Heribert 289,290 Fitz, Leo 202,298 Fleischmann, Gustav 290 Fleissner, Richard 182,254,270,294,295,296, 297,299»3o8 Fleissner-Plischke, Edith viz / siehe Plischke-Flcissner, Edith Foehr, Adolf 142,152,300 Frantisek Josef I.54,94 Frass, Wilhelm 297 Fuchs, Rosa 289 Fürth, Jacob 86 C Gärtner, Fritz 54,90,96,291 Gassler, Josef 213, 214,220,222,222,235,236, 256.296.297.298 Gebauer, Paul 198,200,308 Géricault, Théodore 96 Gerstncr, Wilhelm 290 Geyer-Plavec, Elisabeth 250,308 Ginzkey, Hermine 102 Gödl, Carl 117 Gödl-Brandhubcr, Lilli 88,95,103,114,120, 194.206.289.294.299 Goebbels, Joseph 304,306 Göhsl, Michael 292,293,298,299 Görlach, Erwin 208,261,296,298,299,308 Görlach-Niemetz, Hede 298 Götzl, Adolf 299 Graf, Franz 289,293,298 Griepenkerl, Christian 54 Groag, Jacques 291 Gröger, Kurt 190,198 Grohmann, Franz 216,296 Gröschl, Albert 138 Gruss, Franz 16,237,298,308 Günter, Rudolf 299 Jmennÿ rejstrik Personenregister Haas, Leo 299 Habän, Ivo 18 Hablik, Wenzel 88,90,110,116,122,291,296 Hadwiger, Viktor 28 Hallegger, Kurt 299,308 Hallegger-Bunzel, Amai 299 Hanak, Anton 192,296,297,300,302,303 Hansen, Hans 30 Harrer, Karl 308 Harta, Felix Albrecht 297 Hartig, Fred 252,270,299 Hartl, Franz 206,301,302 Hartl, Grete 291 Haupt, Eva 18 Hauptmann-Sommer, Eugenie 97,212 Hayduk, Olga 298 Hegenbart, Fritz 48,50,54,58,120 Hegenbarth, Emanuel 50,56,120,297,300 Hegenbarth, Josef 212,291,296,297,302,303, 308.309 Heide-Paudler, Franz 208,294,301 Heidrich, Reinhard 190 Heinzl,Jan 18 Helle, Franz 299 Heller, Oskar 190,192,193,194 Hellmessen, Anton 30,34,30 Hellmessen, Gustave 30,31 Helzel, Emil 177,289,291 Henke, Adolf 302 Henlein, Konrad 254 Herr, Artur 190 Herschel, Otto 130 Hindenburg, Paul von 286 Hodiener (tez / auch Hodina), Hugo 194,309 Hofer, Karl 296,297,309 Hoffmann, Josef 192,297,300 Hotmann, Oswald 16,286 Hochsierdcr, Norbert 212,291,292,293,299 Hojda, Zdcnck 12 Holan, Karel 297 Holy, Miroslav 296,297 Holzel, Adolf 110,192,300,308 Hönigschmid, Rudolf 172,300 Hönich, Heinrich 129,130,198,250,272,289, 291.299.308.309 Horb, Max 64,82 Hoyer, Paul Josef 289,290,295 Hribova, Sarka 204 Hruby, Karl 194,299 Hübel, Hermine 266 Huber, Ernst 296,297 Hühncl, Gustav 290 Hujer, Ludwig 50 Hulickovä, Viera 18 Humplik, Josef 297 CH Charlcmont, Eduard 110 Charlemont, Hugo 100,110 Charlemont, Theodor 114 Chleborädovä, Bohuslava 18 Chodejovskyjan 18 Chocholousek, Jiri 18 Chocholouskovä, Alice 18 J Jäger, Hans 301 Jäger, Josef 170,282 Jäger, Wenzel Franz 16,50,50,54,58,64,84,8j, 124,130,142,212,290,291,294,308,309 Jakesch, Alexander 28,29,33,34,294 Jakesch, Heinrich 28,30,30 Jaksch-Wartenhorst, Franziska 289,291 Jakubck, Rudolf 289 Janas, Robert 12,202 Jantsch, Edgar 212, 230,292,293,297,302 Jaronek, Bohumir 114 Jelinek, Rudolf 194 Jcttmar, Rudolf 50 Jilowsky, Georg 88,120-121,123,289,291,294, 299.302 Johne, Karl 239,265,298,301 Jordan, Olaf 295 Jordan, Wolfgang 295 Just, Oskar 243,245 Justitz, Alfred 86,92,96,124,127,172,176,212, 289.291.293.297.302 K Kahl, Rudolf 162 170,170 Kahler, Eugen von 54,122,296,302 Kalvach, Rudolf 84 Karasek, Rudolf 179,180,180,183,184,212,271, 277,290,291,294,295,298,299 Karger, Josef Eberhard 295 Karkanovä, Hana 12 Kars, Georg 54,64,66,70,72,82,96,116,122, 172,222,297,302,303 Kaschak, Karl 14,183,212,242,254,294,295, 299,306 Kastil, Alfred 28,58 Kauders, Gertrude 294 Kausek, Fritz 124,138,172,176,180,291,293, 294.295.297.299.308 Kautsch, Heinrich 50 Kerl, Karl 250 Kiesewetter, Berta 84 Kimig, Alois 24,30,34 Kitt, Ferdinand 297 Klee, Paul 304 Klein, Karl 295 Klein, Wilhelm 28 Klemm, Walther 16,54,84,289,291,292,293, 294.296.297.299.302.308 Kletzl, Otto 14,296,302,303,304,308 Klier, Wilhelm 16,212, 216,222,250,254,292, 293.296.297.298.299.308 Klimt, Gustav 65,82,124,293,295,302 Klinkovä, Hana 18 Kloubek-Schnitz, Anna 291,294 Kobza-Zahn, Ilona 267 Köhler, Arthur 299 Kohn, Franz 290 Koch, Wilhelm 160,239,265,289,290,298 Kokoschka, Oskar 198,298,299,304,309,310 Kolaczek, Karl 16,299 Kolig, Anton 296,297,303,308 Kollwitz, Käthe 298 Kopetzky, Paul Albert 290,294 Kopf, Maxim 172,172,175,180,206,212,290, 291.295.296.297.298.302.308 Koppe, Georg Gustav 114,115,299,302 Koppe-Szegfy, Erzsi viz / siehe Szegfy-Koppe, Erzsi Korzendörfer, Konstantin 294 Kostial, Karl 64,294,299 Köstler, Anton 290 Kotera, Jan 301 Kotik, Pravoslav 296 Kraft, Adam 263,293,299 Krapf, Anton 152,301 Kratschmer, Josef 190 Krattner, Karl st. / d. Ä. 14,28,32,34,40,46, 50,54,58,64,82,84,86,88,94,120,124,138, 142,158,176,206,212,289,290,291,295,300, 301,302,303,304,307 Krattner, Karl ml. / d. J. 289,290 Jmenny rejstrik Personenregister 358 Kraus, Fritz 291 Krauss, Rudolf 297 Kreibich, Oskar 279 Krick, Johann Wilhelm 258,260,261,298,299 Kriz, Heinrich 290 Krobshofer, Oswald 289,294 Krombholz, Heinfried 259 Kruspersky, Fritz 299 Kubin, Alfred 297,298,203,308 Kubin (téz / auch Coubine), Otakar 77,293, 296,297 Kühmayer, Gerda 18 Kühnei, Hans 244,308 Kullil, Otto 190 Kunft, Alfred 8-9,180,181,187,188,189, 209,248,294,295,296,297,301 Kuschel, Ferdinand 299 I Lang, Otto 120 Lang, Willi 295,299,308 Langenberger, Alois 27$ Langer, Otto 190,192,194,196,197 Lastovkova, Vëra 18 Lauffer, Emil 32 Laukota, Hermine 34,40,96,289 Lazanskÿ, Josef 150 Lebiedzki, Eduard 50,55 Lederer, Fritz 82,84,289 Lederer, Hugo 114,293,297,300,302,303,308 Lehmann, Fritz 12,22,24,138,212,220,222,297 Leisching, Julius 54 Leppin, Paul 28,30,64,68 Leretz, Otto 290 Lhote, André 296 Lifka, Hans 309 Lindner, Hermine 34,96,294 Linsert, Carl 309 Lode, Eduard 45,290 Löffler, Berthold 64,308 Löffitz, Ludwig von 96 Loos, Adolf 304 Lorenz, Hans 295 Löw,Dorotte 289 Löwenstamm, Emanuela 294,298 Löwith, Wilhelm 50 Lumnitzer,PauI 83 M Mahler, Gustav 297 Mallcner, Theodor 16 Mann, Heinrich 297 Masereel, Frans 296 Mar, Carl von 96 Maschauer, Karl Heinrich 298 Mather, Rudolf 190,192,194,240,296,299 Max, Emanuclvon 24,54 May, Karl 171, 215,223,234,291,296,297,299 Mayerl, Adolf 62,225,289,291 Mayr-Harting, Robert 184,206 Medelsky, Josef 286 Meier-Michel, Johanna 96 Meinhard, Fritz 299 Meisel, Wilma 97,291 Meister, Otto 296 Melzer, Moriz 82,126,303,308 Menzel, Otto 25 Meseck, Felin 296 Metzner, Franz 42,50,58,84,86,86,96,120, 122,124,140,142,158,192,286,289,291, 293,295,296,297,300,302,303 Meyrink, Gustav 28,30,212 Micovä, Marie 18 Michalcovä, Daniela 190 Michalik, Rudolf 194,198,202,202,203 Michel, Wilhelm 54 Michl, Ferdinand 30,38,294,297 Mikeska, Riko 295,299,308 Mikulova, Sofia 204 Millet, Jean-Françoise 96 Milrad, Richard 20 Minder, Rudolf 158 Mirsky, Eugen 289 Mlcoch-Kraigher, Otto 276,308 Moissi, Alexander 30 Moser, PaquitaL. 293 Mosler, Raimund 196 Müller, Erwin 16,180,186,220,294,295, 296,297,298,299 Müller, Josef 302 Müller, Richard 297,308,309 Myslbek, Josef Vaclav 30 N Nemes.Endre 250 Nester-Laux, Marie 294 Neudek, Helli 194 Neunteufel, Ignaz 190,192 Neuschul Ernst 172,292,293 Nietzsche, Friedrich 110 Nipperdey, Thomas 10 Nolde, Emil 304,308,309 Nowak, Willi 60-61,68,71,73,74,76,82,96, 106,110,122,172,176,250,296,297,298, 299,303,308,309 0 Ohmann, Friedrich 295 Olbrich, Emst 290 Opitz, Ferdinand 87,88,88,116,118,120 Opitzjosef 308 Oppenheimer, Max 64,75,124,133,172,297,302 Oppitz, Wilhelm 291 Orlik, Emil 22,24,25,26,28,30,46-47,50,52, 54,84,96,109,120,124,291,293,294,296, 297,300,302,303 Ozenfant, Amédée 222 P Palmejosef 298,299 Pascin, Jules 222,296 Passer, Grete 295 Paupie, Willi 194,276,308 Pauser, Sergius 297 Payer, Artur 134,142,289,291,297 Pazdemikovä, Petra 18 Pazoutoväjana 18 Perlsee, Ignaz 24 Perst, Heinrich 301 Peters, Ursula 250 Petricek, 299 Pezellen, Tina 291,295,297,298 Pfeiffer Julius 212,302 Pfeiffer-Fried Josef 298,299 Pfohl, Alexander 273,299 Picasso, Pablo 295 Pietschjosef 291,296 Pichler, Sidonie 294 Pillhatsch, Oswald 299 Pittermann, Emil Artur 82,93,115,119,126 Planckh, Viktor 194,297 Pleyer, Wilhelm 290 Plischke, Franz 16 Plischke-Fleissner, Edith 185,250,290,294, 29J,299J08 359 Jmenny rejstrik Personenregister Poliak, Grete 291 Poliak, Max 122,124,291 Pompe, Ilse 298,299 Pontini, Fritz 50,69 Posselt, Alfred 300 Pötzl, Engelbert 290 Powolny, Michael 64 Prade, Rudolf 212,281,290,298,299,308 Prahl, Roman 10,12,54 Preisler, Jan 120 Prinke, Josef 177 Proksch, Erwin 299 Pulz, Eduard 289,291 Piischel, Ludwig 206,298,308 R Rada, Vlastiniil 296 Raida, Fritz 192,194 Raida, Luß 194 Rakusanovä, Marie 110 Ramisch, Karl 231,295,299 Randacek, Jan 18 Reichel, Fritz 190 Reichel, Franz Ernst Reiss, Karl 124 Rcjhonova, Marta 18 Ressel, Artur 238,290,291,294 Reynier, Emil 24 Rieber, Alois 42,43,60,124,172,291 Riedel, Ernst 292,293,296,297,298 Riedel, Wilhelm 172,308 Richter, Ernst 296 Rilke, Rainer Maria 28,30,54 Rödl-Ostermann, Mary 291 Roller, Alfred 300 Rollin, B. 290 Rosenberger, Oskar 152 Roth, August 44,50,54 Roubalik, Bohumir 28 Rousovä, Hana 18 Rumpler, Franz 50,300,302 Russ, Willi 289,292,293,298 Ruzicka-Lautcnschlager, Hans 291 Rehäkovä, Nad a 16 I Saliger, Ivo 191,194,212 Samz, Anton 124 Sawicld, Nicolas 12,68 Sedlárová, Jitka 12,110,114 Seemann, Herbert 213,214,244,298 Sechert, Heinrich 106 Seiboth, Ernst 290,291,297,299 Seidl, Hermann 246-247 Seitz, Friedrich 158 Schaffner, Katharine 40,105 Schäfer, Emst 301 Scheibenhof, Arthur von 290,298,302 Schickei, Eduard 298 Schiele, Egon 293 Schieschneck, Ernst 34 Schicht, Georg 301 Schiketanz, Hugo 290 Schinzel, Walter 198 Schiein 290 Schiindenbuch, Rudolf Herbert 277,298,299 Schmid, Heinrich Alfred 82 Schmid, Rudolf 224,290,296,301 Schmied, Grete 299 Schmiedl, Julius 172,289 Schneider, Otty 104,290,294,299,302 Schneider, Wilhelm 16,298 Schober, Peter Jacob 222 Schober, Oskar 106 Schober, Peter Jakob 296 Schönecker, Toni 298 Schopenhauer, Arthur 110 Schrötter, Richard 194,198,198,222,293,297 Schrötter-Radnitz, Charlotta 294,297,299 Schück, Anton 117 Schubert, Fritz 270 Schumann, Paul 120 Schürer, Oskar 222 Schustala, Julius 120 Schuster, Franz 251 Schusterjulie 264 Schwcdler, Max 299 Schweigt, Otto 282 Schweriner, Franz 289 Sicburger, Frieda 289,291 Siegmüller, Hugo 298,299 Siegmund, Franz 298 Singer, Julius 124,289,291,294 Sitte, Willi 254 Slevogt,Kurt 292,297 Sobotka, Franz 34 Sokol, Rudolf 194 Sovovä, Ilona 18 Sperl, Lothar 260,164,299 Spiethoff, Erich 301 Spina, Franz 184,206 Springer, Sidonie 226 Srb-Schlossbauer, Wilhelm 187,224,292, 293,294,296,297,298 Staeger, Ferdinand 64,84,106,291,297,302, 308.309 Steidl, Emst 219,289,298,308 Steiger, Anton 190 Stein, Hilde 110,116,122 Stein, Otto Th. W. 116,116 Steiner-Prag, Hugo 28,30,34,45,84,94,212, 291,294,297,299 Stern, Friedrich 50 Sternhell, Theodor 172,212,291,302 Stifter, Adalbert 212 Stigger, Josef 298 Stolte, Halgard 18 Stornier, Fritz 257,262,297,298,299 Strahl, Gustav 290 Stratil, Karl 195,200 Strehblow, Heinrich 156 Streit, Anton 298 Streit, Robert 16,278,280 Strobel, August 14,134,206,302 Struppe, Max 290,296,298,299 Stubner, Robert 299 Svobodovä, Katerina 12 Szegfy-Koppe, Erzsi 94,299 i Späla, Vaclav 297 Stursajan 291 Svehla, Antonin 184 T Tampe, Friedrich 295 Temple, Hans 116 Teschner, Richard 28,30,49,58,64,65,86, 94,123,291,302,303,308 Teweles, Heinrich 294 Theiner, Marianne 289 Thiele, Franz 39,44,51,54,58,64,96,124, 131,133,141,212,228,250, 254,272,290, 291.296.299.308.309 Thiele-Peschka, Inge 253,255,296,298,299,308 Jmenny rejstrik Personenregister 360 Thicmann, Carl 100, 289,291,292,293 Thuma, Carl Maria 110,112-113,295 Thuma, Hans 180,186,294,295,295,298,299 Tischler, Viktor 297 TrÖtscher, Albert 289 Tschakert Robert 295 Turnwald, Anne 291 Tursch, Eduard 246 U Uher, Hugo 80,81,116,289 Uhl, Emil 32,50,54 Unger.Otto 299 Uprka,Joza 54,114 Urban, Franz 229,256,296,298 Utitz, Emil 96 Utrillo, Maurice 222,296 Y Veit, Rudolf 298 Veleehovska, Jana 18 Vietze, Josef 250, 276,278,309 Vichrova,Marcela 18 Vlnas,Vit 12 Vogel, Karl 297,299 Voh, Oswald 16,220,265,295,308 Vondruskovä, Lada 18 Vysohlidovä, Zdcnka 18 Vytiskova, Eva 18 W Wagler, Paul 150 Wagner, Karl 134,136,137,172,206,290,291, 293,294,296,299,300,301,302,308 Wahlert, Gabriele 296 Walter-Bogner, Lisbeth 290 Walter-Cocl, Rudolf 30,118,150,290 Watzal, Johannes 250,275,290,294,301,306 Watzlik, Hans 290 Watznauer, Rudolf Adolf 194,293,295 Weber, E.A. 290 Weber, Heinrich 190 Weirich, Ignaz 43 Wenzel, Alfred 299 Werner, Franz 65,82 Westheim, Paul 250,306 Wiechowski, Friedrich Wilhelm 28 Wien-Claudi, Franz 138 Wiener, Oskar 28,30,54,64,68,86 Wierer, Alois 64,78-79,84 Wiese, Raimund 299 Wildt, Thilde 16 Wilfert, Karl ml. / d. J. 22 23,28,30,42,43, 60,63,64,65,86,116,120,289 Wilfert, Karl st./d.Ä. 289 Wilfert-Waltl, Maria 98,99,289 Wirkner, Wenzel 36-37,291 Wolf-Zdekauer,Karl 138 Z Zaborsky, Oskar 294 Zadkine, Ossip 296 Zasche, Josef 58,64,82,142,158 Zdrasila, Adolf 308 Zeschitz, Max 308 Zettlitzer, Hermann 274 Ziemann, Paul 301,302 Zoff, Alfred 120 Zügel, Heinrich von 297 Zülow, Franz von 296 361 Jmenny rejstrik Personenregister SUMMARY It is 2016 today, and writing a monograph of an art association which ceased to exist seventy years ago and whose membership base comprised German-speaking population living in Bohemia, iMoravia and Silesia, is not an easy task. While the 19th century source materials regarding (among others) the history of art and culture that are available to us today are informative and user-friendly, when it comes to the research of the recent past we keep coming up against obstacles deriving from the troubled events of the 20th century. Its first half was shackled by the two world wars which, together with all its social and political consequences, have determined our perception today of the work of German-speaking visual artists, both male and female, living in Bohemia, Moravia and Silesia. This specific group of artists, clearly defined in place and time, can be characterised, among others, by activities of several art associations. Until 1945 art associations played an irreplaceable role in the lives of visual artists and their audience, and their leaders formed artistic views which helped shape the national identity of the so-called Czech Germans. Metznerbund was one of them. The association was not famous for scandals and its members did not physically attack each other as it was the case among certain Czech groups, nor did its members “suffer” from overwhelming urges to leave en masse just to be admitted back into the same association later on. They led “quiet” lives, indulging in their artistic careers at the periphery of the newly born Czechoslovakia both in terms of art and geography. Metznerbund was there to help them present their work and arrange social gatherings. The first impulse to carry out the research of the history of Metznerbund was the collection of paintings, drawings, graphic prints and sculptures made by German-speaking visual artists, both male and female, based in Bohemia, Moravia and Silesia, managed by the Regional Gallery in Liberec. It is no coincidence that one of the best and most extensive public collections of this art in the entire Czech Republic can be found in this town in the north of Bohemia. In the light of the recent research, Liberec can be attributed the role of “the most serious candidate for the capital of Czech Germans”, as documented by tradition and history. And it was not only the staff of the Regional Gallery in Liberec who was confident that this tradition should live on. Despite a lot of pro-regime and primarily anti-German efforts made by employees of museums or, for instance, the National Reconstruction Fund, strongly supported by newly established post-war art associations, memory institutions and institutional collections also experienced some bright moments in the second half of the 20th century, owing to a lot of courage and love for the visual art regardless of nationality (starting in the late 1940’s, there were even efforts “not to sell but ultimately destroy German works of visual art of lesser artistic value - called rubbish - which belonged to the seized property and found their new homes in Czech families, in order to shield the Czech public from the influence of decaying German art (especially along the border where there is a lack of genuine Czech visual art) ”). The book is divided into two parts. The first part focuses on the history of the association and includes an introduction describing the origins of two art groups - immediate predecessors of Metznerbund: the oldest Association of German Visual Artists in Bohemia [Verein deutscher bildender Künstler in Böhmen] and German-Czech Union of Artists [Deutschböhmischer Künstlerbund]. The second part constitutes an anthology of texts selected based on the findings of vast searches in daily newspapers of the period. They comprise primarily essays written by reviewers of Prager Tagblatt, Deutsche Zeitung Bohemia daily newspapers and regional periodicals focusing on activities of associations, formal appearance of artwork, and politicization of art after 1933. The anthology includes critical comments providing political, cultural and associational insights. The purpose of the dual presentation of the book is to provide both an interpretation of collected facts and a possibility to use them in further work. The research has been based on searches of source materials and especially newspapers and other periodicals of the period, specifically Prager Tagblatt, Deutsche ZätungBohemia, Aussiger Tagblatt, Gablonzer Tagblatt, Reichenberger Zeitung, Mährisches Tagblatt daily newspapers, and periodicals such as Deutsche Arbeit, Sudetendeutsches Jahrbuch fur Volk und Heimat and a number of other regional newspapers and magazines preserved in both public and private libraries and archives. The amount and explanatory power of the gathered information vary depending on different correspondents of cultural columns and contributions of reviewers. Renowned journalists included Fritz Lehmann, August Strocbel, Otto Kletzl, Karl Krattner and Karl Kaschak. They were shaping the image of the German-Czech visual art scene of the inter-war Czechoslovakia. Their news articles, reviews and polemics are of a relevant explanatory value, There are also a number of anonymous reviews, often of no lesser importance. Thus we learn above all about individual exhibitions held and become acquainted with participants thereof, about activities of association branches and other information. Although it is clearly defined in terms of both territory and time, no major archive collection relating to the researched topic has been preserved, and so the only method allowing the basic research of the topic is analysing the gathered information. The only exception is the personal archive of Karl Krattner, incomplete documents of the association branch in Jablonec nad Nisou and the scarce evidence found in the documents of the Prague branch. In 2013, complete findings of the research of German speaking visual artists based in Bohemia, Moravia and Silesia and the relevant terminology were presented in a collective monograph entitled Mladi Ivi v kleci. Umélecké skupiny némecky hovofidch vytvamych umèlcu z Cech, Moravy a Slezska (Young Lions in a Cage. Art Groups of German Speaking Artists from Bohemia, Moravia and Silesia). The present text is based on the same grounds. Besides finding excerpts of various written accounts, the more humane and generally more comprehensible side of the research constitutes the confrontation with paintings, graphic prints, drawings, sculptures and works of artcraft falling within the defined area which have been scattered nearly all over the world. Given the vast membership base of the association, these include hundreds of preserved works and dozens of reproduced prints. And yet they represent but fragments of what had actually been created in artists’ ateliers and presented to the public. Some of the prints published 363 Summary on the previous pages are already known and have appeared in the Czech art historical literature since 1994 when the now legendary catalogue Gaps in History was first published. The greatest number of works has been reproduced in Mladi h’i vkleci (YoungLions in a Cage). Nonetheless, we have had the chance to visit private collections of undiscovered potential over the past years and managed to procure unique copies of yet unknown works of art. The project “Nohle Competition of the Two Nations. The History of Metznerbund Art Association on the Czech Territory 1920-1945” was carried out in 2012-2016, a long-term research in European institutional collections and memory institutions and private collections, primarily in the Czech Republic, Germany and Austria, funded by the Czech Science Foundation. Extremely demanding searches consisted of browsing through tens of thousands of pages of newspapers and periodicals of the period. Hundreds of news articles have been found giving account of activities and character of the German-Czech art life as well as numerous reproductions of works of art which have already disappeared. The outcomes of the research have been published in the form of essays and presented to the public. There is only minimal level of overlap of prints published in the present book and those published in Young Lions in a Cage. While in 2013 each part of the publication strived to show specific works exhibited at different occasions during the inter-war period, the present publication attempts to balance up the whole picture of the work of German speaking authors falling into the scope of the research by including additional works that have not been published yet and are unknown for the most part to both experts and the general public. Metznerbund Art Association was established in 1920 during the era of tumultuous geopolitical, cultural and economic changes which swept through Central Europe and the whole world. It was based on ethnic grounds as the association of German visual artists living in Bohemia. Activities of the association aimed at breaking up the “old ways” of Austria-Hungarian territorial delimitation and administration - i.e. the restriction to the Czech lands territory - but its integration into Moravian and Silesian circles was not an easy task. The unambiguous focus on the Czech lands ensued from the traditional division to territories, which in the newly established Czechoslovakia was a certainty that could be held onto. Before Metznerbund there were two art associations based in Prague with a long history of about 25 years. In 1895, Verein deutscher bildender Künstler in Böhmen was established on the platform of the visual arts department of Concordia Association constituted in the manner of the Viennese group of the same name which started its activities in 1871. Its founding members included painters and sculptors, musicians and poets, journalists and scientists as well as many advocates of the visual art. The purpose of the association was to support literary, journalistic and artistic interests and its objectives were to be achieved, among others, by organising lectures, social gatherings, supporting the members and by opening a pension fund. Between the 1870’s and 1890’s active members of Verein included representatives of the older generation of the German-Czech circle; this generation was gradually replaced by leading figures of the so-called Prague Circle [Prager Kreis], as described in the writings of Max Brod, and later also Hugo Steiner-Prag. Exhibitions held in the German House [Deutsches Haus], Rudolfinum and other venues associated with Germans living in Prague restricted the association’s activity exclusively to Prague for some time. This situation changed with foreign activities (Vienna, Munich, Dresden) and presentations of the association in other Czech (German) towns (Liberec, Üsti nad Labem). Along with the formal changes in the area of the visual art, the first change in the organisation and activities of German- Czech art associations came between 1907-1909. In the world of art, secession meant the separation of a certain group from an association (from Latin word secessio), and it was usually young members who disagreed with academic methods of their older colleagues, had different artistic views and favoured modern approaches. The division of the German-Czech art scene in 1907-1908 gave rise to a completely opposite situation: based on previous negotiations, a new art association was founded by the older generation and constituted in 1909 and incorporated in the register of associations in July that year under the name of Deutschböhmischer Künstlerbund. However, parallel exhibitions did not bring much success, and soon members of the two associations began to mingle, organising exhibitions together. This fragmentation did not help the Prague artistic circles of that time and Kmstlerbund ceased its activities before the First World War which hit the lives of people with a great force. After the end of the First World War, it took several months for the life of the Czech-German associations to stabilise. In May 1919, the general meeting of Verein appointed Artur Payer as the chairman of the association; Karl Wagner was appointed his deputy. The association continued its activities, although perhaps only to the extent necessary to preserve its existence under applicable regulations. In July 1919, the preliminary committee of the new art association Deutschbohmische Kmstlergenossenschaft “Metzner” [German- Czech Community of Artists “Metzner”] called upon all German artists in Bohemia to unite. The first and foremost goal was to prevent the establishment of “new small groups and syndicates” because “already in summer 1914 the representatives of both Czech German art groups [...] agreed to transform”. Metznerbund was established in March 1920 in Teplice v Cechâch, at the periphery of the art scene. “The altered circumstances encouraged us to alter the organisation of artistic circles in Bohemia, too. [...] [The new organization] should exert influence in two main respects. Firstly upon artists themselves, and secondly, upon the advocates of art. All the experience of the past 25 years will be united under new approaches.” The choice of the name was an easy one - over the first two decades of the 20th century, Franz Metzner achieved what few of German-Czech or German- Moravian visual artist did: having established himself at the art scene between Berlin and Vienna, he was not afraid to present his work and notably his designs in his homeland Bohemia. Thanks to his work on The Monument to the Battle of the Nations [Volkerschlachtdenkmal] in Leipzig as well as his participation in exhibitions primarily in Austria and Germany, he gained renown despite his clear-cut and distinguishable creative approach to achieving the imaginary summit of quality, and he caught the attention of both experts and the general public. Summary 364 Unlike both its predecessors, Metznerbund chose a different system of organisation, focusing on activities outside Prague, and emphasizing from the very beginning the importance of visual artists in areas with German majority. Great importance was attached to activities in border areas. This is where branches of the association were established shortly after its foundation, and first exhibitions were held in summer 1920 (Teplice, Cheb, Jablonec nad Nisou). Activities of the Metznerbund association were governed by statutes, providing the basis for main objectives of the association. One of the objectives was to support the work of visual art and due economic care, another one and, as the founders thought, more important, was to emphasize the importance of visual art with respect to the cultural standing of Germans living in Bohemia among other European nations. The association strived to unite all German visual artists who were bom and based in Bohemia, or who belonged there although they worked outside the state or territorial borders. It was meant to be apolitical, the working language was German. Under item 3 of the statutes, activities of the association focused on organising exhibitions both at home and abroad, publishing reproductions of artwork, linking up visual artists and advocates of art, engaging in educational and public activities in the area of art, and promoting art and members of the association. The statutes did not explicitly forbid membership in other groups, but they expected regular participations in collective exhibitions. Organising collective exhibitions constituted the most important activity of the association. Only the Libérée branch had its own exhibition hall, a former hotel veranda, reconstructed and adapted to serve the needs of art exhibitions. It served its purpose until the mid 1930’s. It used to be a common practise given by historical context that school premises served for the purposes of exhibitions. Naturally, this limited the possible dates of exhibitions to summers months (summer break) and sometimes shorter periods of time before Christmas. This situation was far from ideal because with only one date available per year, exhibitions held were mostly collective ones. Activities differed in individual branches depending on different approaches of members who had enough power and energy to organise them. The Prague branch was in the best position to continue in the pre-war activities of both preceding art groups because a number of older generation artists were based in Prague, some of the foreign members returned to the new capital of the young Czechoslovakia after the break-up of the old polity. In autumn 1920, before the Prague branch was established, the first group separated from the so far “fully homogeneous [...] large block” - known as the so-called secession of DiePilger group. Similarly, four most active and most talented visual artists formed an independent group, as they proclaimed, within Metznerbund in Libérée, and first exhibitions of Oktobergruppe were organised. They dissociated themselves, in the style of DiePilger group, from the overly broad membership base of the association and the low quality of certain artwork presented at Metznerbund exhibitions. However, neither of them survived the first decade of the newly born Czechoslovakia and they both ceased to exist in the 1920’s. In 1930, there was an upsurge of creativity and organisation skills in Karlovy Vary where a local narrow group of artists opened the 1930 Karlovy Vary International Art Exhibition [Internationale Kunstausstellung Karlsbad 1930] . As Fritz Lehmann describes it, they have managed “to freeze out weak members of the art association and exclude “local authors”, invite Czech and French artists, and procure a decent exhibition venue as well as funding from the municipal government and Prague ministries”. Metznerbund was represented by 22 authors. Links with Vienna were ensured by a couple of active participants of the local artistic life: Wilhelm Klier as a long-term member of the Hagenbund association and Josef Dobrowsky on behalf of the Wiener Secession group. Among other representatives of associations of German artists based in Bohemia there were also key members of Prager Secession. The Second International Art Exhibition [2. internationale Kunstausstellung Karlsbad 1931] was similar in nature, and besides Metznerbund delegates, the most numerous group represented there was the Free Fellowship of Wroclaw Artists [Freie Kiinstlerverinigung Breslau]. Links to these circles can be found with North Bohemian members of Metznerbund who, to a lesser or greater extent, frequently participated at exhibitions in Silesia. The regional branch of Metznerbund in Olomouc also took part in some of the nationwide activities. It was Karl Krattner, the founder and organiser of Metznerbund, who dreamed of extending the association activities to Moravia. In the 1920’s, organisers of cultural life in Olomouc included the graphic artist Rudolf Mather, and later primarily Rudolf Michalik, a philosopher and Steinerian anthroposopher. As in Bohemia, the early 1930’s exhibitions in Olomouc were marked by the greatest artistic success, with participating artists such as Kurt Gröger, Richard Schrötter and Paul Gebauer, a native of Sosnovä and one of the most prominent figures of the New Objectivity among German speaking visual artists from Bohemia, Moravia and Silesia. The end of the branch in Olomouc was gradual and came after the Munich Agreement, in December 1938 at the latest, when the Mährischer Kunstverein art association based in Brno began its efforts to unite all German art association in Moravia and Silesia, as it was to “defer to the German nation and serve as the assembly centre of German art and culture effective from 1 January”. Together with the Metznerbund branch in Olomouc, the Kunstring group based in Ostrava also opted for this solution. The economic activity may not be quite as tangible at the first sight, yet it constituted an important element from the very beginning of Metznerbund’s existence, and, at the end of its days, it was the economic activity that turned the association into a tool of political propaganda. Even if we do come across articles about German-Czech art linked to Metznerbund activities in one of the inter- war period newspapers and magazines, they belong for the most part to revivalist rhetoric described by Sofia Mikulovä as “the fighting spirit of empty and propagandist phrases”. The economic activity of Metznerbund materialised mainly in efforts to ensure social security for its members, following the lead of Syndicate of Czechoslovak Visual Artists founded in November 1920. Although the merger with this syndicate was reftised already in 1921, it served as an example when it came to protection of legal, social and economic issues of German-Czech visual artists. However, hopes arising from 365 Summary the democratic development of the inter-war Czechoslovakia, when German minority in Czechoslovakia finally enjoyed more favourable position as in October 1926, after months of negotiations, representatives of two German democratic parties - ministers Franz Spina and Robert Mayr-Harting - joined the ruling coalition, were defeated by the world economic crisis which hit especially export industry - the business focus of many entrepreneurs living alongside the border, an area populated by a German majority. A special meeting was called by Metznerbund to Prague on 11 October 1930 and attended by representatives of “larger art associations”. The outcome of the meeting was a resolution to set up the Reich Union of German Visual Artists in Czechoslovakia [Reichsverband deutscher bildender Kiinstler in der Tschechoslowakei]. The objectives were the same as ten years before. The Reich Union was effectively constituted a year later. This initiative was probably perceived very seriously as visual artists of all generations engaged in it, e.g. Maxim Kopf, Lilli Godl-Brandhubcr, Karl Wagner or Ludwig Puschel. They sought to include visual artists who “suffered from poverty, and lack of income” among eligible recipients of state unemployment benefits. This rhetoric suggests that, modelled on cultural politics in Germany, it was one of the means of propaganda, and it did not take long before it turned into a propaganda tool altogether. It was 1933 and Franz Haiti managed what no-one else had before: he united the majority of German visual artists in Czechoslovakia under a single umbrella organisation. Then in spring 1934 „having given the matter due consideration, three associations - Prager Secession, German Graphics Union [Verband deutscher Grafiker] and Metznerbund branches in Jablonec and Liberec - came to the conclusion to part with the Reich Union because all its actions violated the purpose of these association as [...] they were going beyond their powers and included activities leading to the unification under the single Nazi politics”. It was also due to interfering with the artistic program of collective exhibitions: the Imperial Union had a say in the selection of works to be exhibited and authors to participate in exhibitions. Metznerbund was unable to resist it in the long-term. In 1937, the 1937 Sudetenland German Art Exhibition [Sudetendeutsche Kunstausstellung 1937] was organised by the German Union [Bund der Deutschen) and held at several venues between June 1937 and April 1938 in the spirit of pro-Hitler aesthetics and using well-tried means of propaganda. The five following exhibitions organised under the Metznerbund umbrella in Liberec during the war had one common denominator: nationalism and social consciousness. Presented works were characterized by similar formal manifestations of trivial realisms, consisting mainly of drawings and graphic prints. Following the assumption that the “Zeitgeist produces the content of the work”, the art production followed the path towards “the ideal of national community”. Exiled in France, Paul Westheim characterised it in 1937 as “the art that not only suppresses the truth, the art that simply has to falsify and suppress the truth under higher orders. This makes the truth very true in one respect: a true Third Reich”. The end of the Second World War brought the end of Metznerbund, too. At the end of its existence, only four regional groups were still active: Northern Bohemian one based in Liberec; Chebsko based in Karlovy Vary; Polabi in Üsti nad Labem and Moravia-Silesia based in Opava led by the painter Otto Schweigl. The property of the association was confiscated under Decree 108/1945 of 25 October on Confiscation of Enemy Property and National Reconstruction Funds. At that time, Metznerbund headquarters were based in Liberec, and the association was chaired by the graphic artist Josef Jäger. From May to June 1945, historic monuments in the Liberec region were being secured (seized) and property confiscated by the independent Security Committee of the Czech National Council. The association offices in Liberec were located just around the corner from the museum and were secured (seized) on 11 July 1945. The confiscated items included mainly furniture and personal belongings of Josef Jäger who let the association use it to furnish the exhibition hall then located on the first floor of the Dunaj Palace where a purchase exhibition of members of various groups across the region was held at the end of the war. There is no more evidence of what became of the paintings thereafter. On 30 May 1945, the Security Commission seized historical items at the Lemberk Castle. The castle kitchen and two maiden rooms contained “sculptures belonging to the Liberec Metznerbund branch, 21 boxes signed G. S. belonging to the Liberec county administration and the professor Hofmann from Prague (signed 0. H.)”. The inventory list suggests that they consisted of several dozens of paintings, drawings, and 170 sculptures mistakenly taken for the work of Franz Metzner as it also appears from the record of the sculpture inspection in April i960: “They are the legacy of Franz Metzner, a sculptor based in Liberec, whose collection was brought here in about 1945. They are now deposited in the stables and are to be taken over from SPS [State Heritage Administration], in liquidation, by National Regional Committee. [...] Sculptures will be displayed in rows so that they can be viewed and subjected to stocktaking. [...] Once taken over, the collection will be sorted out (if necessary) and offered to Antikva (state-owned antique shop). The fate of sculptures was decided in the late 1970’s when the entire set was handed over to Barrandov Film Studios. The production of Metznerbund association has been preserved to this day (in the rudimentary state that remained) in depositories of institutional collections and has been gradually finding its way to the free art market. While the overall influence and importance of the association is not to be overrated as it followed neither any formal ways nor the development of the contemporary European art, and exhibitions held by the association were rather conservative ones, belonging to the mainstream inter-war realistic tendencies, it constituted an integral part of the local culture and it should be regarded as such in the context of the overall evaluation of the art development in the inter-war Czechoslovakia. Summary 366
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spelling	Habánová, Anna ca. 20./21. Jh. Verfasser (DE-588)1144896215 aut Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945 Anna Habánová Metznerbund Die Geschichte des Kunstvereins Metznerbund 1920-1945 Liberec Technická univerzita v Liberci [2016] 366 Seiten Portäts, Faksimiles txt rdacontent sti rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Text deutsch und tschechisch Metznerbund (DE-588)1130664856 gnd rswk-swf Geschichte 1920-1945 gnd rswk-swf Künstler (DE-588)4033423-5 gnd rswk-swf Böhmen (DE-588)4007467-5 gnd rswk-swf Protektorat Böhmen und Mähren (DE-588)4076390-0 gnd rswk-swf Tschechoslowakei (DE-588)4078435-6 gnd rswk-swf Tschechoslowakei (DE-588)4078435-6 g Protektorat Böhmen und Mähren (DE-588)4076390-0 g Metznerbund (DE-588)1130664856 b Geschichte 1920-1945 z DE-604 Böhmen (DE-588)4007467-5 g Künstler (DE-588)4033423-5 s Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029670517&sequence=000005&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029670517&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029670517&sequence=000007&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029670517&sequence=000008&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Abstract
spellingShingle	Habánová, Anna ca. 20./21. Jh Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945 Metznerbund (DE-588)1130664856 gnd Künstler (DE-588)4033423-5 gnd
subject_GND	(DE-588)1130664856 (DE-588)4033423-5 (DE-588)4007467-5 (DE-588)4076390-0 (DE-588)4078435-6
title	Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945
title_alt	Metznerbund Die Geschichte des Kunstvereins Metznerbund 1920-1945
title_auth	Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945
title_exact_search	Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945
title_full	Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945 Anna Habánová
title_fullStr	Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945 Anna Habánová
title_full_unstemmed	Dějiny uměleckého spolku Metznerbund 1920-1945 = Die Geschichte des Kunstvereins Metznerbund 1920-1945 Anna Habánová
title_short	Dějiny uměleckého spolku Metznerbund 1920-1945
title_sort	dejiny umeleckeho spolku metznerbund 1920 1945 die geschichte des kunstvereins metznerbund 1920 1945
title_sub	= Die Geschichte des Kunstvereins Metznerbund 1920-1945
topic	Metznerbund (DE-588)1130664856 gnd Künstler (DE-588)4033423-5 gnd
topic_facet	Metznerbund Künstler Böhmen Protektorat Böhmen und Mähren Tschechoslowakei
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