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In early 20th century, the art historical institute in Vienna led by Josef Strzygowski (1862-1941) offered the unique opportunity to study the arts of Asia and the Middle East at university level (fig. I).· 1 The rich material repository for the study of 'Oriental' art - consisting of ca. 4000 books, 52.000 photographs and images, and 20.000 lantern slides - was unparalleled in Europe.2 It attracked a large number of students and turned the institute into a hub for Asian and Islamic art. Numerous guest auditors from all over Europe and abroad further enriched the lively community.3 Between 1910 and 1933, more than one hundred students supervised by Strzygowski completed their dissertations on Northern European, Austrian, Persian, Islamic, Chinese, Japanese and Indian art.4 Suzanne Marchand has directed attention to the strikingly Targe number of female students' at Strzygowski's institute, 'who would make careers outside Central Europe and remain relatively free from racist ideologies' The article pursues the twofold aim of combining a historical intersectional study of the Vienna school with a critique of patriarchal patterns of historiography. This study aims to contribute to research of the co-constitutive relation of art and identity markers such as gender and race.The article consists of three parts: two historical studies (part I and III) embrace a theoretical section on patriarchal patterns in historiography (part II). In the first part, Melanie Stiassny's presidency of the Society of Friends of Asian Art and Culture is the centerpiece of the historical investigation. The society was one of the liveliest in inter war Vienna, and Stiassny, as its managing vice-president, organized exhibitions, broadcasts and adult education, edited the journal of the society, and published articles on Chinese art. Knowledge about Stiassny and the infrastructure of the society sheds light on the processes of valorizing Asian art. It furthermore gives insights into how Strzygowskian graduates built networks and professionalized.23 The second part, the theoretical section, draws on feminist, gender and intersectional studies to analyse patterns and conventions of historiography. A close reading of several articles on Viennese art history reveals how androcentric criteria shape historiography to date. The third part adopts some of the androcentric historiographical criteria such as 'success' to comparatively trace careers of 'successful' women and men art historians.24 Interestingly, their migratory trajectories reveal a gendered and raced pattern of migration: Women and non-European men art historians often found their first academic positions at universities in the Middle East or Asia, whereas European men began their careers at museums in Vienna and Berlin. Eventually, most worked in area studies departments at US-American universities.

The work of Josef Strzygowski (1862-1941), chair of the First Department of Art History at the University of Vienna from 1909 until 1933, has received increasing attention in studies of the historical precedence for current debates about global and world art history. Despite this renewed interest in Strzygowski, his global map has hardly been scrutinized and the narrative he developed based on his comparative approach within this new art geography has not been addressed in detail, at least not beyond confirming his racialised perspective, i.e., his attempt to reclaim the importance of a neglected \"Nordic\" or \"Aryan\" heritage in the development of European and Eurasian art. In this article I step back from the supposedly global Strzygowski to focus on one region on his global map, East Asia, and to examine his legacy--problematic as it may be--in East Asian art history by exploring the work of two of his students, Karl With (1891-1980) and Alfred Salmony (1890-1958). [Abridged Publication Abstract]

Y como este verde personaje, inventado por Theodor S. Geisel (Dr. Seuss) en su cuento \"Como el Grinch Robo la Navidad\" (1957), hay por las calles cientos de individuos que detestan las festividades decembrinas y harian lo que fuera por sabotearlas, coinciden los psiquiatras Rafael Salin-Pascual y Alfredo Salmon. Como estos, existen miles de motivos, porque la actitud ante las fiestas esta determinada por la propia historia, senalan los expertos. Por lo general, el rechazo se manifiesta de dos maneras: una actitud hostil ante todo lo que que huela a Navidad, que puede incluso convertirse en una fobia, o entristecimiento, que puede derivar en una depresion clinica. Ambos requieren atencion especializada. \"Hay gente que se pone de malas y detesta estas fechas a consecuencia de la inmensa carga de publicidad navidena que impulsa a comprar, que incluso te ordena ser feliz. Como en el caso del empleado de una tienda departamental, quien en diciembre trabaja jornadas mas largas y va a estar oyendo el mismo disco de villancicos todo el dia. Eso produce depresion y estados de animo de ira, molestia, es gente que ya esta harta de todo lo que tiene que ver con la Navidad\", apunta Salmon.