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Avant-Garde Anachronisms: Prague's Group of Fine Artists and Viennese Art Theory
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Journal Article
Avant-Garde Anachronisms: Prague's Group of Fine Artists and Viennese Art Theory
2012
Overview
The Czech Group of Fine Artists published their journal, Umělecký měsíčník (Art Monthly, 1911-1914) to justify their abstraction and their interest in French cubism in response to criticism that denigrated their work as incomprehensible and foreign. In this article, Naomi Hume argues that the Group's strategy was fundamentally at odds with how avantgardes have been understood to operate in scholarship on modernism. Rather than asserting a break with the past, the Group applied new Viennese art historical approaches—particularly those of Alois Riegl, Max Dvořák, and Vincenc Kramář—to draw parallels between their work and prior art objects that departed from mimesis. They equated their radical style with what Riegl called anachronisms in art's development, moments when an independent will to form emerges from the mainstream. By bringing French cubist ideas into dialogue with the inherent spirituality of their own national tradition, the Group saw themselves as reinvigorating Czech art.
