Journal ARS 42 (2009) 1

Ingrid CIULISOVÁ

Úvod

Since 1989 East-Central Europe has undergone a radical geo-political redefinition, one that has brought a significant shift in the perspectives of both insiders and outside observers. The new label “Cen¬tral Europe” was reinvented as a tentative alternative to the politically discredited “Eastern Europe”. After many decades in which the cultural heritage of the region was physically and intellectually inaccessible, foreign intellectuals are focusing once again on Cen¬tral Europe. Art historical research has become an integral part of this process. The way that scholars have looked at artists and their works, however, depends on place and time. Not surprisingly, the points of view employed by foreign experts often differ considerably from those of Central European scholars, who have focused almost exclusively on topics related to national traditions. Indeed the Austro-Hungarian Empire’s legacy has influenced their efforts to write national art histories.

Nevertheless, the early 1990s witnessed the first attempts of local art historians to promote Central European art within the broader European context and, concurrently, some initial reflections on Cen¬tral European art written by foreign experts. Some publications and exhibition projects of the last two decades have displayed inspiring approaches and useful methodological models while making essential steps to balance, even partially, two distinct traditions of art historical research. In spite of the growing number of publications, this process remains slow and challenging. It is difficult for scholars on both sides to abandon traditional assumptions or to rewrite the history of art to accommodate a new, suddenly more inclusive understanding of European, rather than just Western or Central European, culture.

This is why this current issue has been prepared. My sincere thanks go to all contributors who kindly accepted my invitation. Namely to those who agreed “to travel” as far as to East-Central Europe, which others still view as comprising lands caught between civilization and barbarism. The publication is devoted to all who believe that “la République des Lettres” is still alive.