This article explores the official exhibition of Austrian art held in May 1930 at The Society for the Encouragement of the Fine Arts in Warsaw. Showcasing 474 artworks by 100 artists, the exhibition spanned the years 1918–1930, a period marked by Austria’s efforts to overcome post-war political isolation. The article examines the exhibition’s rhetoric and its critical reception in Warsaw within the broader context of Polish–Austrian diplomatic relations, influenced by Austria’s challenging political and economic situation and the priorities of the Second Polish Republic. The introductory essay in the exhibition catalogue, authored by Hans Tietze, emphasized Vienna’s seminal role as a cultural center at the crossroads of European artistic trends. This approach aligned with the cultural diplomacy of Johannes Schober’s government, which aimed to underscore a rhetoric of openness to the cultures of other nations, particularly the successors of the Habsburg Empire. This contrasted with the later identity policy of the Bundesstaat Österreich, which elevated Tyrol as emblematic of the core German–Austrian identity constructed in the new state. The analysis reveals that the exhibition represented the peak of Polish–Austrian cultural relations during the interwar years, suggesting the potential for broader engagement. However, this potential was short-lived, ultimately thwarted by the Anschluss of Austria to Germany in 1938.

中文翻译：

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“南北、东方和西方之间的文化调解者”：1930 年华沙奥地利艺术官方展览


本文探讨了 1930 年 5 月在华沙美术鼓励协会举办的奥地利艺术官方展览。该展览展示了 100 名艺术家的 474 件艺术作品，跨越了 1918 年至 1930 年，这一时期是奥地利努力克服战后政治孤立的时期。本文在波兰-奥地利外交关系的更广泛背景下探讨了该展览的言论及其在华沙的批评性接受，受到奥地利充满挑战的政治和经济形势以及波兰第二共和国优先事项的影响。展览图录中的介绍性文章由汉斯·蒂策 (Hans Tietze) 撰写，强调了维也纳作为欧洲艺术潮流十字路口的文化中心的重要作用。这种做法与约翰内斯·肖伯政府的文化外交相一致，旨在强调对其他国家的文化开放的言辞，特别是哈布斯堡帝国的继承者。这与德国联邦国家后来的身份政策形成鲜明对比，后者将蒂罗尔提升为新国家构建的德奥核心身份的象征。分析表明，该展览代表了两次世界大战期间波兰与奥地利文化关系的顶峰，表明了更广泛接触的潜力。然而，这种潜力是短暂的，最终因 1938 年奥地利并入德国而受阻。