400
pages, Pantheon, ISBN-13: 978-0307378804
Good Living Street: Portrait of a Patron Family, Vienna 1900
is one of those books which seems to be, on the surface, a simple family yarn;
however, there is a lot more to this rare gem, as Tim Bonyhady has researched
his family back to Vienna when they were living at the turn of the 19th
Century. Yes, Jews had done very well in Vienna since the mid-1800s, and many
became wealthy; in fact they provided large parts of the money and talent to
rebuild the city and its palaces along the Ring-Boulevard. At around 10% of the
population they represented more than 50% of its medical doctors and
considerably higher percentages of lawyers and financiers. They were one of the
most astounding success stories anywhere and so became largely responsible for
Viennese culture both in the creation and consumption. The book supplies some
answers how this all happened.
The book begins with a move of the author’s
great-grandparents from the provinces to Vienna and their achieving wealth in
the gas lighting business in which Vienna was leading. They now participate in
the glory that is Vienna 1900 to the fullest as art patrons amongst others. The
Gallia great-grandparents, Moriz and Hermine, married in the 1890’s and had
four children. The Gallia’s older daughter, Gretl, was a young woman who
enjoyed being out in Viennese society in the pre-World War One years. She
became engaged to an architect but the engagement was dissolved. After the war,
she married briefly and had a daughter. Her sister became the first woman to
earn a doctorate in chemistry (Gretl’s daughter Annelore is the author’s mother).
The main part deals with the art
patronage of the founder family. Klimt painted a famous portrait of Hermine
that is today in the National Gallery, London. A fine analysis is given of the
circumstances of the painting’s creation. Like the furniture having been made
by Josef Hoffmann, one of the major craftsmen of the time in the Wiener
Werkstaette. The family is able to take along, on emigration, the largest art
collection from the period. The story does not end with emigration but depicts
the coming to terms in the new environment and a final visit back to Vienna of
the author's mother at the turn of another century. The writing is very good,
eliciting vivid pictures of a time long gone with its glory and upheaval.
What makes this book incredible is
just how different their lives were in Vienna prior to migrating to Sydney
after Kristallnacht. They are upper
class women who have never needed to work, yet their Jewish heritage (even
though they converted to Catholicism) forces them to make the decision to leave
during the onset on World War Two. It is terrible to imagine what their fates
would have been if they remained in Vienna. Due to their high social standing,
they seem almost oblivious to the impending horrors of the war which their
attitude is best exemplified when they travel first class by ship to Australia
via London for a holiday before arriving as Austrian refugees.
What is incredible about the story is they create a
new life in Sydney, begin working and live in a cramped apartment surrounded by
designer Viennese furniture, paintings and decorative art in which some is
later purchased by the National Gallery of Victoria. The collection is one of
the most important examples of turn of the century Viennese art. Finally, it
describes the lives of three generations of women who were indeed trailblazers.
It is not a “light”, read rather a most intriguing book.
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