Nóra Veszprémi is an art historian living and working in Birmingham, UK. She is currently involved in the European Research Council-funded project Continuity/Rupture: Art and Architecture in Central Europe 1918-1939 (CRAACE), which is based at Masaryk University, Brno, in the Czech Republic. Before transferring to academia, she was a curator at the Hungarian National Gallery, where she co-curated multiple temporary exhibitions on nineteenth-century art. From 2015 to 2018, as a Leverhulme-funded research fellow at the University of Birmingham, she participated in a large project on museums in the Austro-Hungarian Monarchy. Two co-authored volumes based on this research have recently been published. Her research interests encompass nineteenth- and early-twentieth-century Central European visual culture, especially questions of national identity, historical memory, and the politics of the art world and its institutions. She writes this blog to disseminate her research – but also because she sees art history as a tool to try and make sense of the world.
Email: hungarianarthist@yahoo.co.uk
Selected publications:
Books
(with Matthew Rampley and Markian Prokopovych), The Museum Age in Austria-Hungary: Art and Empire in the Long Nineteenth Century (University Park, PA: Penn State University Press, 2021)
(with Matthew Rampley and Markian Prokopovych), Liberalism, Nationalism and Design Reform in the Habsburg Empire: Museums of Design, Industry and the Applied Arts (New York and London: Routledge, 2020)
Fölfújt pipere és költői mámor: Romantika és művészeti közízlés a reformkori Magyarországon [Overblown Make-up and Poetic Frenzy: Romanticism and Popular Taste in Hungary 1820–1850] (Budapest: Könyvpont – L’Harmattan Press, 2015)
Articles in peer reviewed journals
“Whose Landscape Is It? Remapping Memory and History in Interwar Central Europe,” Austrian History Yearbook 52 (2021) pp. 227–252. https://doi.org/10.1017/S0067237821000102
“Ideals for sale: ‘Ideal portraits’ and the display of national identity in the nineteenth-century Austrian Empire,” Art History 42.2 (2019) 274–303. https://doi.org/10.1111/1467-8365.12436
“Displaying the Periphery: The Upper-Hungarian Museum and the politics of regional museums in the Austro-Hungarian Monarchy”, Visual Resources, https://doi.org/10.1080/01973762.2018.1483309 (published online 2 July 2018, forthcoming in print)
“An Introspective Pantheon: The Picture Gallery of the Hungarian National Museum in the Nineteenth Century,” Journal of the History of Collections 30.3 (2018) 453–469. https://doi.org/10.1093/jhc/fhx041
“The Emptiness behind the Mask: Rococo Revival in Mid-Nineteenth-Century Austrian and Hungarian Painting,” The Art Bulletin 96.4 (2014) 441–462.
“Lajos Fülep: The task of Hungarian art history (1951) [introduction and English translation],” Journal of Art Historiography 6.11 (2014) arthistoriography.wordpress.com/11-dec14/ Paper 11/NV1
“A Magyar Nemzeti Múzeum másolási naplója [The Registry of Copyists in the Hungarian National Museum],” Ars Hungarica 23.2 (2005): 305–313.
“Barabás Miklós, Petőfi Sándor és az Utazó cigánycsalád. Egy közös motívum a 19. századi magyar képzőművészetben és irodalomban [Miklós Barabás, Sándor Petőfi and the Travelling Gypsy Family: A Motif in 19th-Century Art and Literature],” Művészettörténeti Értesítő 51.3–4 (2002): 265–286. (with summary in English)
Edited books
XIX. Nemzet és művészet. Kép és önkép [The 19th Century. Art and Nation: Image and Self-Image], eds. Erzsébet Király, Enikő Róka and Nóra Veszprémi (Budapest: Hungarian National Gallery, 2010)
Borsos József festő és fotográfus (1821–1883) [József Borsos, Painter and Photographer 1821–1883], ed. Nóra Veszprémi (Budapest: Hungarian National Gallery, 2009)
Book chapters
[chapters on history painting and short discussions of three individual paintings], in A magyar művészet a 19. században: Képzőművészet [Hungarian Art in the 19th Century: Fine Art], eds. József Sisa, Júlia Papp and Erzsébet Király (Budapest: Osiris Publishing House and Humanities Research Centre of the Hungarian Academy of Sciences, 2018), 304–312; 320–327; 317–320; 363–366; 369–371.
“The Shepherdess and the Myrmillo: The Sculptor István Ferenczy and the Reception of Classical Antiquity in Early-19th-Century Hungary,” in A Companion to Classical Reception in Eastern and Central Europe, eds Zara Martirosova Torlone, Dana Lacourse Munteanu and Dorota Dutsch (Chichester: Wiley-Blackwell, 2017), 260–276.
“Kísértetek a végtelen rónán. A magyar romantika rettenetes hagyományáról” [Ghosts on the Endless Plain. On the Tradition of Terror in Hungarian Romanticism],” in XIX. Nemzet és művészet. Kép és önkép [The 19th Century. Art and Nation: Image and Self-Image], eds. Erzsébet Király, Enikő Róka and Nóra Veszprémi (Budapest: Hungarian National Gallery, 2010), 139–166. (with summary in English)
“Virtuóz táncos az álarcosbálon. Borsos József stílusáról [A Virtuoso Dancer at the Masquerade: On József Borsos’ Style],” in Borsos József festő és fotográfus (1821–1883) [József Borsos, Painter and Photographer 1821–1883], ed. Nóra Veszprémi (Budapest: Hungarian National Gallery, 2009), 30–51. (with summary in English)
“The Early Years of Mihály Munkácsy’s Career,” in Munkácsy a nagyvilágban: Munkácsy Mihály művei külföldi és magyar magán- és közgyűjteményekben / Munkácsy in the World: Mihály Munkácsy’s Works in Private and Public Collections at Home and Abroad, exhibition catalogue, ed. Ferenc Gosztonyi (Budapest: Hungarian National Gallery – Szemimpex Kiadó, 2005), 137–139.
Hungarian Art History 