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Good Living Street: Portrait of a Patron Family, Vienna 1900, by Tim Bonyhady
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Vienna and its Secessionist movement at the turn of the last century is the focus of this extraordinary social portrait told through an eminent Viennese family, headed by Hermine and Moriz Gallia, who were among the great patrons of early-twentieth-century Viennese culture at its peak.
Good Living Street takes us from the Gallias’ middle-class prosperity in the provinces of central Europe to their arrival in Vienna, following the provision of Emperor Franz Joseph in 1848 that gave Jews freedom of movement and residence, legalized their religious services, opened public service and professions up to them, and allowed them to marry.
The Gallias, like so many hundreds of thousands of others, came from across the Hapsburg Empire to Vienna, and for the next two decades the city that became theirs was Europe’s center of art, music, and ideas.
The Gallias lived beyond the Ringstrasse in Vienna’s Fourth District on the Wohllebengasse (translation: Good Living Street), named after Vienna’s first nineteenth-century mayor.
In this extraordinary book we see the amassing of the Gallias’ rarefied collections of art and design; their cosmopolitan society; we see their religious life and their efforts to circumvent the city’s rampant anti-Semitism by the family’s conversion to Catholicism along with other prominent intellectual Jews, among them Gustav Mahler. While conversion did not free Jews from anti-Semitism, it allowed them to secure positions otherwise barred to them.
Two decades later, as Kristallnacht raged and Vienna burned, the Gallias were having movers pack up the contents of their extraordinary apartment designed by Josef Hoffmann. The family successfully fled to Australia, bringing with them the best private collection of art and design to escape Nazi Austria; included were paintings, furniture, three sets of silver cutlery, chandeliers, letters, diaries, books and bookcases, furs—chinchilla, sable, sealskin—and even two pianos, one upright and one Steinway.
Not since the publication of Carl Schorske’s acclaimed portrait of Viennese modernism, Fin-de-Siècle Vienna, has a book so brilliantly—and completely—given us this kind of close-up look at turn-of-the-last-century Viennese culture, art, and daily life—when the Hapsburg Empire was fading and modernism and a new order were coming to the fore.
Good Living Street re-creates its world, atmosphere, people, energy, and spirit, and brings it all to vivid life.
- Sales Rank: #226056 in Books
- Published on: 2011-11-15
- Released on: 2011-11-15
- Format: Deckle Edge
- Original language: English
- Number of items: 1
- Dimensions: 9.51" h x 1.59" w x 6.59" l, 1.74 pounds
- Binding: Hardcover
- 400 pages
Review
“Bonyhady has delved deeply into his forebears’ concert books, travel logs, letters, and death certificates in an effort to reconstruct his family’s identity and, for his mother, to place ‘a value on her life that she did not.’ The result is a lucid, poignant generational tale of loss of material wealth and cultural identity that provides new perspective and insight into both Holocaust and immigration studies.”
—Booklist
“Tim Bonyhady goes far beyond the story of how a great art collection came into being, with rich descriptions of the political, social, and cultural context of Vienna from the turn of the 20th century to 1938.”
— Victoria Newhouse
Praise from Australia for Good Living Street
“Arts aficionados will be mesmerized here by Bonyhady’s meticulous research of Vienna as an important centre of European arts modernism . . . Good Living Street is a captivating tour-de-force . . . Bonyhady deploys a genre of writing that impressively and poetically weaves together art, social and cultural histories and deeply reflexive investigative family biography with a mesmerizing, galloping narrative—it is at once a book that is arts educational and highly political and personal.”
—Jon Altman, Art Monthly Australia
“Good Living Street is something of a mélange, although rich as an expensive cake tray . . . a rich tapestry of intriguing stories.”
—Chris Wallace-Crabbe, The Saturday Age
About the Author
Tim Bonyhady is an award-winning art historian, curator, and environmental lawyer. He is the director of the Centre of Climate Law and Policy at the Australian National University. He lives in Canberra, Australia.
Excerpt. © Reprinted by permission. All rights reserved.
“Most Viennese in 1900 came from somewhere else. Vienna became the third most populous European city after London and Paris.
“Moriz and Hermine Gallia were among the provincials who flocked there from across the Hapsburg Empire. Moriz came from southern Moravia; Hermine from southern Silesia. They were part of Vienna’s extraordinary transformation in fifty years from a city almost without Jews to the most Jewish city in western Europe.
“The Gallias had appeared in books and catalogs about art and design as patrons of Klimt and Hoffmann, but they were also in the literature about what made Vienna one of the intellectual and cultural centers of the early twentieth century. The Gallias were part of the argument about whether it was Jews and Jewish converts to Christianity who gave Vienna a cultural significance it had not achieved before or since.
“When I began this book, I had little idea of what was in my mother’s cupboards. It had not occurred to me that she might have correspondence linking the Gallias and the Mahlers. My stints in the library and with her papers began to illuminate the place of the Gallias in turn-of-the-century Vienna. For all I found, nothing equaled my mother’s cupboards, which contained much more than I realized. The abundance of the material was about how the Gallias lived in Vienna in the late nineteenth and early twentieth centuries. It took me deeper into the past than I ever thought possible. . . .”
Most helpful customer reviews
14 of 15 people found the following review helpful.
More than the subtitle...
By Jill Meyer
Australian arts writer Tim Bonyhady has written of his mother's family, but the subtitle of the book, "Portrait of a Patron Family, Vienna 1900" doesn't begin to capture Bonyhady's family's full story.
Bonyhady's maternal family emigrated from Austria in 1938 to Australia, refugees from Nazi Germany, which had taken over Austria in the Anschluss. The Gallia family - originally from the provinces - had moved to Vienna in the late 1800's and had "made good" economically. They were Jews at a time when being Jewish was a hindrance to both economic and social successes. So they, like many other Austrian Jewish families, threw off the binds of their heritage and converted to either Catholicism or Protestantism. Were their conversions real or done as a matter of convenience? I suppose that only the newly baptised Catholic can answer that, but in reality, being a converted Christian wouldn't save the Gallia/Hamburger family from Nazi persecution forty years later any more than it did Jews who stayed with their religion.
The Gallia great-grandparents, Moriz and Hermine, married in the 1890's and had four children. First a son, and then three daughters. Moriz Gallia made a fortune in the gas lighting business - as well as some side subsidiaries - and the couple decided to become patrons to the arts in turn-of-the-century Vienna. Their interest in the arts included music, paintings, furniture and craft design, as well as architecture. Their new home on Wohllebengasse Street was a multi-use apartment/office building. Most of the furniture was made by Josef Hoffmann, one of the major craftsmen of the time, and designated as Wiener Werkstatte. Hermine Gallia had her portrait painted by Gustav Klimt, the great society painters, known for both his portraits and his nature paintings. Mostly museum-quality art and furniture displayed and lived in by the family.
The Gallia's older daughter, Gretl, was a high-strung young woman who enjoyed being out in Viennese society in the pre-WW1 years. She became engaged to a young architect but the engagement collapsed under pressure from her parents. After the war, she married briefly and had a daughter, Annalore. After her divorce, she moved back into the family apartment with her widowed mother and unmarried sister. (Her father had died in 1918). It was a constraining type of life for Gretl, who shared the child-raising chores with her mother and remaining sister.
Hermine died in the early 1930's and Gretl and her sister and daughter were able to live their own lives on their own terms, without Hermine's interference. As the 1930's ended, the Nazi presence in Austria was all-encompassing and the Gallia women - like many other Austrian Jews - were able to leave Austria for other, safer places.
By this time, the Gallia family - formerly Jewish - now considered themselves Catholics. Not particularly observant Catholics - most of them, anyway - but the Nazis thought otherwise. No matter the quality of the religious fervor, the baptismal slips would not save the Gallias from the full brunt of Nazi persecution. Arrests, property seizures,and forfeiture of money all were used against the Gallias in an attempt to get them to leave Austria, while leaving most of what they had behind in Nazi hands. But here is where good luck and good lawyering, came into play. The three Gallia women, Gretl, Kathe, and Annalore, received visas for emigration to Australia in November, 1938, and for some reason, were allowed to ship most of their belongings to their new home in Australia. Whole rooms of furniture and art were taken out under the noses of the Nazis. Within months of arriving Down Under, the women were reunited with their belongings. What to do with them in their new homes - large pieces in small rooms - was quite an interesting problem.
All three women made lives for themselves in their new home. Annalore - now called "Anne" - continued her education and eventually met and married a fellow Jewish Austrian emigree, Eric Bonyhady. Like her mother, she made a short marriage and had two sons with Bonyhady. They divorced and Anne raised the boys in a non-religious manner. She baptised them as Catholics but they had very little religious identity. What they weren't, in Anne's mind, was Jewish. Anne died in 2003, after having visited and made peace with her previous life in Vienna. The two sons, Bruce and Tim, adults by then had families and were just beginning to examine their denied Jewish background. (Curiously, their father Eric Bonyhady, who was a practicing Jew, seemed to have little influence in their lives, at least religiously). Also detailed was the eventual distribution of the items brought from Austria to Australia.
Tim Bonyhady decided to write a book about both the art and the family lines that stretched from Austria to Australia. This book is the result and is a marvelous read on so many different levels. Very highly recommended.
6 of 6 people found the following review helpful.
A World of Yesterday
By Greg Polansky
I must admit this first, I absolutely love Habsburg history. I have read lots of it and it always interests me. So when I saw this book at the bookstore, I quickly rushed to buy it from the Kindle store. If you love Habsburg history, Fin-de-siècle Vienna/Europe, Art History, or just a beautifully written book, then please do yourself the favor of purchasing it.
This book captures the life of three generations of a family, the Gallas, who lived on Wohlenstrasse, the Good Living Street of the title. In focusing on these generations, the author captures the life and times of a certain section of upper class Jewish life, the bildungsbürgertum(educated, cultured bourgeoisie whose ideals the Galla family embody). Primarily the author focuses on the women of the family across the generations. There is Hermine, the autocratic matriarch of the family who cements her position in the world through her patronage of the arts, her daughters Gretl and Kathe, whose sibling rivalry is hard to observe, and her grandaughter, Annelore, whose identity is shaped by her poor treatment from her grandmother and her traumatic departure from Austria. Because this is the author's family that he is writing about, there is a certain amount of emotional connectedness in the writing.
Because this family was rich and was cultured, the story focuses on how this family used its wealth to support the arts and their own position in the world. This family gained its wealth and moved to Vienna during the nineteenth century. It then used its wealth from the Fin-de-Siecle period where we meet a host of Secession artists and architects(Gustav Klimt plays a huge part in the early part of the book) to the Anschluss, when the family had to flee Austria because of their Jewish origins, but managed to escape with a trove of their belongings that then become important later on in the books. But the story does not stop there. It then focuses on the lives of Gretl, Kathe, and Annelore in Australia, where they fled. Showing how each of the three women adapted to life in Australia, especially how they either kept or discarded their Jewish identities in favor of a Christian identity),this part of the book was an interesting departure from other books that usually end with the departure of Jews from German speaking Europe. It also was interesting to me on a personal level since my own parents defected from a later tyranny (USSR) and they too ended up in Australia.
My title to this review is a reference to Stefen Zweig's The World of Yesterday. There was much sadness and melancholy in that book. Similarly, there is sadness in this book too. This is a book about worlds destroyed and lost and only seen through glimpses of the past. But oh how beautiful that past was.
11 of 13 people found the following review helpful.
Family Ties
By Christian Schlect
A tale of one Jewish family's rise and fall from a prosperous and refined life style in Vienna to its forced exile at the hands of the Nazis.
The author, Tim Bonyhady, is a direct descendent of the subject family, which relocated to Australia after escaping Austria. He writes in a straight forward, but not lyrical, style.
I found most interesting the information on the great artists, such as Gustav Klimpt, who had ties with the family and the discussions within the book on how various members of the family handled (or hid) their own religious faith, with public conversion to Catholicism not infrequent for reasons of assimilation or survival.
The book at times drags when detailed lists of personal possessions are imposed on the reader. Also, learning about past petty frictions between sisters and other close relatives is not particularly edifying.
Note: I would encourage those interested in this period and general subject matter to read Edmund De Waal's "The Hare With the Amber Eyes."
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