War exhibition in 1916 in the Vienna Prater
The war exhibition in Vienna's Prater was organized by the Austro-Hungarian monarchy in 1916 . This exhibition was made possible by industry and trade in the third year of the First World War .
While previous exhibitions served to initiate economic relationships, this exhibition provided an insight into warfare and taught the population what the funds that had to be spent on were used in the war. "The population will get an idea of everything that is closely related to the war, and if the willingness of the population to make sacrifices at all can still be increased, they will be encouraged to hold out until the end."
The exhibition took place in the Kaisergarten and the Gallitzinwiese of the Vienna Prater and comprised 25 departments. Lots of captured trophies from enemies of war, as well as weapons of artillery , infantry and the navy were put on display. Entire trench systems were dug to give the audience an impression of life at the front. The media propaganda media , such as photography and film, which were used increasingly for the first time in World War I, as well as art and war literature, comprised their own departments. The care of the wounded and the associated medical services, but also the integration of war invalids into society were also on display.
The design of the war exhibition
The war exhibition was built on a total area of 50,000 square meters and contained 25 departments. The Austrian architect and professor at the Vienna School of Applied Arts, Carl Witzmann , was commissioned to set up the exhibition . He was a student of Josef Hoffmann and had already set up parts of the art show in 1908 . He developed a new form of representation for the war exhibition. He decided against the usual system of the individual pavilions and built a series of closed halls with a continuous promenade to create an image of a whole that belonged together. Unlike previous exhibitions, flower arrangements, heavy, colorful curtains and stage imagewise buildings were decorated with different colored walls, Witzmann designed the War Exhibition in very objective and simple way. Departments that did not have any display objects, such as the prisoners of war , were illustrated by means of photography and diorama . For evening entertainment, a cinema with 760 seats, a theater for 1,360 spectators and gastronomic offers were set up. Since the design of the war exhibition could not be completed in time, the opening date was postponed from May to July 1, 1916.
Criticism of the war exhibition
The allied states - the German Reich, Bulgaria and Turkey - also took part in this huge propaganda event. Calls to Hungarian companies to boycott the exhibition, as it only served Austrian charity purposes and only Austrian personalities were involved in the management of this exhibition, were unsuccessful. In the run-up, there was also criticism from the industry at the time of the exhibition, as the war situation meant that there was a lack of workers to set up the exhibition. In the Kaisergarten, all existing buildings from the time of 1895, which still came from the Venice Theme Park in Vienna , had to be demolished, which had to be carried out by 250 Russian prisoners of war. During the exhibition, an orchestra made up of one-armed musicians was supposed to demonstrate the artistic possibilities of reintegrating war invalids. This prompted Karl Kraus to take a critical stance on the implementation of the war exhibition:
“The war on display! I would visit a peace exhibition, in which, however, nothing should be seen but hung war winners, the heroes of the money war, who, when the fatherland called out, understood: Now is the time to scrape together! [...] The most horrific exhibition of a »prosthetic orchestra« - what clou will anti-humanity still come up with? - I should look at and in grim contrast to this the assembly of those other artists who would have become bad painters, even if they had been born without arms. How inexpressible is it all if you just imagine that it can be exhibited! [...] "
Individual departments
The trophy hall
The main part of the exhibition were the captured war trophies, which found their place in the trophy hall. In 1916 these came largely from the Russian and Serbian theaters of war, while the exhibition after the winter closure in 1917 mainly featured trophies from the Italian and Romanian fronts. Through this display of weapons of the artillery, infantry and navy, one wanted to show the defeats of the enemy in battle more intensely: "The number of prisoners of war goes into the millions, hundreds of thousands of small arms and thousands of guns are the silent but impressive witnesses of our victories. The trophies of our victorious armies stare at us like a wall of iron and steel, although only a small part of the immeasurable booty is represented in the trophy hall, but the immense abundance speaks for itself, there is no need for glorious words. "But they were not only weapons were issued as trophies, but also evidence of surrenders, such as part of the white flag that indicated the surrender of the Belgian fortress of Namur . In order to demonstrate the explosive power of the mortar batteries , pieces of the masonry of the Belgian fortress Namur were presented to the audience for illustration. Other trophies of a special kind came from Serbia: the national coat of arms from the Skupschtina, the Serbian parliament in Belgrade, as well as the throne chair and the lectern of King Peter I Karadjordjevic .
Artillery weapons
When you had passed the trophy hall you came to the rooms in which the artillery weapons were displayed. One was welcomed by a statue of St. Barbara , the patron saint of artillery. The heart of the artillery at that time was the 30.5 cm M.11 mortar , which had been faithfully reproduced from wood on behalf of Baron Skoda, as the real war material was needed in the still ongoing battle. The following inscription could be found on this wood replica:
- Here you can only see me out of wood.
- Because my comrades.
- Shaped from ore, stand in the field.
- Loaded with steel bullet.
- They do their duty outside! -
- That I meet mine.
- Do not spare your bags.
- Get me the iron shell!
This true-to-the-original 30.5 cm mortar can be viewed in the course of the “First World War” exhibition in the Army History Museum in Vienna. A wooden replica was exhibited in the 1916 war exhibition in Vienna's Prater.
This armored dome with a grenade impact can be viewed in the course of the “First World War” exhibition in the Army History Museum in Vienna. This dome was exhibited (without impact) in the courtyard of lights of the war exhibition in Vienna's Prater in 1916.
In an adjoining room one could see the development stages of a cannon barrel as well as an exhibited mountain transport of guns, represented by dolls for carrying animals, toboggans and carts. The Enzesfeld ammunition factory showed how an artillery shell was created, and a compilation of almost all types of artillery shell and their cartridges used by the army was also on display here.
Equipment and clothing
In this department, the development of the uniforms of the Austro-Hungarian Army was primarily presented. Colorful uniforms were in use until 1907, which were then replaced by pike-gray uniforms adapted to the surroundings for all foot troops. From 1915 field-gray uniforms were introduced - based on the model of the German army - which were able to show an even greater adaptation to the field soil and the green terrain. Shiny metal components such as buttons have also been replaced by matt materials.
The production of uniforms, i.e. from cloth to completion, was demonstrated in the company with the help of a cutting machine, sewing machines, buttonhole machines and an ironing machine. Another attraction was an in-house machine that was used to weave ribbons. Other exhibits included cold protection products such as blankets and bandages, shoes from the army and prisoners of war, as well as alpine equipment such as skis, ice axes and the like.
The clothing of millions of soldiers led to bottlenecks in the production of textile raw materials such as cotton and sheep's wool. One thought of native plant fibers, such as the nettle fiber, which was collected by the population for further processing. Mixed fabrics of textile fibers and paper were used for the production of sacks and the clothing of the civilian population was spun from so-called synthetic wool, a mixed fiber made from domestic hemp and flax, as well as newly spun old clothes.
Health and Disability
Another large department was devoted to medical, care, care and treatment of the wounded and sick and the associated transport. Other topics on display were: detection, control and prevention of infectious diseases, delousing and disinfection, as well as drinking water supply. The voluntary medical organizations, especially the Red Cross, received a very limited exhibition space in comparison. In order to show the auxiliary activities of the Austrian Red Cross in the mountains, at sea or in the domestic hinterland, these were shown with the help of perspective representations in folk-artistic pictures, by means of dioramas. Smaller items of medical equipment were demonstrated in an on-site demonstration lesson. The propaganda pavilion of the Austrian Society of the Red Cross was located near the technical exhibition. Here one saw propaganda reading of all kinds, such as reports on the activities of the Red Cross, flyers and commemorative leaflets and badges of the War Aid Office of the Ministry of the Interior. In a specially set up information center, inquiries about wounded and sick military personnel could be made. A membership registration office of the Red Cross provided additional volunteers.
Due to the numerous seriously wounded soldiers, a special school for the disabled was established. This school comprised workshops for 35 professions in which the disabled should learn to work again. According to the decree of the Ministry of Public Works, the graduates of the disabled school had the same rights as the students of a state trade school. Since almost half of the disabled belonged to the peasant class, special attention was paid to the agricultural departments.
Another important component was the one-armed school. Here, an average of 80 to 100 one-armed people were instructed in the usual chores of everyday life and in writing and drawing. After gaining the necessary skills, they came to the professional workshops for further training. Double arm amputees received their limbs in the prosthesis workshop and were instructed in the necessary tasks of daily life.
The activities of these institutions were illustrated at the war exhibition with the help of photographs, statistical compilations and the exhibition of the orthopedic devices and prostheses made. In addition, one could see the objects made in the various workshops of the school for the disabled.
Prisoners of war
In order to show the strength of one's own army, the prisoners of war were also discussed in the exhibition. The Grödig prison camp near Salzburg was illustrated with a diorama. Photographs depict prisoner-of-war camps in Russia (Siberia), Italy and Austria-Hungary.
Using anthropological measurements, ten plaster masks were made by Univ.-Prof. Dr. Rudolf Pöch made in order to be able to exhibit lifelike representations of the “most interesting Russian breed types”. These were also supported by photographs.
But there were also arts and crafts items from the prisoners of war that they had created during their imprisonment. These items were sold for the benefit of the Austro-Hungarian War Welfare Office and could also be purchased in a specially set up pavilion at the war exhibition. It was about wood carvings, musical instruments and everyday household items.
Construction
Since the existing barracks were not sufficient for the advancing replacement teams of the army, additional accommodations had to be built. Other buildings also had to meet the high demands of war. Arsenals, ammunition and powder factories, factories for aircraft, motor vehicles, bridge and railroad material, but also workshops, gear and food depots and warehouses for various war supplies were built. Barracks hospitals were built for the wounded and the sick. Separate epidemic hospitals were operated to prevent epidemics. Convalescent homes got the wounded and sick back into the field. Horse hospitals took care of sick animals in order to make them ready for field use. Prisoners of war were placed in separate camps.
The existing roads and bridges were not equipped for the travel of heavy vehicles and guns, so they had to be continuously expanded and maintained. In order to guarantee the supply of drinking water, specially trained teams built deep boreholes. The models, plans, drawings and photographs on display illustrated the structural requirements of this war.
War Graves Department
The Austro-Hungarian War Ministry devoted a separate department to those who died in the war by exhibiting models, architectural drawings, photographs and work drawings from war cemeteries. Since there was a very large number of grave sites to be created, most of them were laid out in a very simple manner as idyllic forest and garden cemeteries.
“The purpose of the exhibition of works by the war department of the Austro-Hungarian War Ministry is to inform the public about the type of grave care in the combat zones on Austro-Hungarian territory. Above all, the relatives of the brave and heroic soldiers who sacrificed their lives for the liberation of their homeland, for the security of the empire and for the immortal glory of the Austro-Hungarian army, have a right to learn how the sacred duty of the Piety fulfills how the gratitude of the fatherland towards the fallen warriors is expressed at the final burial of their mortal shell. "
A distinction was made between war cemeteries, mass graves and individual graves. The scattered buried bodies from the fighting areas were collected and buried in selected cemeteries, also to clear the land for the spring sowing. An adjustment of the cross types and name boards used should clarify the belonging together of the grave sites.
Another topic was field pastoral care. Two easily transportable field chapels, which also served as an altar when open, were exhibited. A so-called field band knapsack contained all items for reading the holy mass.
Art and war literature
The Army High Command attached an art group to the Austro-Hungarian war press quarter, which tried to depict the acts of war in paintings and sculptures. Sketches and works by artists from Galicia, Poland, Russia and the Balkans were exhibited here. A special catalog of this art group was published on site.
The department of war literature was structured according to the following aspects:
- Books and documents on the prehistory of the war.
- Official reports and diplomatic files on the war.
- General war chronicles and representations of the course of the war, as well as war calendars and war yearbooks.
- War reports and accounts from eyewitnesses and field post letters.
- Biographies of military leaders and heroes.
- Military and medical services.
- Politics, economics and finance in war.
- international law
- religion
- Children's war books
- The beautiful literature in war:
- War novels, short stories, short stories and plays.
- War poetry and soldiers' songs.
- War humor and anecdotes.
In the field
Here the population was given the opportunity to explore the conditions in a trench.
The first part depicts a defense system consisting of a base and a first and a second line of defense. It also included a system of connecting and traffic trenches. Also shown were: wire protection meshes against hand grenades, mine throwers, searchlights, machine guns, a listening post pushed into the obstacle, a mine chamber with mine passages, an officer's shelter, crew and ammunition shelters, as well as a telephone switchboard.
The second part of the fighting position illustrated the conditions on the karst plateau of the southwestern front. Rock structures with associated accommodations and a rock kitchen were created for illustration. A karst canyon led to the karst surface, where a system of communication and trenches was built. From here one had an overview of the entire combat system. A shelter showed the activities behind the front. A field printer was shown in which the daily evening editions of the "Tiroler Soldatenzeitung" were printed and sold.
To entertain the audience there was a beer serving and food from a kitchen, the goulash cannon. Behind the front there was a refreshment station, housed in a shelter, with a wine tavern in the form of a wine tavern.
A floor plan of the entire facility was sold to the public in its own pavilion during the exhibition.
literature
- Monika Sommer : For the 1916 war exhibition in the Vienna Prater: As a powerful response from the monarchy to hostile countries. In: Alfred Pfoser, Andreas Weigl (ed.): In the epicenter of collapse, Vienna in the First World War . Metroverlag, Vienna 2013, ISBN 978-3-99300-142-1 .
- Hubert Weitensfelder: Goods of War. Substitutes in production and everyday life. In: Alfred Poser, Andreas Weigl (ed.): In the epicenter of collapse, Vienna in the First World War . Metroverlag, Vienna 2013, ISBN 978-3-99300-142-1 .
- Official catalog of the Vienna War Exhibition 1916, published by the Working Committee, "Industrie" book printing company, Vienna VII, Vienna 1916. (Digitized version of the Württemberg State Library in Stuttgart [1] )
Individual evidence
- ^ Official catalog of the Vienna War Exhibition 1916, published by the Working Committee, Buchdruckerei "Industrie", Vienna VII, p. 4, Vienna 1916.
- ↑ Monika Sommer: On the 1916 war exhibition in the Vienna Prater: As a powerful response from the monarchy to hostile countries. In: Alfred Pfoser, Andreas Weigl (Hrsg.): In the epicenter of collapse, Vienna in the First World War. Metroverlag, Vienna 2013, pp. 509–510 and p. 505.
- ↑ Time. February 24, 1916.
- ↑ Monika Sommer: On the 1916 war exhibition in the Vienna Prater: As a powerful response from the monarchy to hostile countries. In: Alfred Pfoser, Andreas Weigl (Hrsg.): In the epicenter of collapse, Vienna in the First World War. Metroverlag, Vienna 2013, p. 509.
- ^ Karl Kraus: The torch. August 2, 1916, XVIII. Year, issue 431, p. 27.
- ^ Official catalog of the war exhibition. Vienna: Industry 1916, p. 16, group I. Trophy hall. a) Austria-Hungary, Vienna 1916.
- ^ Official catalog of the war exhibition. Vienna: Industry 1916, p. 23, group II. Artillery weapons and ammunition. a) Artillery weapons, Vienna 1916.
- ^ Official catalog of the war exhibition. Vienna: Industrie 1916, p. 94, Group XIX. War graves department of the Austro-Hungarian War Ministry. Vienna 1916.
- ↑ This perseverance sheet is best known because Robert Musil was the editor-in-chief. He also held this post at the successor of the same line, Heima , which appeared in three separate editions in German, Czech and Hungarian; the literary supplement was called Der Heimkehrer . See: Musil forum. Studies on the literature of classical modernism. Published on behalf of the International Robert Musil Society, De Gruyter, Berlin 2011, ISBN 978-3-11-026912-3 , passim.
- ↑ Floor plan of the entire facility
Web links
- Floor plan of the entire facility "Im Felde"
- Article on the trenches in Vienna's Prater in the weekly Die Muskete on July 27, 1916