Seite - 307 - in Rudolf Eitelberger von Edelberg - Netzwerker der Kunstwelt

Rudolf von Eitelberger and Leopold Carl Müller 307 could only produce “europäische Gefühlsscenen im orientalischen Costüme” that were “unsäglich langweilig”60. Markt in Cairo, and later paintings like Zuckerrohrmarkt (1889) (fig.  7), with their mixtures of Arabs, Berbers, and Nubians, also visualized paradigms of peaceful inclusive ethnic diversity of the type that Eitelberger tirelessly promoted for the Austro-Hun- garian Empire in place of nationalist regionalism. These scenes of community-based commercial transactions of agricultural produce and artisanal products made by and for peasants exemplified the world of Hausindustrie, on display during the 1873 World’s Fair, in action. As defined by Jacob von Falke, Hausindustrie represented permanence over change, and was associated with a rural vernacular culture.61 At the same time, Müller’s portrayals of busy self-reliant natives adhered to the notion that the Volk are the most authentic embodiment of ethnic and state identity, and Eitelberger’s belief that national well-being should be measured by family happiness and the rewards of creativ- 60 A. von Wurzbach, Die Leopold Müller-Ausstellung im Künstlerhause in : Wiener Allgemeine Zeitung, No.  1067, 17  February 1883, p.  4. 61 Rampley, Vienna School (cit. n.  34), p.  122. Fig. 7 : Leopold Carl Müller, Zuckerrohrmarkt, 1889, oil on canvas, Location unknown.