National Repository of Grey Literature 43 records found  1 - 10nextend  jump to record: Search took 0.01 seconds. 
Josef Capek's and Carl Einstein's Theory of Art
Michlová, Hana ; Petříček, Miroslav (advisor) ; Vojvodík, Josef (referee) ; Winter, Tomáš (referee)
Independently on each other, the painter Josef Čapek and the art critic Carl Einstein begin to write a book on African sculpture. Both authors are led by their experience with African sculpture to cubism and start to consider the singularity of the space of the artwork. This doctoral thesis therefore traces and compares the thinking about art and its philosophical overlap of these two authors. They write about modern, non-European or amateur art from the modernist position of "man after the loss of God". Therefore, they cannot explain the validity of art on the basis of no longer valid conventions and canons. Modern works can no longer derive their power, validity, and intelligibility from the divine, the objective, and the immutable, but, as we shall see, artworks will derive their power from the personal, the ephemeral, and the biased.
Caricatures and Humoristic Illustrations by Hugo Boettinger between 1918 and 1934
Ždychová, Dagmar ; Pech, Milan (advisor) ; Winter, Tomáš (referee)
Caricature and Humoristic Illustrations by Hugo Boettinger between 1918 and 1934 Abstract This bachelor's thesis deals with caricatures and humoristic drawings by Hugo Boettinger from 1918 to 1934. The author first introduces the sources, the role and the nature of caricatures and humorous illustrations in the first Czechoslovak republic. The author gives some insight into the life story of Hugo Boettinger, his art conception of caricatures and humoristic drawings and topics that interest Boettinger. The main part focuses on the uncovering the meaning and historical context of his drawings. Boettinger paid attention to politics and to the situation of the Catholic Church in the newly established Czechoslovak Republic. In his paintings he dealt with social issues, technological advances, snobbery and small town inclination and in generally with changes in attitudes and values in life of society. He reflected the perception of fashion trends in relation to the changing social status of women. As an artist he watched the events on the art scene and parodied particularly avant-garde art. In the last section the author offers a comparison of drawings by Hugo Boettinger with other contemporary caricaturists and draftsmen. Keywords Hugo Boettinger - Dr. Desiderius - Caricature - Humoristic illustration - Drawing -...
Canon of Czech modern art
Ficková, Barbora ; Pech, Milan (advisor) ; Winter, Tomáš (referee)
The thesis deals with the formation of the canon of Czech modern art during the 20th century based on the analysis of art groups Osma, Skupina výtvarných umělců and Tvrdošíjní and their time. Every artist becomes an object of interest of art historian right after he creates an artwork. The art historians are trying to classify him and put him into the story of art history. The concrete interpretation of the artist and his artwork depends on different circumstances and always reflects the period, when it has been created. It is affected by social and political situation, preferred art historian approach, possibility of artworks reproduction, used terminology and stereotypes. Osma, Skupina výtvarných umělců and Tvrdošíjní has been chosen because their activity is connected with the origins of Czech modern art and the activity of their members is often reflected in the art historian literature. The chase of social-political situation during the 20th century allows naming also other topics that have influence on the form of the Czech modern art. The thesis analyses important exhibitions held between the years 1935-1998 and the survey literature written in the same time. Based on the analysis it introduces the concrete changes in the canon of Czech modern art. Keywords Canon of modern art, Cubism,...
Primitivism in the Czech art. From the fifties of the 20th century
Straková, Adéla ; Klimešová, Marie (advisor) ; Winter, Tomáš (referee)
This work can not cover all forms of primitivism in the late 20th century, and precisely define the category, despite the fact that in some way, of course, trying to do so. It can only be seen as one way of looking. In the last century the concept of primitivism faced accusations of ethnocentric perspective and evaluation. But it turned out that ethnocentrism can not from a position of European science completely removed, as the science of art history is a product of Western thinking. Primitivism also still struggled with negative connotations, although it succeeded in broad artistic and intellectual spheres connect the concept of "primitive" or "primitiv's" with the value in the sense of value in art. But it is still possible to say that the negative connotations of primitivism is struggling especially among unskilled public. We can talk about primitivism's effects in the second half of the 20th century, we should separate the intuitive behavior and instinct unconscious primitivism as conscious primitivism , which can generally be understood as meaning of a conscious regression, a return to "originál" cleaner. We can perhaps say that from the beginning of the history of mankind is bound up with what is called "regression". In the minds of the Roman philosophers appears deprecation newer and more efficient...
Three chapters of shared art history. The mutual relations between Czechs and South Slavs in the field of the fine arts between 1861-1922
Borozan, Vjera ; Lahoda, Vojtěch (advisor) ; Rakušanová, Marie (referee) ; Winter, Tomáš (referee)
In my dissertation I aim to outline certain aspects of the mutual interrelations, influences and affinities linking the Czechs and the South Slavs in the field of the fine arts during the period between 1861 and 1922. My interest in this subject stems primarily from my own personal experience and knowledge acquired through an active involvement in both of the selected cultural contexts. In particular I have focused my research on examining the role of individuals who played a significant role in both of the cultural contexts under analysis, and at the same time transcended them. The resultant treatise thus consists of three main chapters that follow the specific influences and relations of the artists selected, while at the same time reflecting the nature of the transformation of social discourse during the time period examined. In the first chapter I focus on several Czech artists who made artworks with a South Slavic theme during the second half of the 19th century. The frame of reference for interpreting these artworks consists of a specific Orientalism springing from the fertile ground of romanticism, which is at the same time underscored by, and tinged with, notions of Slavic solidarity. The painter Jaroslav Čermák is a key figure in this context. His example played an important role in the...
Matamorphosis of theoretical writing on African art in the 20th century
Bidlasová, Petra ; Konečný, Lubomír (advisor) ; Winter, Tomáš (referee)
According to Polish journalist Riszard Kapuscinski Africa is "a veritable ocean, a separate planet, a varied, immensely rich cosmos". The mere size and complexity of the African continent, consisting of many hundreds of tribes and dozens of states, mirrors in its culture and art and it renders impossible to reduce the modern history of African art to fit into one thesis. This fact made me concentrate on changes which occurred during the 20th century within the field of theoretical writing on African art [see Introduction]. Europeans have shown their interest in Africa for thousands years since the antiquities, starting as early as the 5th century B.C. with Herodotus, followed by Arabic merchants, who crossed Sahara and described with astonishment growing medieval empires of Central Africa: Ghana, Mali and Songhai. First period of greater interest is connected with 15th century European sailors, who were sent by their respective emperors to find gold, slaves and sale opportunities. This still leaves Europeans mainly on the African coast entering into the heart of Africa only after the colonial incursion in the late 19th century. An enormous amount of artworks was brought to Europe from Africa during the years and decades to come after the Berlin conference 1884-85, which almost deprived some tribes from...
The role of two professors of the Dresden Academy, Richard Müller and Emanuel Hegenbarth, in relations between Prague and Dresden
Krülle Kotoučová, Veronika ; Rakušanová, Marie (advisor) ; Winter, Tomáš (referee) ; Habánová, Anna (referee)
(in English): The presented PhD thesis deals with two artists, Emanuel Hegenbarth (1868-1923) and Richard Müller (1874-1954). Both were Czech Germans, i.e. of German nationality, using German as their vernacular language, born in the second half of the 19th century in Bohemia the territory of the former Austro-Hungarian Empire (nowday's Czech Republic) and later have been working for a long time in Dresden. This initial reality represented a different starting point for each of them and played a different role in their later life and artistic trajectory. Richard Müller did not lose contact with his bohemian homeland during his lifetime, but he did not have strong ties to it and considered Dresden his home and background. He was particularly influential as a professor at the Dresden Academy, a position he held for more than thirty years. His artistic principles and creative activity shaped the emerging generation of artists, which included representatives of German-speaking artists from Bohemia, Moravia and Silesia who passed through his studio. The thesis includes an excursus devoted to Herbert Seemann (1900-1945), in whose work Müller's influence is most evident. A different approach can be found in Emanuel Hegenbarth, who, despite his professorship at the Dresden Academy, maintained intensive and...
Emil Filla, primitivism and world art
Winter, Tomáš ; Lahoda, Vojtěch (advisor)
The thesis does not include an abstract in English The thesis does not include an abstract in English The thesis does not include an abstract in English The thesis does not include an abstract in English The thesis does not include an abstract in English

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