|
|
Incentives and determinants of changes in visual language in terms of Czech spatial production betwen 1965 and 1975 - on the fringe of official structures
Voborníková Mašková, Markéta ; Klimešová, Marie (advisor) ; Wittlich, Petr (referee)
This bachelor thesis focuses on the complicated period of the development of Czech art - specifically spatial production between 1965 and 1975. Based on the study of the former situation, artworks and fates of selected authors it aims to clearly map out all the incentives and determinants which led to a significant metamorphosis of their expressive language in the late sixties and early seventies. It focuses on artists who were not tendentious and, consequently, were on the fringe of official structures. This kind of ostracism can certainly be regarded as just one of the above-mentioned pulses, which include, for example, the development of industrial technology, exploring new materials, change of the production process, historical references or the unmistakable personal experience of the author.
|
|
|
Hotel Praha
Hádková, Matylda ; Biegel, Richard (advisor) ; Klimešová, Marie (referee)
Bachelor thesis presents hotel Praha - controversial but at the same time also unique and remarkable building of 1970s. Thesis focuses on its architecture and tries to introduce topics of official negotiations, architectural competition and one more competition design. Fundamental part of thesis contains description of winning design ant its progress. Presented is also characteristic of its architecture. There is an epilogue at the end of the thesis, that maps "heritage preservation cause" about hotel, which unfortunately ended up its demolition.
|
|
|
Jana Skalická: her work and its reflection in photography
Davidová, Anna ; Klimešová, Marie (advisor) ; Rakušanová, Marie (referee)
(EN) As a subject to my bachelor's thesis I chose the work of Czech artist Jana Skalická (1957-2015), who started her artistic career in the field of tapestry and textile art, but over time she found the alternative in a quite unusual material - plastic foil, which she considered as more suitable for her aims. She developped her own technique and transformed the plastics by ironing it or stitching it together on a sewing machine. From the hanging plastic tapestries she moved to the three-dimentional objects and installations using other materials such as iron, wood, rocks or different types of plastic matter. The artist was active during the period of 1980s and the first half of 1990s. The thesis is structured on the basis of several topics that can be related to Jana Skalická's work and at the same time the artworks are mentioned in chronological order. The chapters are accompanied by selected exhibitions as well as the examples from the historical artistic context. The art made by Jana Skalická was of ephemeral nature, none of it survived to the present time and the only way how to perceive it is via photography and a few videos. The last chapter is therefore discussing the matter of the interpretation of the artworks based on the photography. Key words: Jana Skalická, plastic, modern tapestry,...
|
|
|
Art Scene of the Sixties in Zlin
Drábková, Veronika ; Klimešová, Marie (advisor) ; Horňáková, Ladislava (referee)
This Master thesis with a title of "The Art Scene in Zlín in Sixties" considers Zlín's culture of the era on the institutional level. It consists of three main parts including the issues of (1.) the Regional Gallery of Fine Arts in Zlín (called Gottwaldov during the era of communist regime in Czechoslovakia from 1949 to 1989), (2.) The Gallery Dílo Gottwaldov, a branch of ČFVU (the Czech Archive of Art), and finally (3.) The Design Competition for Theater of Workers. This thesis aims to describe foundation, development, work and exhibition activities for both galleries. The chapter about the Regional Gallery also pursues acquisition activity of the Institution. A part of the thesis dealing with a competition to decorate Theater of Workers describes development of the competition since its manifestation, follows the announcement of a winning designs and considers the official opening of the building as well. The competition was launched for the construction of monumental sculpture in front of the Theater, the monumental mosaic for the front lobby of the Theater, sculpture in the fountain in a park behind the Theater and decorative textile curtain for the stage.
|
|
|
The concept of the biblical narratives in the Czech art of the 20th century from the late 40th to the beginning of the normalization
Filipcová, Marie ; Klimešová, Marie (advisor) ; Jindra, Petr (referee)
The thesis mainly deals with the specifics of Czech art at the time of communist totality. The main objective was to focus on the artists who due to circumstances found themselves at the edge of a cultural society. They were reconciled with this situation as they refused to betray the beliefs and denominations they confessed. The fundamental common point of their artistic freedom is the choice of themes. In this case it is the biblical theme that was first associated in the fifties with coping with existentialist feelings. And later on with finding artistic expression, which would contain spiritual overlap. In the first part we follow up iconographic parallels. In the second part we deal with individual authors and contexts that determined their artistic creation. In the group of authors are those who are engaged systematically in themes. Among others A. Divis, B. Reynek, I. Sobotka, V. Novakova, M. Medek, J. Koblasa and R. Piesen. In conclusion there is a treatise on contemporary philosophical trends that are connected with creation of our authors.
|
|
|
Presentation of the unofficial art scene in 1980s outside the centre
Ryantová, Zdislava ; Klimešová, Marie (advisor) ; Šetlík, Jiří (referee)
This thesis deals with the six Czech regional institutions, which aimed at unofficial art during 1980s, thereby created an alternative to Prague's galleries, which were refusing such type of an art. Among them belongs Galerie 55 (Gallery 55) in Kladno, Městské kulturní středisko (Municipal culture centre) in Dobříš, Letohrádek (Summer residence) Ostrov nad Ohří, Galerie ve věži (Gallery in the tower) in Mělník, Alšova jihočeská galerie (Aleš's South Bohemian gallery) in Hluboká nad Vltavou along with Malá scéna Domu kultury (Culture centre's Small scene) in České Budějovice and, as the only private gallery, Galerie H (Gallery H) in Kostelec nad Černými lesy. Based on period documents and memorial texts, this thesis characterize each and every art space, the groups of people who were gathering around them, the exhibition program and the most important exhibitions. It introduces these "galleries" to the period cultural-politics context and to relations with other galleries and important exhibitions of the Czech unofficial art during the eighties.
|
|
|
The caricature in the Dikobraz Magazine 1945 - 1968
Vaverová, Martina ; Lahoda, Vojtěch (advisor) ; Klimešová, Marie (referee)
This diploma thesis entitled The caricature in the Dikobraz Magazine 1945 - 1968 deals with the artistic creation of the only satirical magazine in Czechoslovakia since its founding until the crucial year 1968. The thesis explores how caricatures deal with domestic and foreign events. It covers the work of selected cartoonists for the journal, as well as their free production. The thesis also focuses on the editors of the magazine due to their importance for its artistic production. Nevertheless, this part of the thesis is limited due to the limited amount of trustworthy sources.
|
|
|
Czech public art collections and the acquisition policy during the normalization era
Sloupová, Andrea ; Klimešová, Marie (advisor) ; Šetlík, Jiří (referee) ; Neumann, Ivan (referee)
The doctoral thesis Czech public art collections and the acquisition policy during the normalization era deals with the topic of domestic institutional operation in 1970s and 1980s, with specific focus on activities of galleries incorporated in the national, hierarchically organized network of art institutions. The research of these acquisition activities uncovers composition of the works of art acquired this way. It finds aspects in which individual institutions differed and detects the reasons behind these differences. Besides the acquisition process itself, the thesis also outlines the circumstances of establishment of the gallery network and summarizes its activities in more tolerant 1960s based on various material sources and oral history. The acquisition policy of galleries as such is analysed in the thesis covering the period from the beginning of the year 1970, when the resolution of the turning meeting of the Central Committee of the Communist Party of Czechoslovakia in April 1969 started to be fulfilled, until the end of the year 1989. Geographically, it is limited to the Czech territory. The results obtained by the analysis point out fundamental differences between individual institutions and between regions in which they operated. The results bring answers to questions concerning...
|
|
|
The Italian movement Arte Povera, Czechoslovak Nová citlivost and Czech-Italian relationships around Jindřich Chalupecký and Jiří Padrta
Horvatovičová, Zuzana ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee) ; Lux, Simonetta (referee)
Mgr. Zuzana Horvatovičová The Italian movement Arte Povera, Czechoslovak Nová citlivost and Czech - Italian relationships around Jindřich Chalupecký and Jiří Padrta ABSTRACT The main theme of this thesis was to compare two artistic phenomena of the sixties of the 20th century: the Italian movement Arte Povera (Poor Art, 1967) and the Czechoslovak avant-garde concentrated around the group exhibition New Sensitivity (Nová citlivost, 1968). It also focused on the network of contacts and principal organizers of Italian exhibitions especially in Prague and Czechoslovak exhibitions in Italy. Long research in archives and collecting of documentary material, catalogues and reviews led to very interesting results. Arguments of the thesis are based on the comparison of the constructivist work of the New Sensitivity artists with the group of Arte Povera and with the kinetic work of Arte Programmata. Much more shared elements were found to exist between the Czechoslovak circle of the New Sensitivity and the Italian artistic tendency Arte Programmata than between the artists and art works of exhibition New Sensitivity and the group Arte Povera. Italy and Czechoslovakia maintained a different art and "parallel" culture, although they came to a rather close contact in the "revolutionary" sixties.
|
|
|
Word and Image in Czech and Slovak Art in the 50's and 60's of 20th Century
Hachlincová, Lenka ; Lahoda, Vojtěch (advisor) ; Petříček, Miroslav (referee) ; Klimešová, Marie (referee)
(in English) This dissertation paper deals with the transformation of the relationship letter and image in the Czechsoslovakian art in the 1950s and 1960s, interpreted from the point of view of the cultural and social events not as the history of art, but history of reality representation. The objective of the paper is to create a more complex view of various levels of integration of letter and image in domestic environment, so it approaches the phenomena of letter and image from a specific interpretation point of view based on three main lines. Mapping the phenomena of letter and image in the context of that period in Czechoslovakia, which preceded work structuralizing, was the base of the first interpretation line which bases the core of work on four social "activators", which, in the mind of an artist, activated the need to incarnate letter and image. Since the subject of the paper is the letter as a material manifestation of the language, the second interpretations line follows the purposeful modification of the language structure between the signifiant and signifié, which occurs in visual imaging. The third interpretation line puts the first two into a broader, aesthetic and philosophical context due to which, more complex language structures entering the art of work can be identified. Using...
|
guest ::
RSS feed.