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Hannes Beckmann (1909-1977). Dessau - Prague - New York
Kuzica Rokytová, Bronislava ; Rakušanová, Marie (advisor) ; Rousová, Hana (referee) ; Klimešová, Marie (referee)
Hannes Beckmann (1909-1977). Dessau - Prague - New York This PhD thesis is dedicated to an exceptional, though still forgotten personality, an artist of German descent, Hannes Beckmann |1909-1977|. A graduate of Germany's Bauhaus, he was one of the refugees fleeing Nazism to Czechoslovakia, and among many other achievements, he later became the director of the photography department of the Guggenheim Museum in New York. Through his work, he fulfilled avant-garde ideas on the synthesis of artistic fields: he was a painter, stage designer, art theorist and pedagogue, but also a creator of abstract objects moving along the boundaries of minimalistic and kinetic constructions. His fate in life and created body of work began gaining a clearer form in the framework of research on visual artists, who found sanctuary in interwar Czechoslovakia from demagogic political systems. Until that time, Hannes Beckmann had been utterly unknown to Czech art history and elsewhere. This is seen in the absence of his name in Czech technical literature, but also because he was never mentioned even in publications published by the Bauhaus with which he had been involved for some time. There was only sketchy information on his pedagogical and artistic work in the area of Op-Art (optical art) from the 1960s to 1970s in the United...
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Reception of Abstract Art in Interwar Czechoslovakia
Pastýříková, Lenka ; Bydžovská, Lenka (advisor) ; Kuzica Rokytová, Bronislava (referee) ; Svobodová, Markéta (referee)
The dissertation examines the reception of Czech and European abstract art in Czechoslovakia in the 1920s and 1930s. It assumes that the Czechoslovak cultural milieu was unfavourable for abstract art at that time, yet various forms of its reception were occurring. Thus, the objective is to demonstrate and document opportunities for abstract art public presentation, related critical reactions and theoretical reflection. The reception history perspective followed in the dissertation deals with written sources, and focuses on relationship between viewers and abstract art and on handling particular artworks. Predominantly recipients such as theorists, art critics, editors, artists, and other participants in the arts sector are taken into consideration when exploring contemporaneous exhibiting, evaluation and interpretation of abstract art. The paper includes responses and attitudes to abstract painting and sculpture as well as to abstract photography, film and kinetic art.
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Hannes Beckmann (1909-1977). Dessau - Prague - New York
Kuzica Rokytová, Bronislava ; Rakušanová, Marie (advisor) ; Rousová, Hana (referee) ; Klimešová, Marie (referee)
Hannes Beckmann (1909-1977). Dessau - Prague - New York This PhD thesis is dedicated to an exceptional, though still forgotten personality, an artist of German descent, Hannes Beckmann |1909-1977|. A graduate of Germany's Bauhaus, he was one of the refugees fleeing Nazism to Czechoslovakia, and among many other achievements, he later became the director of the photography department of the Guggenheim Museum in New York. Through his work, he fulfilled avant-garde ideas on the synthesis of artistic fields: he was a painter, stage designer, art theorist and pedagogue, but also a creator of abstract objects moving along the boundaries of minimalistic and kinetic constructions. His fate in life and created body of work began gaining a clearer form in the framework of research on visual artists, who found sanctuary in interwar Czechoslovakia from demagogic political systems. Until that time, Hannes Beckmann had been utterly unknown to Czech art history and elsewhere. This is seen in the absence of his name in Czech technical literature, but also because he was never mentioned even in publications published by the Bauhaus with which he had been involved for some time. There was only sketchy information on his pedagogical and artistic work in the area of Op-Art (optical art) from the 1960s to 1970s in the United...
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Heřman's Collection and Discourse on visual art in the Ghetto Theresienstadt 1941-1945
Märc, Vojtěch ; Pech, Milan (advisor) ; Kuzica Rokytová, Bronislava (referee)
The bachelor thesis "Heřman's Collection and Discourse on the Visual Arts in Terezín Ghetto 1941-1945 " first presents some specific problems and strategies of researching the visual arts from the Nazi ghettos and the concentration camps in context of broader discussion of holocaust. Particular historical conditions and their theoretical interpretations works as frames for understanding the phenomenon of the visual arts in the Ghetto. The thesis brings a summary of social and psychological functions of the visual arts in Terezín Ghetto, it's position in organization of life in ghetto, in propaganda (official works, "beautification" of the Ghetto) or resistance on the other hand ("Affair of Terezín Painters", in local education system, etc. The second part of the thesis expands and changes this context by presenting so called Heřman's Collection, i.e. collection of documents concerning cultural and sport life in Terezín. Brief biography of author if the Collection Karel Herrmann, description of th Collection and analyse and interpretation of it's visual component offers an interpretation frame for understanding of life in the Ghetto as well as local art production. Keywords: Terezín, Theresienstadt, Visual Arts, Heřman's Collection, Holocaust
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