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The group Sociální skupina Ho-Ho-Ko-Ko (1925-1927) in context of postwar realisms in Germany, France and Italy
Mazancová, Dagmar ; Lahoda, Vojtěch (advisor) ; Bydžovská, Lenka (referee) ; Winter, Tomáš (referee)
The goal of this work is to chart in detail the activities of the group Sociální skupina Ho-Ho-Ko-Ko and to contextualize it with the postwar realisms in Germany, France and Italy. The thesis briefly defines the variety of realistic tendencies in the twenties - neoclassicism, primitivism, metaphysical painting, new objektivity, and magic realism and characterizes their principal representatives in the above mentioned countries. The production of the group, which is the pivotal theme, is introduced on the basis of reconstruction of the exhibition catalogues, exploration of theoretical background through newly found archival documents, estimation of both known and newly found reviews of temporary newspapers and magazines. For detailed examination of the group's specificity are its works of art, divided into iconography chapters, compared with the examples of European realistic tendencies. A special consideration is devoted to the program proclamations and the scale in which the group succeeded in their implementation.
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"Sans retour". Russian Émigré Artists in Interwar Prague
Hauser, Jakub ; Winter, Tomáš (advisor) ; Jančárková, Julie (referee) ; Rakušanová, Marie (referee)
In the interwar period, Prague became one of the important centers of immigration from the former Russian empire, mostly thanks to the receptive stance of the fledgling republic and its political representation. This dissertation, dedicated to the visual art scene of "Russian Prague", does not confine itself to only consider artists who found themselves in exile in Czechoslovakia. Rather, it focuses on the position of Prague within the larger network of contacts of the Russian diaspora as such, and surveys relations of the local exile community with other émigré centers, especially Paris. By engaging perspectives of institutional frameworks, acquisition practices and strategies, as well as their political motivations, this study takes the Russian art collection of the Karásek Gallery, state purchases of Russian art, the Archive and Collection of Slavonic Art at the Slavonic Institute, the Scythian group and the permanent art exhibition of the Russian Cultural-Historical Museum as symptomatic examples that reveal the shifting boundaries of the notion of "Russian art outside Russia." It also brings the artistic production of the interwar period into conversation with that of the art traditions of pre-revolutionary Russia. All the described phenomena are characterized by rich international contacts and a...
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Montage and time in visual allegory
Winter, Tomáš
This article is based on an interpretation of the painting Time and Eternity by John Haberle. Using texts by Walter Benjamin, Craig Owens, Susan Sontag, Peter Bürger and Benjamin Buchloh it refers to a specific nature of the relationship between allegory and time and the various modes of this form of expression.
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The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries. Creative Individuality versus the Chaos of the Time
Šmejkalová, Adriana ; Wittlich, Petr (advisor) ; Prahl, Roman (referee) ; Winter, Tomáš (referee)
ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...
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Last Paintings
Šiklová, Lucie ; Lahoda, Vojtěch (advisor) ; Winter, Tomáš (referee) ; Pomajzlová, Alena (referee)
The dissertation thesis Last Paintings deals with the issue of the last works of the authors at the end of the work. This question represents a complexly unexplored topic in the field of Czech art history. Last paintings are often so different from the previous work. So they may in specific cases give rise to a discussion: Have we include them or better give them to brackets in the artist's work as an excess and not too much deal with? Rather the second alternative is happening. In a wide range of possible focus, the work focuses on last works of modern and contemporary art history. Because such a group or category of art within the Czech art history has not yet been considered, it focus on Czech authorship. The selected iconic world's last works are presented for comparison at the end in a quick overview. Given the topic of the departure of a man from this world, tis work outlines the cultural anthropological bases, their symbolism, it reflects the iconography of last paintings. It offers options for categories, which appear to be diversified, permeating, and beeing rather as auxiliary matter. The main weight of the work is based on selected case studies of individual authors. On the basis of case studies with the implied support of analytical psychology, the last paintings appear as a guide to...
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Forms of Expression in Painting in Contemporary Czech Art Within a Czech and International Art Context
Ropková, Barbora ; Rakušanová, Marie (advisor) ; Winter, Tomáš (referee) ; Pospiszyl, Tomáš (referee)
This dissertation thesis deals with the work of three contemporary Czech artists - Josef Bolf, Jakub Špaňhel and Lubomír Typlt. The reason for choosing these three was the fact that all of the artists represent the same generation which entered the art scene in the late 1990s and their canvases can be equally described as expressive, although right at first glance there are noticeable differences in the intervention of the emotional and sense elements which participated in the creation process of the work of art, but also in its content. Contemporary expressive paintings are influenced by the development of art in the second half of the 20th century which is based on the continuous comparing of expressive subjectivity and its negation or intentional application and irony. That is why I decided to illustratively explore the movements which took place in terms of the foreign and Czech scene during the second half of the 20th century in the field of expressive painting. Because the Czech art arose in different conditions, I explored the changes of this phenomenon separately in these geographical areas, but at the same time I carried out a partial analysis of the works and comparisons with the work of the three chosen artists based on these findings. Subsequently, I analysed the work of the chosen...
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The Magic of Folk Art
Winter, Tomáš
The paper follows the manner in which perception and the interpretation of the magical function of folk art has shifted in the past by looking at three examples.
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Art criticism in the magazine Dílo (1903-1949)
Bytelová, Adéla ; Pech, Milan (advisor) ; Winter, Tomáš (referee)
Art criticism in magazine Dílo (1903-1949) Abstract Bachelor thesis Art criticism in magazine Dílo (1903-1949) deals with critical texts published monthly in journal Dílo, the magazine of "Jednota umělců výtvarných" society in the years 1903- 1949. In chronologically arranged chapters are the selected texts analysed, compared with texts from the rival journals, set in the context of contemporary artistic disputes and the chapters are completed with basic information about editorial staff and thematic focus of the magazine Dílo. In conclusion there is outlined an overall picture of the art criticism in magazine Dílo, its orientation, transformations, value and influence on the art scene in the first half of the 20th century.
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