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Sehe mit fühlendem Aug', fühle mit sehender Hand. Hmat v dějinách umění 1890-1960
Zachariáš, Jan ; Konečný, Lubomír (advisor) ; Thein, Karel (referee) ; Fedrová, Stanislava (referee)
The aim of the presented work is to show what role the touch and associated tactile perception played in the history of art between 1890-1960. It's main argument is that without the sense of touch, art history would not be able to build its conceptual apparatus. Constantly coming to terms with tactile experience as opposed to sight has provided art historians with a number of methodological tools for classifying works of art, many of which have become the backbone of formal analysis. The theses systematically covers German and selectively English art-historical discourse, thematizing touch, and traces how the selected authors worked with it. Already Johann Gottfried Herder laid the foundations of the aesthetics and noetics of touch, which were followed on an ideological level by the arthistory. Herder argued that touch gives us knowledge of space, while sight can only perceive colors. Touch is therefore much more reliable sense than sight. Herder connected different kinds of art with specific senses - music with hearing, sight with painting, and touch with sculpture. If the sense of touch is more reliable and truer than the sight, the art associated with it is also an art with a higher aesthetic and noetic value. Art historians around 1900 shared Herder's belief that touch is the creator of space....
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Shoes in van Gogh's oeuvre New interpretationes from Derrida to present day
Zachariáš, Jan ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee)
Resumé Presented thesis is dedicated to specific problems of van Gogh's art. In the first chapters I investigate Heidegger's philosophy of art and his philosophical interpretation of van Gogh's painting Old shoes. Second chapter is dedicated to the critical reaction of distinguished art-historian Meyer Schapiro. Schapiro wrote two short texts, where he attacked Heidegger's way of interpretation of the painting. But Schapiro did not take into account Heidegger's philosophical arguments and completely misunderstood Heidegger's essay. Third chapter is dedicated to the "conclusion" of the conflict of interpretations. In late seventies French philosopher Jacques Derrida published an article (Restitutions), which deals with previous contributions. Derrida seriously attempted to investigate philosophical principals of Heidegger and Schapiro and he suggested, that both authors have the same tendency to appropriate the shoes to some person, in Heidegger's case to peasant woman in that of Schapiro to van Gogh. Derrida tried to leave the "theory of appropriation" by saying that the shoes belong to the painting. I also added two appendices dedicated to specific problems of van Gogh's painting. In first appendix I investigated the role of synthesis of painting and drawing in van Gogh. In second appendix I trace the...
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Martin Heidegger, Meyer Schapiro, van Goghs's shoes and some problems of interpretation
Zachariáš, Jan ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
In Heidegger's text Origin of the work of Art is one part, where Heidegger writes about van Gogh's painting Pair of shoes. A lot of art writers and philosophers who consedered Heidegger's essay managed, that Heidegger interpreted this painting as shoes of peasant woman. In my opinion Heidegger only freely speaks about van Gogh's painting. In Heidegger's own words it is questioning of philosopher not strict interpretation. Everything what Heidegger says about van Gogh's painting is deeply conected with whole philosopher's concept of human being, which he itroduced in his masterpiece Being and Time. Van Gogh painted number of shoes, we can find sabots in his early period and lether working or walking shoes from Paris period. Depicting of sabots is conected with van Gogh's liking for counry-life and life of poor peasants in his Holland period. On the other hand in his Paris period one can find four paintings of city wolker's shoes. These paintings are conected with van Gogh's social statut as fleneur - city walker. One of these paintings is the same that Heidegger mentioned in his essay. It is surely "Pair of Shoes" (cat. num. Faille F 255). A lot of scholars, including Jameson, Owens, Derrida have considered this painting. The most probably interpretation seems to be that van Gogh wanted to express...
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