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Grigorij Musatov
Klímová, Barbora ; Lahoda, Vojtěch (advisor) ; Wittlich, Petr (referee)
Cílem mé diplomové práce je zpracování malířského díla ruského malíře Grigorije Musatova. Uvědomuji si, že v práci nejsou (a pravděpodobně ani být nemohou) uvedeny všechny obrazy vytvořené tímto autorem. Jeho kresby a skicy z důvodu rozsahu práce zcela vynechávám. Přesto jsem se pokusila o zdokumentování písemných pramenů a informací, ale především všech dostupných malířských děl, která se nacházejí v galeriích, ve sbírkách soukromých sběratelů a v posledních letech i v mnohých obchodech s uměním. Za velmi důležité jsem považovala zpracovat nalezený strojopis největšího sběratele, mecenáše a velkého přítele Musatova, Ivana Jana Smetany, který již za malířova života sepisoval jeho výpovědi a také vytvářel soupis děl. Rovněž neopomenutelným zdrojem informací jsou výpovědi Musatovovy dcery, Eleonory Musatovové. Tyto informace jsou také pramenem pro biografické údaje. V první kapitole zabývající se životopisem budu z těchto pramenů často citovat, protože kromě několika obsahově stručných katalogů a novinových recenzí jiné zdroje prakticky neexistují. Životopisná fakta často odkrývají a vysvětlují náměty, kterými se Musatov zabýval. Proto je v úvodu své práce podrobněji rozvádím. Chci poukázat na stylově různorodou tvorbu umělce, patřícího bezpochyby k autorům, kteří svou originální malbou rozšířili spektrum...
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Kupka and the group Abstraction-Création
Bareš, David ; Lahoda, Vojtěch (referee) ; Wittlich, Petr (advisor)
The topic of the participation of Kupka in the groupe Abstraction-Création has never been treated before. The autor of this work seeks to chart the spectre of general artistic, politic and economic circumstances, which were the reasons of a great flourishment of abstract art in the beginning of the 30ies of the XX century in Paris. Furthermore, the professional and personal aspects of Kupka's life are shown on the correspondence exchaged with his collegues and his best friend of that period, Jindrich Waldes. During the 20ies and 30iest Kupka had serious psychic problems and the relations with Prague were often really complicated. Although he was badged by the czech government for his participation in the first world war, he returned to Paris, where he began to participate step by step in the French artistic life. His first great friendship in the french artistic milieu was with the painter Felix del Marle, who was one of the leading artists of the avantgarde groupe Vouloir active in Lille. Presumably it was Felix del Marle, who introduced Kupka to Theo van Doesburg, the ideological father of the groupe Abstraction-Création. Kupka, who was invited to participate in the groupe, became a honour member. He publicated in three numbers of the magazine of the groupe. The theorical and artistic background of Kupka...
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Landscape in the work of Josef Váchal
Voháňková, Romana ; Prahl, Roman (referee) ; Wittlich, Petr (advisor)
This thesis wants to trace up sources and evolution of the theme of landscape in the life work of Josef Váchal. The first part concerns about art studies at privat school of Alois Kalvoda and its later influences. Subsequently it deals with the period between years 1906 and 1934 and analyses the theme of landscape in terms of content and form. Crucial is the chapter that describes Váchal's book Gabreta dying and romantic, in which the theme of landscape culminated. It was especially thanks to excellent skill in woodcut and entirely unusual view of landscape. It wanted to show fundamental principles of nature and its spiritual character, instead of pictorial view of coutry. Váchal's life work influenced even czech contemporary art, which is described in the last part of the thesis.
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Stanislav Lolek (1873-1936)
Klouzová, Aneta ; Prahl, Roman (referee) ; Wittlich, Petr (advisor)
The aim of this work is to give a reader the most compact view of life and production of the artist Stanislav Lolek (1873 - 1936) as well as to chart the appearance of his artwork in Czech and Moravian museums and galleries. Observation of his career and influence, that shaped his artistic growth, should help reader to understand the production of this artist in connection to the other contemporary artists specialized in landscape-painting . Stanislav Lolek was through his journey of finding his own artistic interpretation mostly influenced by following factors. Firstly, Lolek was personally very attached to nature and it's colours. Secondly, he was considerably inspired by metodologicaly consistent art tuition from Julius Ma ák as well as he was impressed with the whole artistic atmosphere of the time. In addition, the inspiration and influence came also from the French impressionism. Lolek finally settled captivated by the specific nature of the region Slovácko. All the impulses mentioned below were merged together by Lolek into a very interesting synthetis. Above all, he transformed the influence of impressionism into his specific interpretation. With his individual conception of landscape, often characterised by radiant and vibrant colours, Lolek enriched Czech landscape-painting with specific and...
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Figural motifs in the work of Antonín Hudeček
Ropková, Barbora ; Prahl, Roman (referee) ; Wittlich, Petr (advisor)
This thesis concentates on an interesting group of paintings from Antonín Hudeček with figural motifs. However Hudeček was treated as landscape painter. His paintings with figural motifs were mainly painted in his beginning creation in secession period. The thesis considers reading in existing literature and makes an attempt to interpret these paintings. The research observes an artistic progress of Antonín Hudeček, czech contemporary artistic scene and general context.
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F. Kupka and his letters to V. Hynais
Brožová, Kristýna ; Wittlich, Petr (referee) ; Prahl, Roman (advisor)
This bachelor thesis, named F. Kupka and his letters to V. Hynais deals with mutual correspondence between František Kupka and Vojtěch Hynais. Their letters are currently placed in the National Gallery Archive in Prague. Dealing with this correspondence required translation from French to Czech and critical analysis of the text in comparison to already published studies. Many of the currently known information concerning Kupka has been confirmed while some new facts have also been uncovered. Although it may have seemed formal at first sight, the relationship between the two artists was truly warm. They shared not only their artistic points of view but also the joys and sorrows of their family lives. They often included magazine articles dealing with art and the current situation in the Czech and French art world into their letters. Kupka often mention his work, mainly book illustration, and expressed his longing for painting. His correspondence reassures us of his punctual preparation for each art project and also sometimes helps withs its dating. The reader is also confronted with Kupka's successes and failures with his search for a new artistic expression, although this can only be found in slight indications, not in connection to concrete paintings. The most important outcome of studying their...
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Regarding conceptual art in Bohemia and Moravia during the 1970s till the early 1980s
Brabcová Kršiaková, Lenka ; Klimešová, Marie (referee) ; Wittlich, Petr (advisor)
The final thesis titled Regarding Conceptual Art in Bohemia and Moravia during the 1970s till the Early 1980s deals with the theoretical background and characteristic features of conceptual art in worldwide context as well as in Bohemia and Moravia. It covers the period of late the 1960s till the early 1980s. In order to describe the main features of conceptual art, the author used as examples the works of chosen American and European artists (for e.g. the selected work of Sol LeWitt, Joseph Kosuth, Art and Language, Lawrence Weiner, Bruce Nauman, John Baldessari, Bernd Becher and Hilla Becher, Victor Burgin, Hans Haacke, Dan Graham, Daniel Buren, Marcel Broodthaers.) Furthermore, the text describes the beginning of conceptual art in Bohemia and Moravia and it deals with the work of local artists (Milan Knížák, Jiří Valoch, Marián Palla, Karel Miler, Petr Štembera, Jan Mlčoch, Jiří Kovanda.) A whole chapter is dedicated to the work of the very creative and versatile artist - Dalibor Chatrný. Several features of conceptual art are described in greater detail on chosen examples of the way he works with photography, words and colour, with mirrors and mirror reflection, space and planes. Finally, the thesis considers the specific nature of Czech conceptual art and it also reflects on criticism of conceptual art...
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Horizons and ruins. The visible and invisible in the early modern visual culture
Hájek, Václav ; Konečný, Lubomír (advisor) ; Wittlich, Petr (referee) ; Lahoda, Vojtěch (referee)
My thesis deals with one specific pictorial motif from nineteenth century (horizon contra ruin) which represents and brings questions into an early modern visual culture. The visual culture includes a set of representations (artefacts, mass images, visual signs etc.) and also methods of a visual perception and reception. This text has an objective to watch, how is a concrete historical variant of the visual culture by reflexive manner reflected and construed in visual artefacts themselves (in a relevant theoretical context).
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Ladislav Žák (1900-1973)
Dvořáková, Dita ; Švácha, Rostislav (advisor) ; Sedlák, Jan (referee) ; Wittlich, Petr (referee)
This thesis investigates the life and work of the architect Ladislav Žák (1900-1973), who also engaged in painting and drawing, furniture design, landscape architecture and architectural theory. His work was rooted in systematic theoretical considerations. In addition to working as an architect, Žak was a high school drawing teacher (1924-1930) and a professor of garden and landscape architecture at the Academy of Fine Arts in Prague (1946-1973). As a student at the Academy of Fine Arts in Prague, Žák studied painting with Professor Karel Krattner (1919-1924) and architecture with Professor Josef Gočár (1924-1927). In his early architectural and urban planning studies, as well as his furniture designs, he applied the principles of the new functionalist movement. He then followed the tenets of Le Corbusier's Purism into the 1930s. A characteristic attribute of all of Žak's work was a simultaneous consideration of tradition and a sensibility for current trends. This dichotomy was already present in his earliest theoretical writings.
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August Brömse. The artist and his paintings
Kašková, Gabriela ; Wittlich, Petr (advisor) ; Prahl, Roman (referee)
The work is based on the estate of August Brömse in the Kunstforum Ostdeutsche Galerie Regensburg, which contains over 1050 letters from the period between 1902 and 1910, and a large collection of sketches and pictures. The structure of the work is determined by this material. The first part is focused on the period up to 1910. On the basis of his correspondence it investigates the artist's life after his studies in Berlin up until his establishment as Professor of Graphics at the Academy of Arts in Prague. The text not only provides a biographical study, but also gives an insight into the cultural life of "Czech Germans" in the specific context of the struggles between Czechs and Germans in Bohemia. Of special interest is the "fight" for the two posts for German professors at the Academy, which lasted four years and was very important for Brömse. The second part is devoted to Brömse's paintings from the period after 1910, which have not yet been treated adequately in research on the artist. It ties in with the first part, which shows the starting points of Brömse's painting and also comments on important pictures in the context of the artist's work. The second part offers an analysis of selected significant paintings. After 1910 Brömse concentrates on religious themes in his work. Two thematic issues have...
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