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Martin Salcman 1896-1979
Brabec, Tomáš ; Wittlich, Petr (referee) ; Lahoda, Vojtěch (advisor)
History of the modern 20th century art resembles a jungle of styles, full of personal or collective expresslons and many errant ways. Big roads of early 20th century -ISMs were planned and marked out by names known today around the world or at least In Europe. These maln streams navigated whole groups of artists and their followers. They were, however, very often interconnected with a complicated network of sidewalks, shortcuts and detours, full of hard working individuals searching for their own complex, but still unique invention. Staying in the shade and trying to understand similarities between the "high art" of their famous companions, they became philosophical bridges between styles as well as tireless engineers dismantling or connecting them. 1artin Salcman was such an individual. He was born In ~896 in a poor family. His father died when he was 10, his mother shortly after he became 14. Still a student of local secondary school he has shown his strong sense for artistic expression and doubtless talent. It may have been recognized by some of his relatives or school authorities. His self-portrait "A Young Boy dressed in a Working Cloth", surprisingly 1n oil, 1S certainly untouched by any professional training but it clearly shows Salcman's future potential. It 1S necessary to admit that Around the his...
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Personalities and development of Czech comics until 1949
Diesingová, Helena ; Lahoda, Vojtěch (advisor) ; Wittlich, Petr (referee)
Zahraniční komiksy otiskované v českých periodikách jsou jen dalším dokladem skutečnosti, že tato forma vyjadřování nebyla u nás do. roku 1945, chápána jako samozřejmá. O tom svědčí potřeba přetvářet již hotový zakoupený komiks do formy obrázkového seriálu, tzn. opatřovat němý comic strip verši, popřípadě vymazávat u komiksu text v bublinách. Jak už bylo řečeno, největší oblibě se těšily postavičky z dílny Walta Disneye, a to na základě filmových grotesek. Zbytek jednostránkových zahraničních komiksu, které byly v českých časopisech otiskovány, spadá do druhořadé kategorie světové produkce. Daleko častěji byly přejímány novinové comic stripy, jejichž oblibu u čtenářu si vydavatelé ověřili. Na tomto poli se také odehrávaly české "pokusy" o komiks.
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On the road. The mystic and the artist
Trojaková, Jolanta ; Lahoda, Vojtěch (advisor) ; Konečný, Lubomír (referee)
in the Czech art of the first half of the twentieth century. As the mystíc I define this artist, who dedicates his entire life to searching for God- in aU of his forms. In the introduction Bejore the Start I sket ch the spiritual milieu of the tirne. In the first chapter lmages oj Gods I demonstrate the contemporary prototype of the mystical f1uctuate person comparing two artist: Rudolf Adámek and Josef Váchal, who were both deeply involved in many occultism organizations. The second chapter TheWay to the Hereafter speaks comprehensively about the movement of the spiritualism in Bohemia in those days. I focus on the artists, who actively participated in spiritual séances, often having even played the role of spiritual medium. The third chapter Th? Way to the East deals with the oriental philosophies, which thanks to the doctrine of H.P. Blavatsky entered into the lives of many Cz ech artists. They started to practise yoga, studied buddhism and meditate. The new life style inf1uenced also their art. In the last, fourth chapter Thé! Mystical Ladder I tried to describe the way of the mystic - artist step by step fr01'1 tLo, mental state of spiritual beginner to that of the enlightened person. In conc1usion I shortly compare the temperaments of the artists, whose lives and artistic works helped me to...
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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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Image of the wandering Jew in Czech and world art
Janáčová, Eva ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
In general terms, the principal aim of this MA thesis is to explore the iconography ofthe Wandering Jew in both Czech and world fine art. lnitially, some room is dedicated to the historical evolution ofthe legend of the Wandering Jew, who is originally referred to as Cartaphilus or Malchos, later Ahasverus. According to a narrative, taken down already in the first half of the thirteenth century in its essential setup, the so called "Wandering Jew" had punched Jesus, for which he was condemned by him to a ceaseless wandering until his second advent on earth. The delineation of the ahasveric topic in the broader context of Czech and world literature, music, drama and cinematography is followed by a rather extensive section dedicated to the field of visual arts. According to some scholars, the first depictions of the Wandering Jew could have originated already in the twelfth century. However, more serious proposals situate their first emergence into the period between the thirteenth and the sixteenth century. Furthermore, it cannot be fully excluded that some figurations ofthe Wandering Jews are inspired in the iconography of the Carrying of the Cross. Since the beginning of the seventeenth century the iconography of Ahasverus reaches its full development: the most noticeable is the progression from initial...
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Reception of Japanese art in Czech painting and graphic
Petřinová, Alžběta ; Suchomel, Filip (referee) ; Lahoda, Vojtěch (advisor)
This thesis presents various manifestation od japanese art impression including the influence of french cultural metropolis. This phenomenon is presented throught some concrete painting and graphic pieces. On the following pages there are exemined works of Czech art individualities, who had worked from seventies of nineteenth century when the influence of Japanese art was coming in Czech culture till thirtieth of twenties century before the beginning of World War Two. This thesis is split to sixteen chapters including first publications about Japanese art in Czech, foundation of Naprstek library (1858) and muzeum (1863) and its collection of Japanese art and its contributors, Czech exhibition of Japanese art, personality of Sigismund Bouška and his relation to graphic artist Josef Váchal, correnspondence of two culture personalities of nineteenth century Zdenka Braunerová (1858-1934) and Julius Zeyer (1841-1901), shops with Asian articles, calligraphy of Luděk Marold, posters works, book illustrations, ex libris, personality of Emil Orlik, Antonín Hudeček, Rudolf Kremlička, the influence of Japanese personalities of Katsushika Hokusai (1760-1849) and Kitagawa Utamaro (1753-1806), coloured expressionisme of Václav Špála (1885-1946) and chosen motifs from Japanese art in Czech art. The first chapter is...
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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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Stage design of Josef Svoboda in the Theatre and Grand opera of 5th May
Frydlová, Veronika ; Klimešová, Marie (referee) ; Lahoda, Vojtěch (advisor)
Josef Svoboda is one of the few stage setters well known in the Czech Republic and also abroad whose work is appreciated by general cultural public. He and also František Tröster and Vlastislav Hofman brought themselves to theatergoers' notice. Laterna Magika audience can still be fascinated by his creative invention and his visual and technical talent (light experiments and usage of two-way mirrors). Josef Svoboda is known mainly as a Laterna Magica stage setter. Not many people know that he started his career in opera-house Velká opera 5. května. He worked here as a very young, beginning artist till the year 1948 when the theater was canceled. He was a stage setting director. He met here a group of young and creative actors and directors and together they created a unique type of a theater which changed established opera stereotypes. Josef Svoboda participated in this process by creating novel stage settings, always in accordance with the style of each inscenation. He always started from the essence of the story, for example in production Hoffmanovy povídky, Prodaná nevěsta, Tosca (still could be seen in the original form in Státní opera) and Výlety pana Broučka. He never followed stereotypes used by his predecessors and he created his own new stage space. In my work firstly I have tried to summarize the...
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Václav Cigler 60's-80's
Hrnčířová, Markéta ; Lahoda, Vojtěch (referee) ; Klimešová, Marie (advisor)
This text is focused on the work of visual artist Václav Cigler and examines his work from year 1960 to 1989. The text aim to encompass all of the Cigler's creating of assigned period and to present him as a versatile artist, who is not just the glass artist, but who also deals with drawings and designs landart projects in which he works with the topic of ecology, urbanism, light and the relationship between landscape and human. The text shows the artist's work in a deeper consequence and it's looking for common moments in the different types of Cigler's art work and places it in the context of the Czechoslovak art of assigned period.
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