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Maxmilian Pirner - The conception of allegory and symbol in the work of one artist on the end of 19th century
Bencová, Zuzana ; Prahl, Roman (advisor) ; Wittlich, Petr (referee)
The theses Maxmilian Pirner - The conception of allegory and symbol in the work of one artist on the end of 19th century discusses the work of Maxmilian Pirner and his attitudes to allegory and symbol. Becouse at the end of 19th century was the allegorical system in crisis, Pirner reflected it by its' modernization. The modernisation of system in his own conception consisted in gradual rejection of traditional allegory and admission of symbol. The these is trying to answer the question how this process came through and why it was unique. The main focus of the theses is to describe Pirners'role in the process of development in art since neoromantism to symbolism at the turn of 19th and 20th century.
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Painting and photography around 1900
Voháňková, Romana ; Wittlich, Petr (advisor) ; Prahl, Roman (referee)
This master thesis focuses on the influences of the new medium of photography on the czech painting around 1900. An important part of such a topic is the role of the photography as a sketch for a painter. Another important question is, how was the impact of the visual form of photography on painting, for instance the use of photographic illusion in painting or the influences of chronophotography and moment photography. An important issue is an essential difference between photography and painting in colour. Photography widely extended the visual experience around 1900, as it enabled to fix the images from the area of science and pseudoscience. The question also is, how these new images influenced the painting. This theses also describes, how painters commented on the new medium and how they perceived the attempt of photography to become a legitime subject of fine art. Key words: painting, photography, fine art around 1900
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Fundamental Painting: Birth, Characteristics, Formal Roots and Significance
Rajlich, Claudia ; Lahoda, Vojtěch (advisor) ; Wittlich, Petr (referee) ; Valoch, Jiří (referee)
Title: Fundamental Painting Author: Claudia Rajlich Department: Institute of Art History Supervisor: Prof. PhDr. Vojtěch Lahoda, CSc. Abstract: This dissertation wishes to define fundamental painting - a term which was coined and a current which was defined by the Stedelijk Museum in Amsterdam in the form of a show of 18 artists of different nationalities in 1975. Like the show, it wishes to give a clear view of a specific new kind of painting of the 1970s, which is "a reflection on the foundations of painting."1 The core of Fundamental Painting is formed by the four painters of American Minimal Art and the show based on a text concerning their work (upon which innumerable texts have been written since). This dissertation focuses on the European part of this "common mentality" as the curators call it, which remains unresearched until today. Its scope is to define: What was it, where did it come from and was it at all? The research is limited to artists in the show (although we conclude that a few should be replaced by others), historical evidence concerning new painting in the 1970s, the critical analysis of texts, artists statements and, above all, the undeniable documentation in the form of the body of works themselves. The existence of Fundamental Painting is proven, its characteristics determined in...
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Sculptor Franta Úprka and his sepulchral works
Eretová, Monika ; Prahl, Roman (advisor) ; Wittlich, Petr (referee)
This dissertation deals with sepulchral artworks of Franta Úprka (1868-1929), the Czech sculptor. At first his life is described. Franta Úprka was born in Kněždub, south-eastern Moravia. Beginning of his artistic activity belonged to the end of 19th century, when he worked as an assistant of two famous Czech sculptors - A. P. Wagner and Bohuslav Schnirch. His own career took place in the first two decades of the 20th century. Name Úprka is best known for Joža Uprka, Moravian painter and Franta's elder brother. Although Franta Úprka lived and worked in Prague from 1890th, the midpoint of his artistic interests and main theme of his sculptures was depicting people, traditions and subjects from his home country, Moravian Slovakia. Moravian Slovakia was specific part of Moravian countryside full of long lasting and still surviving folklore, folk traditions, peculiar vivacious characters and intact nature. As Auguste Rodin said during his visit of Moravian Slovakia in 1902 it was kind a Greek Helada overflowing with bright colours, sunshine and cheerful relaxed atmosphere. On the other side, common people lived there their uneasy rural lives with all ordinary worries and pleasures. Both sights of the issue were solved by Úprka's artworks. Very specific and the most significant part of his chef-d'oeuvre...
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Maria Bartuszová (1936 - 1996). Sculpture in the Context of Art
Garlatyová, Gabriela ; Klimešová, Marie (advisor) ; Wittlich, Petr (referee) ; Gregorová Stach, Lucia (referee)
This dissertation is devoted to a monographic processing of the work of sculptress Maria Bartuszová (1936, Prague - 1996, Košice). Methodologically, it is mainly based on the compilation and evaluation of knowledge from the in-depth research of the first list of works of M. Bartuszová "Catalogue Raisonné 2012-2018", Collection of drawings and photographs from the Archive of M. Bartuszová, biography, exhibitions and bibliography. It is divided into four chapters, in which it deals with the sculpture of M. Bartuszová, its transformations in the period of her ceramics studies at the Academy of Fine Arts, Design and Architecture during the 1950s in Prague, continues by tracking her sculptural beginnings since 1961, and it deals with the circumstances of her relocation to Košice where she lived most of her life. It tracks her work during the normalization period of the 1970s until the end of the 1980s, when the totalitarian regime ended with the Velvet revolution. It explores the reasons why her work was little exhibited and also why it was little known and reflected by the professional circles. Based on the process of assembling parts of the organism of her oeuvre reconstructs technological experimental procedures, original terminology of the sculptor, creative intentions, dating of works and their...
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F. Kupka and his letters to V. Hynais
Brožová, Kristýna ; Prahl, Roman (advisor) ; Wittlich, Petr (referee)
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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Decoration of Prague's tenement houses in the last third of the XIXth century and the beginning of XXth century
Pelc, Vít ; Prahl, Roman (advisor) ; Wittlich, Petr (referee)
The work discribes decoration of Prague's tenement houses in the last third of the XIX.Century and the beginning of XX.Century. In the first instance it addresses questions of decoration at general level, the character and disposition of decorative elements on houses facades. Concisely it considers the materials and techniques used in the decoration of houses and it discusses usual methods of compositional solutions and disposition of decoration. Hereafter this work summarises in a brief survey the subjects of decoration in the reviewed period. Individual decorative elements may have decorative sense; otherwhile they express semantic or ideological meaning.
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Stanislav Lolek (1873-1936)
Klouzová, Aneta ; Wittlich, Petr (advisor) ; Prahl, Roman (referee)
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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The altar in the Czech Art Nouveau
Cachová, Tereza ; Wittlich, Petr (advisor) ; Prahl, Roman (referee)
This thesis is dedicated to the manifestations of Art Nouveau in the altar production of the Czech woodcarver Jan Kastner and the integration of an altar in the Art Nouveau style into the context of a contemporary church interior. The first chapter deals with J. Kastner's personality and his work and plans including his exhibits presented in the world exhibitions, mainly as related to his altar production. Kastner's altars are in the Art Nouveau or pseudo- Gothic style, but some combine in a specific way elements of the Art Nouveau with the late pseudo-Gothic style. The second chapter presents three examples of churches with three main altars (created in different variants of the Art Nouveau) and a corresponding interior in the Art Nouveau style. The three churches are: the Elevation of the Holy Cross Church in Jablonec nad Nisou by Josef Zasche, the church of Saint Cyril and Metoděj in Kroměříž by Hubert Gessner and the Monument of Peace in Prace near Brno by Josef Fanta. The last chapter is an attempt to set up criteria for defining a sacral work of art as one in the Art Nouveau style. The supplement summarizes the historical development of the Christian altar.
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Imaginary Orientalism of Gustave Moreau in the Context of 19th Century Orientalism and Symbolism
Domincová, Eliška ; Prahl, Roman (advisor) ; Wittlich, Petr (referee)
The purpose of this bachelor thesis is to analyze the orientalist artwork of French painter Gustave Moreau in a context of orientalism and symbolism in the second half of the 19th century. The thesis focuses on comparing the representation of Orient in Moreau's art and its representation in painting in general, in particular in academic orientalism. Stylistic and thematic differences between traditional academic orientalism and the innovative approach of Gustave Moreau to the similar oriental subjects are examined. It also explores the position of Moreau's art in symbolist movement and his influence hereon. The core research method used in the thesis is studying the works of art mentioned in it and their analysis from iconographic, iconological and semiotic points of view. The author also examines primary textual sources (mainly artist's own thinking about art) and secondary literature concerning the life and art of Gustave Moreau, orientalism and its political context, and works on symbolism. The thesis consists of two parts. Part 1 deals with Moreau's orientalist art work within the frame of French orientalism of the second half of the 19th century, and it points out differences between Moreau's imaginary orientalism and the traditional academic orientalism. Chapter 1.1 describes the social and...
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