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PAVEL PÁNEK AND CZECH PRESSED GLASS OF THE SIXTIES AND SEVENTIES
Opěla, Jan ; Klimešová, Marie (advisor) ; Hubatová - Vacková, Lada (referee)
Principal message of this thesis is to introduce designer Pavel Pánek putting him into proper historical context and to reveal some of his unpublished designs or sketches which are hidden to the eye of wider audience. First chapter is fully devoted to the concise history of technique of pressing glass and mention is made of so called pressing ring playing important role in it. One of the sections contains in brief Pavel Pánek's biography where some moments of crucial importance are underlined. Most important part is that, which provides with account of Pánek's works that I found either interesting or crucial for the development of pressed glass. At the beginning of the description of each piece brief description of used technology is added. I am striving to emphasize Pánek's inexhaustible inventiveness and knowledge of techniques that eventually gave rise to some of his best pieces ever. It appears that in some way Pánek was to a certain extent predestined to grow into a sculptor of great providence especially for the sake of his vocational education. Due to the fact Pánek's personality faces false accusation of plagiarism and theft of foreign invention nowadays I had to include apologetic chapter in it. At the end of the thesis I conclude that Pánek, embodied one of the most experimentally -...
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The architect Karel Prager and Prague architecture of the sixties
Mléčková, Tereza ; Biegel, Richard (advisor) ; Klimešová, Marie (referee)
This thesis focuses on the Czech architect Karel Prager and his Prague buildings of the sixties. These include the Institute of Macromolecular Chemistry, the Project Studios Association and a former House of the Czechoslovak Parliament. His works are presented in the cultural and historical context of the nineteen fifties and sixties in Czechoslovakia, emphasizing architectural development with examples of other important buildings and architects of Prague. They are seen from both the aesthetic and technological point of view, while highlighting their urban solution. The main principles of Prager's work and the way he thought about architecture are mentioned, as well as the probable inspiration and opinions of his work. Key words: Karel Prager, the Prague Architecture of the Sixties, Institute of Macromolecular Chemistry, Project Studios Association, House of the Czechoslovak Parliament
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Rudolf Němec - Imprint, Silhouette, Grid
Jindrová, Tereza ; Klimešová, Marie (advisor) ; Lahoda, Vojtěch (referee)
Tereza Jindrová: Rudolf Němec - imprint, silhouette, grid Abstract This Bachelor's dissertation deals with the work of painter Rudolf Němec (born 19. 5. 1936). It is focused on his work in a period from the middle of The Sixties to the end of The Eighties and it observes the works of painting, the works on paper and other experiments using different medias (photography, film, instalation, performance). The dissertation provides a deeper insight into the work of Rudolf Němec throught formal and content interpretation and it put his work into context ot the new figuration.
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Art group Experiment and other art groups at the turn of the fifties and sixties
Smetanová, Marie ; Lahoda, Vojtěch (advisor) ; Klimešová, Marie (referee)
The subject of this work is an art group of four painters that was founded in 1959 and named Experiment. Artists of this group - František Dvořák, Radoslav Kutra, Jaroslav Uiberlay and Miloslav Jemelka - were born in the late twenties of the twentieth century. They belonged to the generation of painters, who had the opportunity to study after the second world war. They also played a crucial role in the forming of artistic expression in the sixties in Czechoslovakia. The main effort of these painters was to overcome the uniformity of socialist realism. They intended to return to and evaluate the visual art produced between wars in Czechoslovakia and in Europe. The feeling of vulgarity of descriptive realism prompted many artists to establish art groups in which their ideas and thoughts were formed due to the mutual confrontation. At the turn of the fifties and sixties was established a large number of "creative groups", whose development was possible due to the Union of Czechoslovak visual artists. Although the Union still served as a strict supervisor, it also allowed many young artists to exhibit their work for the first time in public. Creative groups, along with the Experiment, which was rather small, but compact formation, had merit in the overall release of the intricate situation in the Union. The...
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Art Symposia in the 1960s
Fišer, Marcel ; Wittlich, Petr (advisor) ; Klimešová, Marie (referee) ; Šetlík, Jiří (referee)
The Dissertation Abstract The dissertation deals with the tradition of holding art symposia (with a special focus on sculpture symposia) since their origins until the beginning of the 1970s. Both of them coming from German-speaking regions, so far only two works have been dedicated to the topic. However, they both focus on sculpture symposia and totally neglect other disciplines. The fact that they - for perfectly understandable reasons - mostly deal with art from Eastern Europe and overseas is their second weakness. Thus East-European art symposia are commented on scarcely and without knowledge of the local context. The text of the dissertation is therefore for the fist time fully based on an extensive research of the wide spectrum of symposia with respect to their geographical and disciplinary aspects. Thanks to their heavy influence, sculpture symposia, nevertheless, tend to occupy most space. The text places symposia into the context of general development in visual arts and sculpture after World War 2, especially with respect to some on-going contemporary trends, such as the phenomenon of open-air exhibitions, foundation of sculpture parks, development of public art, emerging of abstract art or welded metal sculptures of the later period. The major part of the text includes data about all art symposia...
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Action stage design In Czechoslovakia, Prague 2012
Frydlová, Veronika ; Klimešová, Marie (advisor) ; Koubská, Vlasta (referee)
"Action stage design" is a term which was originally used in the mid-70s in the connection with 1975 Prague Quadrennial. Soviet critic Viktor Berjozkin chose this term to describe a new approach which was apparent in the majority of national expositions. It was an alternative approach to dramatic space, the traditional proscenium theater was systematically abandoned. New possibilities of producing in non-traditional, mainly non- theatrical spaces which offered closer contact with audience were searched. In aesthetic approaches the action stage design abandoned rampant focus on art, illusoriness, embellishment and complicated technical solutions. On the contrary it took inspiration from "earth works" (arte povera) and pop-art. They used "poor" - which means - common and natural materials [mainly fabrics] and everyday objects. Simplicity and inventiveness became an important requirement of the new aesthetics, as well as constant confrontation of dramatic and empirical reality. Stage props were meant to be mainly polysemous. It means that a scenic element could change its meaning and function a few times during the performance thanks to actors activity. For example - a bed became a dining table, an altar, or a prison. It demanded big imagination of spectators, they often became a part of performance....
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