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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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Celda Klouček - personality and work
Teichmanová, Jana ; Prahl, Roman (advisor) ; Vondráček, Radim (referee)
This work is deling with personality and work of Celda Kloucek, a sculptor and ornamentalist living at the turn of 20th century. Celda Kloucek was born 6th December 1855 in Senomaty near Rakovnlk. Advised by his patron Milller, he decided to accept a position with ornamentalist sculptor Otto Lessing in Berlin, where he got his first professional training. Kloucek turned out to be an excellent sculptor, especially in ornamental construction work. The contracts were diverse and he learned to work with many different materials. In 1879 he enroled in professor Otto Konig special course at Arts and Crafts School in Vienna. After three years, he became a reader at Arts and Crafts School in Frankfurt am Main. In 1888, he opened his atelier at Arts and Crafts School in Prague. He was teaching here for twenty-eight years. Many recognized artists emerged from his atelier, all of them adhering to Kloucek's emphasis on clarity of composition and simplicity of the ornament. Kloucek's work evolved from ornamental creations on house exteriors in neo-Rennaissance and neo-baroque style to naturalism, and finally to Art Noveau, in which he created his master pieces: Wohanka house portal (1898), Museum of Western Bohemia in Pilsen (1900-1901), Prague Credit bank (1902), Blecha house (1904), and Order of the Cross monastery...
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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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The women - artists in second half of the 19th century
Kuthanová, Kateřina ; Prahl, Roman (advisor) ; Lahoda, Vojtěch (referee)
The women-artists of the 19th century seem to be a real apparition from a view of the today's and fully emancipated woman. They were the ones who started an almost discovering journey - not just the art one, but also, and first of all, the social and the cultural-sociable. Despite of hard conditions they managed to enrich creative lines as well as to extend painting genres also to participate in raising an artisan's up to the "high" arts. Many here named woman-artists outlined the wide development of the woman-art by their creativity. I would like to remind some of them - some ofthe greatest and most talented woman-artists. Their desire to a professional enforce through their studies abroad went to fading of art influences into the Czech country. My school work - following of a lanscape creativity, beside not too omited the one called Zdenka Braunerova, wants also to mention another important woman -an artist Marie Kirschnerova. Her realistic pictures were influented by the trench painting. She was one of the first ones who has brought an influence of ,;'Sarbison" painting into the Czech country. Beside her landscape creativity, her glass production for one famous "Lotzov" glasshouse exceles in Kirschnerova's creation. Her glass production is distinguished by simplifying forms and a sober decoration and in...
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Figural motifs in the work of Antonín Hudeček
Ropková, Barbora ; Wittlich, Petr (advisor) ; Prahl, Roman (referee)
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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The Shape of Orpheus. The sketch of the Iconography of Orfeus in European and Czech nineteenth-century visual arts
Machková, Magda ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee) ; Dykast, Roman (referee)
Who says there is only one Orpheus, the mythical singer, poet, lover, musician, tragedian? The pivotal term of this study 'Orpheus' potential' refers to a set of characteristic datas or qualities, encrypted into the iconography of this theme by the time of c. 3 000 years and deciphered and interpreted by artists for nearly equivalent period. Although the Czech lands of the nineteenth century were both metaforically and literally distant from the Greek antiquity, we are able to trace a surprising volume of comments, receptions or appropriatons of Orpheus' iconography in various fields of arts: visual arts, dramatic arts, poetry, opera. The transformation of typology is discussed on illustrative examples using the genre of micro- stories, the second part of the study focuses on the localy determined shape of 'Slavic Orpheus', the person from the pre-Czech mythology, Lumír, who was gifted by analogic talents like his prototype.
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The Artist as a Versatile Agent of the Biedermeier Era. Studies on Josef Navrátil
Fiřtová, Marie ; Prahl, Roman (advisor) ; Vlnas, Vít (referee) ; Vondráček, Radim (referee)
The presented dissertation deals with the painter Josef Navrátil (1798-1865) and his social roles during the Biedermeier period. It does not aim to be a classic monograph evaluating the life and work of the artist, but rather strives to provide a collection of independent (case) studies, which will map and point out Navrátil's role in society and his artistic and professional status. Therefore, special interest is paid to Navrátil's clients, the cultural background of his work, his connections, social engagement, and activities in various associations, but also to specific phenomena of the time, such as the so-called Zimmerreise or pub-based "table companies". However, emphasis is also placed on the Navrátil's exceptionally wide range of professional activities, which was so typical of the Biedermeier epoch. In this respect, Navrátil's official occupation - room painting / decorating, which he applied with his renowned painting workshop in many Prague and non-Prague buildings for a wide circle of clients of various social classes (imperial court, church, burghers, landowners), must not be overlooked either. Contracts of this kind reflect not only Navrátil's extraordinary competence in the field, his craftsmanship, undoubtedly stemming from his restoration practice, but also a great deal of artistic...
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