|
|
Haase Printing and Publishing Company and Fine Arts in the 19th and early 20th Century
Holečková, Kateřina ; Rakušanová, Marie (advisor) ; Vlčková, Lucie (referee) ; Prahl, Roman (referee)
The Prague based Haase printing and publishing company played an important role in the development of polygraphy, typography, significantly contributed to the Czech national revival and during its existence collaborated with many artists in some cases of world importance. This PhD thesis tries to bring knowledge to the applied graphic art in the Czech lands in general, but also describes the most important historical events of the Haase company, especially these with influence on its art production. The PhD thesis examines the process of graphic work creation and tries to place selected works in the context of work of individual authors and the fine art in the Central European area in general. It is also focused on the nationality issue and the role it played in the selection of artists with whom the Haase company collaborated.
|
|
|
Life and artwork of Jaromír Stretti-Zamponi (1882-1959)
Výborná, Kateřina ; Prahl, Roman (advisor) ; Šámal, Petr (referee)
Life and artwork of Jaromír Stretti-Zamponi (1882-1959) The bachelor's thesis deals with the life and artwork of Jaromír Stretti-Zamponi, a painter and a remarkable graphic artist of the first half of the 20th century who was born in a prominent Prague family that originally came to the Czech Lands from Italy. Athough as an artist he was self-taught, in his graphic works depicting views of Prague or Italian and Paris motifs, he achieved a very high artistic standard. He was a founding member of the Association of Czech Graphic Artists Hollar and a member of the Art Society Manes for a number of years. He is less noted as an expert advisor responsible for furnishing the Czernin Palace and the Prague Castle rooms he was in charge of from 1920s till 1940s. The aim of the thesis, apart from pointing out essential biographical milestones and sources of inspiration, is to cover his artwork in a broader context of the Czech modern graphic arts in the 20th century. The index of artist's graphic oeuvre is an integral part of the thesis. Key words Jaromír Stretti-Zamponi, graphic arts, aquatint, veduta, Association of Czech Graphic Artists Hollar
|
|
|
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...
|
|
|
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...
|
|
|
The beginning of czech and hungarian avant-garde between 1907-1912 in the context of Europe and Central Europe relations
Rambousková, Zuzana ; Rakušanová, Marie (advisor) ; Prahl, Roman (referee)
The aim of this paper is to chart the emergence of the avant-garde in Central and Eastern Europe, making use of its development in two local centres, Prague and Budapest. Through the analysis of artistic transfers, it attempts to fully comprehend the complex geopolitical area in its cultural relation vis-á-vis Western Europe, widely held to be the locus of aesthetic progressivism at the time. In doing so, the paper aims to assess the appropriateness of the established terms of centre and periphery, which have served as the tools for encapsulating the problematic relation between the West and the East in previous research. The work will focus on the comparison between the early avant-garde formation in Prague and Budapest. It was in these places that the dynamic Osma and Nyolcak groups began to concurrently form, independent of deeper relations or artistic exchanges in their coexistence. First, I observe the ways in which select artists gained experience, specifically through their presence in the centre of international action - Paris. Further, I compare the goals and the manners in which the artists endeavoured to share this essential experience with aesthetic canon as well as with arts trade, in their home cities, Prague and Budapest. Finally, the assessment of conditions facilitating the...
|
|
|
The impact of Darwinism on the art of 19th century
Vávrová, Michaela ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee)
Darwin's Theory of evolution was, at the time of its creation - that means in the second half of the nineteenth century, a revolutionary breakthrough. It influenced not only further development in the field of natural sciences, but also affected (both positively and negatively) the area of religion, literature, and newly created opinions of the spiritual as well as the common people. Darwin's ideas have also found its way to artists and the visual arts; his knowledge opened the way for a new themes and subjects and often led to a complete change of lifestyle of individual artists. Precisely these circumstances and the twists and turns of the nineteenth century art are what I want to focus on in my thesis. Keywords Apes, Claude Monet, Charles Darwin, Darwinism, England, Europe, Edgar Degas, Gabriel von Max, human, Theory of Evolution, visual art
|
|
|
Portrait silhouette in the Czech lands from the 18th to the 19th century
Mikulcová, Anežka ; Prahl, Roman (advisor) ; Vlčková, Lucie (referee) ; Vondráček, Radim (referee)
Portrait silhouettes, which are the subject of the present work, are a peculiar and now forgotten type of portraits. They represent a specific part of the visual culture of the second half of the 18th and 19th centuries and a number of contemporary social, cultural, artistic and scientific phenomena intertwine in them. Technically, these seemingly simple monochrome profile portraits are very diverse. The range of silhouetted persons and persons creating them is equally diverse. The aim of this work is a comprehensive mapping of the phenomenon of portrait silhouettes in the Czech lands with an overlap to more general levels concerning the philosophical aspects of this type of portraiture. The text is based on knowledge gained from detailed research of domestic collections of silhouettes, which are part of museum, gallery and castle collections. A large amount of pictorial material has been preserved in the Czech Republic, which made it possible to formulate the necessary more general conclusions. The complex approach mixes from a methodological point of view the approaches of art history with its formal analysis and cultural history, some topics overlap with the content of Bild- Anthropology studies. The oldest Czech specimens of silhouettes come from the turn of the 70s and 80s of the 19th century, which is...
|
|
|
The sculptor Ludvik Simek (1837 - 1886)
Bradáčová, Barbora ; Prahl, Roman (advisor) ; Šámal, Petr (referee)
This bachelor thesis deals with the topic of a 19th-century sculptor Ludvik Simek who lived between 1837 and 1886. This thesis, which is supported by historical sources and specialized literature, does not only map his artwork but also pays attention to his important life stages. The first part of this thesis is dealing with Simek's student years and artwork. Both were affected by his teacher, Emanuel Max. The second period of Simek's art is described in the second part of this bachelor thesis. The second Šimek's art period began by his departure to Rome, where he met Vaclav Levy, who helped him with the creation of Josef Jungmann monument in Prague. The final part of this thesis is dedicated to Simek's late work and impact of his late work on young Josef Vaclav Myslbek.
|
|
|
Czech Neo-baroque Sculpture
Bezoušková, Martina ; Wittlich, Petr (advisor) ; Prahl, Roman (referee) ; Šámal, Petr (referee)
One of the main goals of this thesis is to better understand Czech Neo-Baroque tendencies and their placement within the context of Czech sculpture in general. To be able to better understand the role of Neo-Baroque in this artistic branch it is important to first cover the process of Baroque's revival in Czech lands which triggered creative approach to Baroque motifs and the birth of Neo-Baroque at the end of the 19th century. This is covered in the first part of the thesis. The opening chapter mentions different perceptions of the term Neo-Baroque and how its understanding evolved from the 19th century until present. Chapter that follows elaborates on the topic of Neo-Baroque being one of the historicizing styles and discusses the cultural and ideological circumstances which led to its widespread use. The topic that strongly resonates here is the Prague urban sanitation which turned most of the sculptors into modelers who would transform Neo-Baroque facades of new buildings into complex decorative schemes. The topic in question also covers periodical swatches of Celda Klouček and Friedrich Ohmann, a very valuable ideological impulse which significantly contributed to raising awareness of the Baroque beauties of Czech provenience as an inspirational source for decorative sculpture and plaster...
|
|
|
Art to convention
Micka, Alois ; Rakušanová, Marie (advisor) ; Šetlík, Jiří (referee) ; Prahl, Roman (referee)
The goal of this dissertation is to document and present exhibition concepts of new or re- established galleries and exhibition halls united in the Union of Czechoslovak Visual Artists in Prague in 1964-1969. A partial goal is to find and clarify principal legal, political and cultural events in the background of which such exhibition and artistic life unfolded. The thesis covers the period between two conventions of the Union of Czechoslovak Visual Artists, i.e. the period from December 1964 until the end of 1969 with certain intermissions. In terms of the selection, it deals with "smaller" galleries that influenced the most the level of presentation of visual arts at exhibitions in Prague in the period under consideration. For this reason, attention is paid to the Václav Špála Gallery, Nová síň Gallery, Galerie Na Karlově náměstí, and the Vincenc Kramář Gallery. The basic topics of the dissertation are concentrated in two spheres that pervade one another. The first sphere is dedicated to fundamental social and political prerequisites for the establishment of "smaller" galleries as well as, in brief, the history of the formation of the Union of Czechoslovak Visual Artists. In particular, it deals with the then applicable legislation concerning the given field of cultural life of society. It takes...
|
guest ::
RSS feed.