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(Czech) Photography in the design of book covers in the 1960´s
BOLKOVÁ, Petra
Petra Bolková will be examining in her thesis the evolution of photography used on book covers in the 1960s; the period marked with certain political and cultural liberation. This study will attempt describing systematically in what ways certain artists and writers collaborated and what the difficulties of these collaborations were. It will also be examined how the author of a book and the artist delegated to design the book cover; the initial advertisement for a book, were influencing each other. What is more, the extent to which the graphic art reflects the content of the written word will be studied. Book covers became a covert space for experimenting with or even establishing new trends in the 1960s. Books covers became a new, independent fine art discipline which, essentially, was censored or criticized only occasionally. The goal of this thesis will also be gradually finding the numerous common grounds between photography, book typography and the final design, as photography and photomontage were used on book covers more frequently then classic original illustrations. Last but not least, this thesis will be looking at what emphasis was put on the visual side and how it was conditioned culturally or politically ect.
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Marie Kokešová Šechtlová, the feminine element in four generations of photographic studio Šechtl and Voseček in Tábor
BOLKOVÁ, Petra
Marie Kokešova Šechtlova, the feminine element in four generations of photographic studio Šechtl and Voseček in Tabor This thesis examines photographic work of Marie Šechtlova, who had been one of the significant Czech female artists from 1960's onwards. In the beginning of this thesis, the history of Šechtl and Voseček studio is outlined. Marie Šechtlova got into this environment through marrying Šechtl. The environment had been influential for her. The following part of my thesis studies the cooperation of Marie Šechtlova and her husband, finding this phase to have been an important moment of her artistic work. In the main body of this thesis, two major aspects of Šechtlova's work are examined. The photographer is portrayed as using the Brussels style of photography, which captures the poetry of mundane. Further on, she is also portrayed as a pioneer of colour photographer and an illustrator of literary work, especially poetry. Jan Noha's extraordinary verses were inspired by Šechtlova's photography. In return, she was illustrating his poetry collections and their collaboration had been outstandingly creative. The final part of this thesis compares Šechtlova's work with the work of other Czech female photographers of her time, such as Dagmar Hochova, Emily Medkova, Eva Fukova or Běla Kolařova, who were working mostly in the environment of Prague.
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