National Repository of Grey Literature 182 records found  1 - 10nextend  jump to record: Search took 0.01 seconds. 
Gabriel Cornelius von Max and Some Aspects of his Drawing - work
Nedbalová, Tereza ; Rakušanová, Marie (advisor) ; Urban, Otto M. (referee)
Gabriel Cornelius von Max and some aspects of his drawing-work This thesis deals with the painter Gabriel Cornelius von Max (1840-1915). The first part of the essay describes the life and the work of this Munich artist. His oil paintings were characterized by a naturalistic style influenced by mysticism and spiritism. He focused on symbolic aspects of painting. The intention of this thesis is to show Max a generalis with many specific interests, especially in science. He also founded a large naturalistic collection. The second part of the thesis is focused on a still unknown part of the artists' work, on his drawings. The aim in to present a collection of drawings from Gabriel Cornelius von Max, which is deposed in Städtische Galerie im Lenbachhaus und Kunstbau München, and to show in the context of the whole artistists' work. Gabriel Cornelius von Max 19th century Painting Drawing Munich
Woman as mythological creature in painting around 1900 in the Czech lands.
Vacková, Tereza ; Rakušanová, Marie (advisor) ; Štefková, Zuzana (referee)
(EN) The bachelor's thesis will focus on the depictions of women as mythological creatures in art around 1900 in the Czech lands and their role in the depictions given to them by the male artists. The thesis will attempt to place specific portrayals of mythological female figures on the theoretical scale from the pure virgin to the dangerous femme fatale. Key Words: Art around 1900, Czech lands, woman, male gaze, mythological female figure
Painter Karel Myslbek (1874-1915)
Bradáčová, Barbora ; Prahl, Roman (advisor) ; Rakušanová, Marie (referee)
This diploma thesis deals with the academic painter Karel Myslbek, who is known in the art world for his social work. The work not only maps the artist's distinctive work, which has so far only received marginal attention, but also gives it to the contemporary context. In individual chapters, Myslbek's paintings are compared with the works of domestic and foreign authors. The work also outlines the period's cultural and social background of the time, which had an indisputable influence on many artists. he detailed evaluation of Karel Myslbek's graphic work, which has so far been of little interest of the reluctant public, is also a big value of the work. The thesis concludes with a discussion of the phenomenon of suicide at the beginning of the 20th century, pointing out the stigmatization of this problem on canvases and the fate of painters.
Otakar Kubín and Paris
Zimová, Charlotte ; Rakušanová, Marie (advisor) ; Pravdová, Anna (referee)
This bachelor's thesis thus collects data regarding the contacts of the Czech painter Otakar Kubín with Paris. This information is sometimes difficult to find and often contains a number of inconsistencies, which this work attempts to correct, organize and analyze. The issue of the work is to reveal the influence that Paris had on Kubín's work and also the possible retroactive effect that the artist could have had on the Parisian environment. Through the method of formal analysis of the works of art and placing them in the context of Parisian events of the time, the key role that Paris played in the context of Kubín's life and work is portrayed. Thanks to his work in Paris, Kubín earned recognition not only in his homeland, but also in France. At the same time, he became a link in the network of contacts between Prague and Paris, facilitating the flow of artistic exchange on the route Paris-Prague, but also Prague- Paris.
The collection of paintings by Jiří (Georg) Kars in Velvary.
Štučková, Anna ; Rakušanová, Marie (advisor) ; Klimešová, Marie (referee)
The aim of this bachelor's thesis is to introduce and map out the Velvary collection of works by the modern artist Jiří (Georg) Kars, who was born in 1880 in Kralupy nad Vltavou to a rich Jewish businessman. As Georg Kars, he graduated from the Academy of Arts in Munich and later settled in Paris, where he created and exhibited art under the name Georges Kars; he became the primary representative of the School of Paris, as it is called. After Kars' untimely and tragic death in 1945, most of his art estate was given to his hometown Kralupy nad Vltavou. Today, the paintings and drawings from the estate are part of the collection at the Velvary City Museum; thanks to this, the most complete collection of paintings of this author can be found there. The Velvary Museum displays the paintings in a varied exhibit in the small gallery in the building on Pražská street in Velvary. Several paintings have been loaned long-term to the Kralupy nad Vltavou City Museum. This bachelor's thesis will try to show works from the Velvary collection in the context of the artist's life and also create a catalog of this artworks.
Czech Informel Graphic Art
Krtička, Jiří ; Rakušanová, Marie (advisor) ; Michálek, Ondřej (referee) ; Nešlehová, Mahulena (referee)
The Printmaking of Czech Art Informel Author: Jiří Krtička Abstract The thesis deals comprehensively with the printmaking of Czech Art Informel: explores its sources, principles and themes, evaluates contributions of individual artists and analyses the technique of "structural printmaking". The first artworks in Informel style in Czechoslovakia were created during World War II by Josef Istler who belongs to European protagonists of Art Informel movement. In post-war years Istler engaged mostly in painting and monotyping. For this reason it was Vladimír Boudník who became the leading personality of Czech Informel printmaking. In 1949 he declared in two manifestos of "explosionalism" his vision of a new art that he followed and carried out with admirable consistency till the end of his life. In the middle of 1950s Boudník started to elaborate "structural printmaking" - innovative printmaking methods that became a way to fulfil his vision. His work influenced strongly the whole generation of Czech artists and essentially helped to introduce Art Informel to Czechoslovakia against the ideologic resistance of the communist regime. Czech Informel achieved excellent qualities in Europe-wide comparison and "structural printmaking" became its original contribution to the world fine art. Keywords Art Informel,...
Origins and genesis of Marxist iconology
Johanidesová, Tereza ; Konečný, Lubomír (advisor) ; Kroupa, Jiří (referee) ; Rakušanová, Marie (referee)
The aim of this dissertation is to describe the basic assumptions, genesis and main characteristics of Marxist iconology, which emerged as a distinctive interpretative approach in the environment of Czech art history in the early 1960s. Here I conceive of Marxist iconology as an umbrella term for the common methodological tendencies and interpretive strategies of a closely interrelated group of art historians working at the then Institute for Theory and History of Art of the Czechoslovak Academy of Sciences. The thesis follows four main thematic lines that can be considered crucial in terms of shaping the method of Marxist iconology into the form it took in the 1960s. The first perspective pursued is represented by iconographic and iconological tendencies. The history of the notions of iconography and iconology and its main world representatives are outlined, with an emphasis on the first half of the 20th century, followed by an examination of initially iconographic and later iconological tendencies in 20th century Czech art history. Emphasis is placed not only on the ways of conceptual interpretation but also on the tradition of understanding the concepts of iconography/iconology in Czech art history. The second line that the thesis follows in terms of the formation of Marxist iconology is the very...
The Sculptural Work of Stino Paukert
Paukertová, Martina ; Rakušanová, Marie (advisor) ; Šámal, Petr (referee)
The concern of this bachelor theses is about sculptor and medallist Stino Paukert (*1879 †1960), pupil of Stanislav Sucharda (*1866 †1916). The main aim of this thesis is a listing of his works and an attempt to contextualize it. It chronologically through his life events map his work. The first part is devoted to the beggining of his life and study, the next one is about his stay in Rome and the last one is about his work after the first world war and return to the Czechoslovak Republic. As a supplement is the listing of his work.
Female solitude in the artworks of Jakub Schikaneder
Zamazalová, Kateřina ; Rakušanová, Marie (advisor) ; Štefková, Zuzana (referee)
1 ABSTRACT (EN) This bachelor thesis focuses on the part of Jakub Schikaneder's œuvre presenting female solitude. Schikaneder depicted solitary women across his artistic creations, both as a painter of social topics and as a painter of symbolist pictures. The goal of this thesis is to place the subject in an art-historical context, describe the artistic means by which Schikaneder expresses the psychological states of the depicted. Special attention is paid to the framing of the depicted in different types of spaces and covering this part of Schikaneder's work from a position of feminist criticism. KEY WORDS Jakub Schikaneder, turn of the twentieth century, woman, solitude, feminist criticism, gender interpretation of image space
Reception of the work of Gustav Vigeland in the context of Czech art at the turn of the 19th and 20th century.
Havlíčková, Hana ; Rakušanová, Marie (advisor) ; Klimešová, Marie (referee)
The present Bachelor Thesis analyzes the Norwegian sculptor Gustav Vigeland and his impact on Czech Art during the end of the 19th century and early 20th century. I draw parallelisms with Czech sculptors and, furthermore, discuss various factors that influenced the reception of this artist in our lands. One of them was the role played by the magazine Moderní Revue, in which the Polish writer Stanisław Przybyszewsky published an essay, Neznámy, that introduced Vigeland in the Czech lands. I compare such article with another essay about Edvard Munch authored as well by Przybyszewsky shortly after the first one, and go on to consider whether the formulations of both works might explain somehow the different receptions of these two Norwegian artists. Przybyszewsky had a capital significance for the introduction of Vigeland in other European countries; in particular, I outline the similarities between the case of the Czech lands and that of Poland at the turn of the century, where the impact of Vigeland was incontrovertible. Keywords Gustav Vigeland, Oslo, Moderní revue, Stanisław Przybyszewski, Sztuka, Edvard Munch, Auguste Rodin, symbolism, decadence, 19th century.

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