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Horizons and ruins. The visible and invisible in the early modern visual culture
Hájek, Václav ; Konečný, Lubomír (advisor) ; Wittlich, Petr (referee) ; Lahoda, Vojtěch (referee)
My thesis deals with one specific pictorial motif from nineteenth century (horizon contra ruin) which represents and brings questions into an early modern visual culture. The visual culture includes a set of representations (artefacts, mass images, visual signs etc.) and also methods of a visual perception and reception. This text has an objective to watch, how is a concrete historical variant of the visual culture by reflexive manner reflected and construed in visual artefacts themselves (in a relevant theoretical context).
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"Self-portrait in the circles of smoke": self-fashioning of the modern artist as a smoker in the Czech art at the turn of the 19th and 20th century
Kolářová, Petra ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
The topic of this Diploma Thesis is the representation of an artist as a smoker in the Czech Art at the turn of the 19th and 20th century. The motive is studied in the works of artists of the 1890s generation and the early avant-garde (Osma, Skupina výtvarných umělců), with the focus on the iconography of a smoker in art as well as the cultural history of smoking. Apart from paintings and graphics it uses other visual sources such as portrait photographs, caricatures published in contemporary newspapers and posters. The Thesis looks for a wider tradition in the European art and maps specific types of artist-smoker for whom cigarette, pipe or cigar is a part of his personal stylization. The first part concentrates on the early usage of the motive in the baroque painting and in the 19th century as such. The next part focuses on self-fashioning of modern artists characterized by their definition against social conventions. The attribute of smoking plays a role of a symbol of bohemian Iife, dandy astuteness, neurasthenic decadent, social or artistic revolt or emancipation of female-artists. The last part deals with the relationship of smoking to the actual art production of modern artists. Smoking is a metaphor for creativity of the symbolist poet or painter who draws the inspiration from his subjective...
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"Self-portrait in the circles of smoke": self-fashioning of the modern artist as a smoker in the Czech art at the turn of the 19th and 20th century
Kolářová, Petra ; Lahoda, Vojtěch (referee) ; Konečný, Lubomír (advisor)
The topic of this Diploma Thesis is the representation of an artist as a smoker in the Czech Art at the turn of the 19th and 20th century. The motive is studied in the works of artists of the 1890s generation and the early avant-garde (Osma, Skupina výtvarných umělců), with the focus on the iconography of a smoker in art as well as the cultural history of smoking. Apart from paintings and graphics it uses other visual sources such as portrait photographs, caricatures published in contemporary newspapers and posters. The Thesis looks for a wider tradition in the European art and maps specific types of artist-smoker for whom cigarette, pipe or cigar is a part of his personal stylization. The first part concentrates on the early usage of the motive in the baroque painting and in the 19th century as such. The next part focuses on self-fashioning of modern artists characterized by their definition against social conventions. The attribute of smoking plays a role of a symbol of bohemian Iife, dandy astuteness, neurasthenic decadent, social or artistic revolt or emancipation of female-artists. The last part deals with the relationship of smoking to the actual art production of modern artists. Smoking is a metaphor for creativity of the symbolist poet or painter who draws the inspiration from his subjective...
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The interior of the forest and forest characters (Landscape paintings of Julius Edvard Mařák)
Matoušek, Alexander ; Prahl, Roman (advisor) ; Wittlich, Petr (referee) ; Konečný, Lubomír (referee)
Julius Mařák patří k předním osobnostem české krajinomalby. Je připomínán, občas oceňován, k plnějšímu pochopení jeho díla máme přesto daleko. Hlubšímu porozumění brání rozkolísaná hlediska pro posuzování kvality uměleckých děl i mechanicky přebíraná vývojová klišé. V samém základě těchto 1 obtíží leží ale podivná nechuť zabývat se tím, co dílo sděluje. Namísto úsilí představit dílo na půdorysu jeho vlastních vnitřních pohnutek a směřování, se stále hojně setkáváme jen s povšechnými úvahami o cestě romantismu k realismu, či o možných vztazích k hnutí barbizonskému případně impresionistickému. Aby mohly mít takovéto úvahy váhu, musely by být daleko důkladnější a přesnější. Nezbytným předpokladem je ale vždy důvěrné poznání toho, co míníme porovnávat.Mařákovo dílo mohlo být ve své době chápáno a přijímáno snadněji než je tomu dnes. Případy, kdy kvalitní dílo umí lépe pochopit až doba pozdější, jsou spíše výjimkou než pravidlem. Jakkoli byla doba vnitřně rozporná a nepřehledná, současníci mohli daleko snáze sdílet východiska, ze kterých Mařákova práce vyrůstala. Chápali snadněji ono bezvýhradné zaujetí pro přírodní krásu i přesvědčení o její očistné moci. Sdostatek o tom svědčí těch několik zasvěcených hlasů, které tehdy o Mařákově práci referovaly. Nepochopení a intriky na které si umělec po návratu do Čech...
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Contributions to the study of the early modern period iconography of book covers
Pavlišová, Jindřiška ; Royt, Jan (referee) ; Konečný, Lubomír (advisor)
ln this thesis I explore 16th century book covers. The cover protects and decorates the book and is therefore treated in the following text as an inseparable part of the book. Since book covers have rarely been studied in the past, I have included below a section (Chapter 1) on existing literature - both Czech and foreign - on the topic. Thanks to Gutenberg's invention of a new kind of printing press, and thanks to new fonts, easier typography and unprecedented development of xylographic illustration (especially in Germany), the book changed beyond recognition in the second half of the 15th century and at the beginning of the 16th century. In addition to these profound changes, or - rather - as a result of these changes, the book became cheaper and began to spread among all social classes (Chapter 2). Moreover, it is by no means surprising that all these developments were to have a seminal influence on the book cover (Chapter 3), which became simplified and Iighter in comparison with what it had been in the Middle Ages. In the 16th century, all metal components - one of whose functions, incidentally, had been to protect the boo k - gradually disappeared, the only exception being small metal clasps, used to keep the books shut tight. The need to produce quickly as many book covers as possible forced...
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Laocoon: reception of the group in Czech visual arts (1800-2000)
Havlíková, Ivana ; Bouzek, Jan (referee) ; Konečný, Lubomír (advisor)
The marble statuary group of Laocoon discovered in 1506 A. O. in city of Rome i s one of the most studied, discussed and inspirational work of ancient art. Since i ts discovery, Laocoon has inspired an uncountable number of diverse receptive works of art in many different ways. Briefly summarizing, it was considered as an exemplum artis for artists of almost all periods and as an exemplum doloris in christian iconography of posttridentine period. In century Laocoon was used for the first time in the sphere of popular cul ture. The greatest influence can be seen in the art of caricature. Influence of the group persists even until our days. First examples of reception of the group in Czech art can be seen in the period of manierism in the court of emperor Rudolf II and in 18th century. In 19th century with the beginnings of Prague Art Academy Laocoon became even in our country one of the most copied works of ancient art, but it also stimulated the origin of satirical reaction on educational methods of Prague Art Academy. The first appearence of Laocoon in czech caricature is dated to the middle of 19th cen tury, since than Laocoon has been used for the needs of Czech caricature many times.
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The Concept of the End of Art History and the Theory of Arthur C. Danto
Drexlerová, Eva ; Rakušanová, Marie (advisor) ; Konečný, Lubomír (referee)
The aim of this essay is to give a critical examination of Arthur C. Danto's art theory. In order to present a comprehensive exploration, the thesis deals with both Danto's philosophy of art and philosophy of the history of art. Within this discourse it aspires to evaluate Danto's end of art thesis and its appropriateness. In the first part, Danto's idea of the artworld, that is his contextual and historical theory of art, is examined. This includes the exploration of historical circumstances within which his art definition was developed, the notion of his essentialist and historic approach, and main features of his well-known technique of comparing indiscernible counterparts. The second part is devoted to Danto's philosophy of the history of art, especially to his Hegelian turn and what of such shift further stems. The third part explores the end of art thesis itself and, as its consequence, the posthistorical condition of art. The final part consists of two sections that attemp to critically evaluate both Danto's art definition and his end of art thesis. Finally, some arguments why Danto's theory about the end of art might be considered as inconclusive and speculative are conferred.
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Analysis and Interpretation of visual art in the films of Andrei Tarkovsky
Stepina, Anna ; Konečný, Lubomír (advisor) ; Rakušanová, Marie (referee)
The aim of the Bachelor thesis "Analysis and Interpretation of visual art in the films of Andrei Tarkovsky" is to examine the relationship between cinematography and visual arts using the film "Solaris" (1972) by the soviet director Andrej Tarkovsky as an example. This topic is subdivided into two parts. The first part of the study focuses on the subject of perspective in relation to the theory of art history and film, with attention to the concept of "perspective" from the period of the Italian Quattrocento. The second part is concerned with the usage of "living pictures" (fr. tableaux vivant) in the work of Andrej Tarkovsky, more precisely, the role of the cycle "The Return of the Prodigal Son" by Rembrandt van Rijn in the film "Solaris" (1972). The main objective of the thesis is to answer the questionː to what extent painting as a traditional form of visual arts influences cinematography.
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Coffee shop as the topic of Czech art of the first half of 20th century
Hnilicová, Eva ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
"Stýkali se lidé na fóru, stýkali se v klášteřích, stýkali se v salónech. Dnes není ani fóra, ani klášterů s tímto významem, ani salónů s tímto ovzduším. Dnes jsou kavárny. "1 píše Milena Jesenská v roce 1920. Kavárna se stala otevřeným místem setkání městskému člověku, který bez pozvání, do ní mohl vstoupit kdykoliv, kdy potřeboval. Vznikly i takové kavárny, které se staly známé po celém městě, shromaždiště duchovního, bohémského a uměleckého jako světa. Společnosti těchto kaváren ve svých diskusích a následně svých dílech literárních, hudebních a výtvarných zhodnocují obdobnou problematiku, myšlenku, námět. Vytvářejí celistvý skupinový (mnohdy i generační) projev, který ovlivňuje dobu následující. Vzniklo by moderní umění, francouzské nebo české, bez kaváren? Bez prostředí, kde umělec bez zakázek nacházel v společných rozhovorech, ale i v uvolněné zábavě spojence proti oficiálnímu proudu nebo veřejnému mínění na cestě za vyjádřením nového, společensky či umělecky aktuálního? Ve Francii se v 70. letech 19. století schází početná společnost "malířů moderního života" v Café Guerbois a pak v Café da la Nouvelle Athénes na Montmartru. V prvním desetiletí dvacátého století žijí "kubisté" v Lapin Agile, ve dvacátých letech je centrem Montparnasse a kavárny 1a Rotonde, Le Dome, Closerie des Lila s. Literární...
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The self-portrait in the Czech baroque painting
Kacetlová, Miroslava ; Horyna, Martin (referee) ; Konečný, Lubomír (advisor)
The se1f-portrait in painting is similar to an autobiography in literature. It is an unique testimony of painter' s life and art, of his desires, fears and whishes. It contains its own typical attributes: brusches, a palette, an easel with a canvas and specific studio clothes as well, which point to the painter's profession. Usually the sitter is in the contact with the viewer with the help of his eyes' sight. The deve10pment of the self-portraiture started in the Renaissance period, when the artist se1f-consciousness of his talent and uniqueness of his art spread. Painters started to offend against giuld rules which tied them. An important break into the obsolete system was the attempt to establish an Academy in Prague in 1709. The main authors ofthe project were the painter Michael Václav Halbax, the sculptor František Preiss and the architect František Maxmilián Kaňka. But their progressive idea broke down in the end. The barock self-portraits in the Czech painting were influenced by the previous period - the era of the emperor Rudolf II. and his great painters for example: Bartholomeus Spranger and Hans von Aachen. I diveded self-portraits into five chapters: the self-portraits alone, the se1f-portraits with attributes, the family self-portraits, the se1f-portraits in narative scenes, the self-portraits...
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