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Nippon re-discovered. The image of Japan in central European modernism 1920-1940
Čapková, Helena ; Švácha, Rostislav (referee) ; Lahoda, Vojtěch (advisor)
Japanese influence on Europe was particularly strong in the period of japonism, which is widely pinned down and limited to the second half of 19th century. However, this Japanese vogue transformed into a sophisticated knowledge and admiration for Japanese art, philosophy and everyday life by the interwar period. This transformation happened within a framework of international modernity and is a subject of this text. What is the Japanese element in modernism that alludes its latent japaneseness? I argue that it is a symptom of Japanese aesthetics that deeply rooted into common consciousness by the time between the wars. The geographic focus of this paper is on Central Europe and Japan. Japanese art scene has been an active participant of international art debates since the beginning of 20th century. This dynamic situation in Japan played a crucial role in seeking the history and unique face of modernism. Many prominent artists took part in this process including the ones for Central Europe. Therefore, few case studies will be included, such as on Johannes Itten, Bedřich Feuerstein and Bruno Taut.
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Czech theatrical poster 1968-1989: visual semiotic
Sýkorová, Lenka ; Holý, Bohuslav (referee) ; Lahoda, Vojtěch (advisor)
Method of visual semiotics applied in the environment of the Czech theater-posters in the period of 1968 - 1989 discovered conscious or subconscious reflections in the works of artists cooperating on the art designs advertising the National Theatre in Prague and other Prague's stages, as E. F. Burian Theatre (Divadlo E.F.Buriana, now Divadlo Archa) and S. K. Neumann Theatre (Divadlo S. K. Neumanna, now Divadlo Pod Palmovkou). Presented text deals with question of mapping out the posters created for an official theater stage of the National Theatre in Prague in the period of normalization. It contains a list of posters published by the National theatre in Prague in the period 1968-89 and a visual collection of such posters - altogether 70 posters. As main sources of information served year-books "Czech graphic art and maps" (Česká grafika a mapy), "Bibliographic catalogue of the CSSR" (Bibliografický katalog ČSSR) published by the State Library of the CSSR, the Archives of the National Theatre, Anenské square 2, Prague 1, Archives of the Moravian Gallery in Brno, and personal archives of the artists themselves. Phenomenon of posters includes both visual and textual information, often transformed by means of a shortcut into a sign, a metaphor or a symbol. Basic structure of the explanation of the visual...
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Czechoslovakia and the French modern art from 1923 to 1937
Savický, Nikolaj ; Prahl, Roman (advisor) ; Wittlich, Petr (referee) ; Lahoda, Vojtěch (referee)
Před koncem 19. století byly možnosti české politické reprezentace na mezinárodní scéně minimální. V těchto podmínkách představovaly vztahy s francouzskou reprezentací z pohledu české politické a kulturní elity nejen protiváhu proti německému vlivu, ale také také jistou náhradu za neexistující diplomacii a v mnohém nahrazovaly politickou činnost. Otevření francouzského konzulátu v Praze roku 1897 bylo důležitým momentem českého politického života. Na počátku 20. století zorganizoval Spolek výtvarných umělců Mánes řadu výstav francouzského umění, zejména v letech 1907, 1910 a 1914. České publikum tak mělo první příležitost vidět díla impresionistů, postimpresionistů a kubistů. Z druhé z těchto výstav zakoupil spolek Derainovo monumentální plátno Koupání (1908). Tato tradice byla přerušena první světovou válkou. Pět let po založení nezávislého Československa, byla obnovena. Činem československé vlády, majícím za cíl zlepšení česko-francouzských vztahů, pak vznikla jedinečná sbírka, která je dodnes celosvětově důležitá pro bádání o francouzském umění 19. a počátku 20. století.
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Illusion or reality? Iconography of Japanese and European landscape painting at the turn of the 19th and 20th century within the context of reflection of reality and a phenomenon of Japonism
Hánová, Markéta ; Royt, Jan (advisor) ; Lahoda, Vojtěch (referee) ; Prahl, Roman (referee)
It is an undisputable fact that Japonisme became one of the chief sources of inspiration for modern European visual arts which introduced new expressive modes in reflection of reality. Thanks to the Japanese influence a significant break was attained in landscape painting in a way of perceiving reality different from a mimetic way of representation. This genre witnessed a remarkable formalistic development which in general brought up a dynamic structure of painting by means of ornamental principles. An ornament then becomes a mediator of rhythmic perception in a painting which is not to reveal well described decorative patterns, however, rather its genuine features reflecting a continuing motion of visual particularities as well as a rhythmic change of composition or expressive means. This paper studies original principles of landscape painting that had penetrated into Japanese painting from China and which have entered in a visual vocabulary of European avant-garde since the second half of the 19th century. Thanks to a strong relation of Czech painters with the French milieu, the somentioned Japanese landscape principles were actually brought up in Czech art at the turn of the 19th and 20th century.
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Karel Šlenger. Soul of the painter-outsider as a guide through his life and work
Šiklová, Lucie ; Lahoda, Vojtěch (advisor) ; Wittlich, Petr (referee)
Karel Slenger za svuj zivot vytvofil malifske dilo citajici neskutecnych nekolika tisicu polozek, a to od del minimalnich rozmeru po velkoplosne monumenty. Podle svedectvi Josefa Hirsala udelal i par soch na tema zeny, takove dlouhe ienske postavyl85. Jednalo se o sadrove zfejme odlitky, v nadzivotni velikosti.Vzhledem k osudu autodidakta musel vYtvarne techniky i pfistupy zvladnout sam. Osvojil si metody a vyraz mnoha umeleckych smeru. Najdeme u nej stopy vedouci k Picassovi, a to jak tYkajici se neoklasicismu, tak i, byf okrajove kubismu. Nelze fici, ze je zcela nedotcen surrealismem, ktery u nej v jeho imaginativni podoM, (coz je charakteristicke prave pro neskolene malife) v par urcitYch momentech take potkavame. Staromistrovstvi potkal jiz v Louvru, vzdyt' prvni zkusenosti a poueeni si pfivazi z Pafize. Nejpatrnejsi je jeho poznamenarn tzv. Pafizskou skolou, jejiz ohlasy provazi celou jednu vy-razovou polohu dila. Charakteristicky je pro nej smutek techto velkych Pafizanu - pfistehovalcu zidovskeho puvodu do Pafize poeatku minuleho stoleti. Na tomto miste vy-znamneji vystupuje puvodem Litevec Chaim Soutine, jehoz portrety a zatisi jsou silne expresivni a zivelne deformovane, a v mnohem tedy blizke Slengrovym. Expresivni momenty jsou u nej velmi silne, jeho potfeba pfevezt dusi na platno pfekraeuje ve...
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Image of the wandering Jew in Czech and world art
Janáčová, Eva ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
In general terms, the principal aim of this MA thesis is to explore the iconography ofthe Wandering Jew in both Czech and world fine art. lnitially, some room is dedicated to the historical evolution ofthe legend of the Wandering Jew, who is originally referred to as Cartaphilus or Malchos, later Ahasverus. According to a narrative, taken down already in the first half of the thirteenth century in its essential setup, the so called "Wandering Jew" had punched Jesus, for which he was condemned by him to a ceaseless wandering until his second advent on earth.
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The development of porcelain design in Czechoslovakia 1945-1965
Štulc, Jan ; Brožková, Helena (referee) ; Lahoda, Vojtěch (advisor)
The goal of this diploma work is to clarify the development of Czech porcelain production between 1945 and 1965. The first chapter discusses the porcelain history in Europe and Bohemia from the early beginnings to the time of the Second World War. The main part of the paper is dedicated to porcelain design after the end of World War II. The situation changed because of nationalization and porcelain production came into Czech hands at this time. The text goes over the recovery of porcelain production and the variety of the selection of designs. The paper then elaborates on the effects of the ideology and economy on the porcelain industry. The research details the Expo 58 international exhibition in Brussels and the XII Trienale in Milano, during that time czech porcelain had a first class quality. A catalogue of artists, porcelain manufactures and other important, relevant institutions is also included as well as brief CV s of single artists and reviews of their designs
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Architectural photography as the means of promotion of a modern architecture in Czechoslovakia 1918-1948
Holá, Mariana ; Švácha, Rostislav (referee) ; Lahoda, Vojtěch (advisor)
Media had a decisive influence on the live of 20th century society. This impact reached its first peak in the time between the World War I and /I when mass media evolved, thanks to the technology and consumption society development. Their significant part was also photography. At that time it was perceived as a literal copy of reality but some people rather used its ability to alter or change the reality. One of the disciplines which used this relatively new medium for its promotion and popularization was a modern architecture. This thesis deals with forms of architectural photography in Czechoslovakia from 1918 to 1948, factors determining these forms but foremost by ways the architectural photography helped promoting modern architecture From its beginnings the history of photography is inseparably connected with capturing architecture. At times when long exposures were necessary architecture was a convenient motionless subject. In the 19th century the architectural photography primarily developed with industrial development which was accompanied by construction of new industrial buildings. Even then these pictures served as the means of progress promotion and their iconography referred to it (structures, factory smokestack, modern means of transport) as well. The inter-war avant-garde grew up from the...
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Czech painter Stanislav Podhrázský: The slave of mystery
Křenková, Hana ; Klimešová, Marie (referee) ; Lahoda, Vojtěch (advisor)
Ideu diplomové práce o Stanislavu Podhrázském předcházela nabídka zpracovat soupis děl pro umělcovu monografii, kterou se rozhodlo vydat nakladatelství Arbor vitae. Krátce na to - v srpnu 2005, jsem se na festivalu výtvarného umění Artfest.cz pořádaném Galerií Klatovy/Klenová seznámila s majitelem nakladatelství Martinem Součkem a historikem umění Dušanem Brozmanem, kteří mi následně usnadnili cestu k seznámení se s umělcovou dcerou Janou Chytilovou a jeho druhou ženou Jaroslavou Podhrázskou, která svého budoucího manžela poznala v roce 1962. Paní Podhrázská mě pak zavedla k soukromému sběrateli Pavlu Hoffmannovi, rodinnému příteli, který ve své sbírce vlastní zhruba tři desítky umělcových děl - od velkoformátových kreseb z druhé poloviny padesátých let po novoročenky s věnováním. V nedávné době inicioval i realizaci pískovcové sochy, která je kopií bronzové plastiky Šermíř [75] z roku 1964. Řadu materiálu ke vzniku diplomové práce, jako jsou diapozitivy a fotografie obrazů, ale i fotografie rodinného rázu a některé katalogy z výstav Stanislava Podhrázského, mi poskytla umělcova dcera a paní Podhrázská, která mě také o umělcově životě vyprávěla.
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