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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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Music visualisation in the Czech interwar visual arts
Pastýříková, Lenka ; Lahoda, Vojtěch (advisor) ; Bydžovská, Lenka (referee)
Rozsahhi problematika vztahu vJt:vameho umem a hudby umoZlluje rozmanite teoreticke pIistupy, neprebeme mnozstvi pohledu a interpretad, aniz by bylo mOZne dospet k jednoznacnemu a konecnemu, obecne platnemu v)rsledku. Ackoliv o existenci tohoto vztahu a vzajemnych vlivit a jejich odveke tradici nepanuje mnoho pochyb, nelze jej exaktne definovat. A tak se oteviraji stale nove mOZnosti pojednani. Tato prace by mela bjrt jednim z pIispevkU do jejich mozaiky, jakymsi pokusem o doplnek velkych prad, podavajidch prehled 0 souvislostech vJt:vame a hudebni kultury ve 20. stoleti, ve kterych je ceske umeni (s v)rjimkou Frantiska Kupky) zastoupeno pouze sporadicky, ac rna take co nabidnout. Tato prace by meIa sv)rm uzce vymezenjrm tematem poskytnout sondu do casti ceske mezivalecne kultury zabjrvajid se syntezou umeni, pricernZ hlavni duraz bude kladen na vJt:vame umeni. To take poslouZi za v)rchodisko nastineni sirsmo kontextu. Ukolu se lze tedy zhostit roznjrmi zpusoby. I v ceskem umeni je mOZne hledat ve vymezenem obdobi paralelni stylove projevy u casove pIibuznych vjrtvamych a hudebnich del, napr. neoklasicistni ci konstruktivisticke, nebo analogicke tendence, jako inspirace folklorem, zaujeti projevy modemmo zivotnmo stylu nebo socialni tendence. Souvislosti muzeme nalezat tez v nametove IOvine, vyhledavanim...
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On the road. The mystic and the artist
Trojaková, Jolanta ; Konečný, Lubomír (referee) ; Lahoda, Vojtěch (advisor)
in the Czech art of the first half of the twentieth century. As the mystíc I define this artist, who dedicates his entire life to searching for God- in aU of his forms. In the introduction Bejore the Start I sket ch the spiritual milieu of the tirne. In the first chapter lmages oj Gods I demonstrate the contemporary prototype of the mystical f1uctuate person comparing two artist: Rudolf Adámek and Josef Váchal, who were both deeply involved in many occultism organizations. The second chapter TheWay to the Hereafter speaks comprehensively about the movement of the spiritualism in Bohemia in those days. I focus on the artists, who actively participated in spiritual séances, often having even played the role of spiritual medium. The third chapter Th? Way to the East deals with the oriental philosophies, which thanks to the doctrine of H.P. Blavatsky entered into the lives of many Cz ech artists. They started to practise yoga, studied buddhism and meditate. The new life style inf1uenced also their art. In the last, fourth chapter Thé! Mystical Ladder I tried to describe the way of the mystic - artist step by step fr01'1 tLo, mental state of spiritual beginner to that of the enlightened person. In conc1usion I shortly compare the temperaments of the artists, whose lives and artistic works helped me to...
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Tendencies of Czech photography during the epoch of Protectorate Bohemia and Moravia
Vávrová, Michaela ; Wittlich, Petr (referee) ; Lahoda, Vojtěch (advisor)
The epoch of Protectorate Bohemia and Moravia (1939-1945) was conected with big changes in a social life. The basic characteristics of the new systém was represi on, fear and propaganda. The main role was censorship ... In big Czech magazines, for example Pestrý týden, Světozor or Salon were beginning to appear articles and photographies which were misused for a propagandistic reasons. This potos weren't realistics. Big part of them were stylized to a propagandistic style. The most common topics were - agriculture, folclore celebrations, holidays and sport activity. New heroes are agriculturists or people working for Empire and so for "better" future of their country. All news from battleships were provided by German agencies. Though, in this period was a big increase of documentary and newspaper photos. Our best known photographs who were working during the Protectorate for magazines were Karel Hájek, Václav Jírů, Ladislav Sitenský, Zdeněk Tmej, Václav Chochola, Karel Ludwig, Oldřich Straka and Jiří Jeníček. Exceptional person was Karel Ludwig, who was from 1941 to 1942 worked as an editor for magazine Praha v týdnu. His most famous photographs are pictures of Czech actress or pictures ofballet dancers, which are simi1lar to Degas' paintings. The big progress was also in a landscape and etnographic...
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Art spaces outside institutional frames: differential spaces of art
Piškur, Bojana ; Wittlich, Petr (advisor) ; Pachmanová, Martina (referee) ; Lahoda, Vojtěch (referee)
The aim of this dissertation is to direct attention towards differential way of approaching spaces of art, on the basis of Lefebvrian space production. But the space production in question is just one aspect which cannot be isolated from the wider social environment. While differential spaces of art seem to be - in theory at least- an ideal place for discussion within recent debates on representation, culture, identity and so on, they have nevertheless been relatively isolated from these perspectives. The main reason is that it is impossible to analyze the actual production of differential spaces. lt is possible, however, to elucidate and expose the production and the product - space (they are inevitably connected) - through first-hand experiences (participation), and through secondary sources such as documentary materials, newspaper articles, interviews etc. Production of differential spaces of art can be recognized in the following spatialities: appropriated spaces, embodied spaces, spaces of the so called "third sector", and inner spaces of mind, to name the examples described in the dissertation. lt also seeks answers to questions: what is specific to the production of differential spaces of art? What is the relationship between different spatialities? Between differential spaces of art and the...
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Kupka and film
Lahoda, Vojtěch
The article deals with possible impulses of the newly birth cinematography on the artwork of František Kupka. The author traces the film rhetoric in Kupka´s book The Creation in the Visual Art (1923) and cinematic character of chosen Kupka´s artworks (The Market, 19520-1921). The author proposes as a possible impulses of cinematography on Kupka cinetoscope by T.A. Edison, praxinoscope by CH. E. Reynaud and the strategy of fading and montage in early movies.
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Fillology: forgery and art history today
Lahoda, Vojtěch
The study deals with the issue of forged paintings above all in the work of Emil Filla, asking how to apply some contemporary art-historical approaches to Filla if, in many cases, we are not able to say clearly that the painting on which the method will be applied was really painted by Filla.
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