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The Concept of the Cave and the Theory of All Art
Petrasová, Taťána
The text is based on the well-known fact that in the 18th century a merging of garden theory and architectural theory occurred, and raises the question of how the theory of architecture and the theory of gardens came to be linked. In the author’s view, the two theories were brought closer by the attempt at that time to create a universal theory of all art forms as advocated by Johann Wolfgang Goethe.
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"The stone guardian of a glorious past" The changes in the perception of the Karlštejn Castle by the Czechs and the Germans in Bohemia during the 19th and the beginning of the 20th centuries
Venclík, David ; Vlnas, Vít (advisor) ; Hojda, Zdeněk (referee) ; Petrasová, Taťána (referee)
In the thesis I have tried to capture the shifts in the perception of the Karlštejn Castle in the historical memory of the Czech and German society in a wider political-cultural context. The Czech nationalists saw the castle as a symbol of the Czech nation's fate, because the nation lived through the time of its foremost glory during the reign of Emperor Charles IV. But their symbol was mostly neglected and forgotten in their time. Amongst the Germans, the romantic idea of the Karlštejn Castle having been built according to a mythical castle known from the Holy Grail legends was widespread. The building, then in decay, was thoroughly reconstructed between the 1880s - 1890s. The reconstruction was done by the renowned architects of that time, Friedrich Schmidt and Josef Mocker. The Czech political representation promoted the renovation of the Karlštejn Castle in connection with their State-law demands, which were supposed to culminate in the reconstruction of this medieval castle and the royal coronation of the Austrian emperor with the Crown of St. Wenceslas. The medieval building was wrongly said to have been the original place where the crown jewels had been kept. In the historical memory of the German society, the Karlštejn Castle remained the remembrance of the glory of the Holy Roman Empire...
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Decoration of Prague Residential Buildings from the sixties of the 19th Century until World War 1
Šámal, Petr ; Prahl, Roman (advisor) ; Petrasová, Taťána (referee) ; Macek, Petr (referee)
Dissertation work called Decoration of Prague Residential Buildings from the sixties of the 19th Century until World War I is devoted to sculptures and paintings of buildings, primarily serving for residential purposes. Residential aspect in this work is chosen to express difference from public buildings. City of Prague was chosen as a place of studied buildings not just only in its contemporary range, but in the sense of later "Great Prague". The period of the time covered in this work shows Prague intensely connected through cultural, social and artistic sense.Sculptures and paintings were the key elements for public buildings in the era of Historicism, Art Nouveau and Modernism. There were two essential meanings - ornaments and its richness represented the quality of the builder, as well as its content and symbolism expressed ideas, meaning and message of the building or its institution. The sculptures and paintings to a significant extent were developed not only in public buildings but also in private, ie. entirely residential. Also, these buildings contained their messages in the ornaments. Dissertation focuses exclusively on the part of the building where the ornaments included semantic component. It was either intended to be "read" by the audience, or contained meaning so individual in...
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Figure portrayal in Czech painting of the second third of the 19 century in European context
Řezáč, Jan ; Prahl, Roman (advisor) ; Petrasová, Taťána (referee) ; Machalíková, Pavla (referee)
In my Ph.D. thesis I suggest methodological approach to the figural painting of the middle of the 19 century, creation of the Czech painter Josef Manes in particular. In this period figural artists still learned to copy historic models in both academic and non-academic institutions. But the figure starts to be also presented as identifying element of the society, newly establishing nations in particular. Also emancipation of artists and their effort for conceptual expression (self-representation) is reflected in the presented figural form. Painting of the late romanticism is characterised by adoptions of Michelangelo's and manieristic way of portrayal of human body. Thus there is a remarkable shift from so far popular classical Raffaelo's renaissance figure. For Josef Manes, usually only graphic patterns were available. In this thesis I also analyse Manes's anthropomorfisations and his tendencies to deform anatomic proportions of depicted figures. I show that these features of Manes's art have social, mental and formal background. I aimed to find interpretations of Manes' artistic approach, probably influenced by ideas from Munich, Dresden, Vienna and Düsseldorf. Powered by TCPDF (www.tcpdf.org)
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Gabriel Max and Prague
Šimek, Michal ; Petrasová, Taťána (referee) ; Prahl, Roman (advisor)
The artistic legacy of Gabriel Max left a very significant print not just in the Czech fine art of the last quarter of the 19th century but also in the Czech contemporary art critics. On the bases of the compiled catalogue of the texts about Gabriel Max and his paintings this work tries to recover the relationship between the artist and his native town.
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Loyalty as a theme of artistic strategy
Petrasová, Taťána
This study is based on the assumption that cultural loyalties derives from military rituals, although the specific act of oath-taking may have been replaced by a different mechanism. An analysis of contemporary writings about e.g. J.V. Myslbek´s sculpture Loyalty or the Czech–Germans exhibition (Deutschböhmische Ausstellung) in Liberec (Reichenberg) 1906.
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