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The Italian movement Arte Povera, Czechoslovak Nová citlivost and Czech-Italian relationships around Jindřich Chalupecký and Jiří Padrta
Horvatovičová, Zuzana ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee) ; Lux, Simonetta (referee)
Mgr. Zuzana Horvatovičová The Italian movement Arte Povera, Czechoslovak Nová citlivost and Czech - Italian relationships around Jindřich Chalupecký and Jiří Padrta ABSTRACT The main theme of this thesis was to compare two artistic phenomena of the sixties of the 20th century: the Italian movement Arte Povera (Poor Art, 1967) and the Czechoslovak avant-garde concentrated around the group exhibition New Sensitivity (Nová citlivost, 1968). It also focused on the network of contacts and principal organizers of Italian exhibitions especially in Prague and Czechoslovak exhibitions in Italy. Long research in archives and collecting of documentary material, catalogues and reviews led to very interesting results. Arguments of the thesis are based on the comparison of the constructivist work of the New Sensitivity artists with the group of Arte Povera and with the kinetic work of Arte Programmata. Much more shared elements were found to exist between the Czechoslovak circle of the New Sensitivity and the Italian artistic tendency Arte Programmata than between the artists and art works of exhibition New Sensitivity and the group Arte Povera. Italy and Czechoslovakia maintained a different art and "parallel" culture, although they came to a rather close contact in the "revolutionary" sixties.
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The RADAR Group
Tučková, Kateřina ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee) ; Lahoda, Vojtěch (referee)
THESIS ABSTRACT The thesis named The Radar Group deals with one of the creative groups that entered the Czech artistic scene after 1956, after the 20th Congress of the Soviet Communist Party (SCP) in February 1956, when the establishment of minor associations within the Union of Czechoslovak Artists was allowed. The Radar Group announced its foundation in 1960 and presented its first independent exhibition in 1961. It introduced eighteen members, of whom the most significant authors from the ranks of the defunct Group 42 (Skupina 42) - František Gross, František Hudeček a Ladislav Zívr - belonged to the established artists of previous generation. The majority of younger members born between 1923 and 1930 introduced their painting, sculptural and graphical works at the exhibition mostly for the first time. The members of the Radar Group may be regarded as the representatives of so- called "tame modern art" who took up to the pre-war modernism in the loosening period of the late 1950's. Their status within the contemporary scene was very high as they were coming out of the positions shielded by the Union - most were the Union members, some even functionaries in the Union senior management. This is the reason why the group did not become a part of the opposing Block of Art Groups (Blok tvůrčích skupin), though...
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Asemic Writing. Czech Art Experiment in the Sixties of the 20th Century
Dostálová, Barbora ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee)
ÚDU FF UK, 2020 Bc. Barbora Dostálová Asemic Writing. Czech Art Experiment in the Sixties of the 20th Century Abstract (in English): This thesis deals with art development in the 1960s in the Czech Republic. The work focuses on the phenomena of asemic writing as a part of the art of Lettrism and visual poetry and seeks to reveal the history of this specific tendency. The history of Czech asemic writing is demonstrated in exhibits. The next part of the text tells about the sources and inspiration of an artistic creation which was influenced by asemic writing. Keywords (in English): Czech Art, 20th Century, Modern Art, Asemic Poetry, Visual Poetry, Experiment, Asemic Writing, Jiří Kolář, Karel Trinkewitz, Zdeněk Kirchner, Ladislav Novák, Jiří Balcar, Vladimír Boudník, Jan Kotík, Jiří Valoch
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Last Paintings
Šiklová, Lucie ; Lahoda, Vojtěch (advisor) ; Winter, Tomáš (referee) ; Pomajzlová, Alena (referee)
The dissertation thesis Last Paintings deals with the issue of the last works of the authors at the end of the work. This question represents a complexly unexplored topic in the field of Czech art history. Last paintings are often so different from the previous work. So they may in specific cases give rise to a discussion: Have we include them or better give them to brackets in the artist's work as an excess and not too much deal with? Rather the second alternative is happening. In a wide range of possible focus, the work focuses on last works of modern and contemporary art history. Because such a group or category of art within the Czech art history has not yet been considered, it focus on Czech authorship. The selected iconic world's last works are presented for comparison at the end in a quick overview. Given the topic of the departure of a man from this world, tis work outlines the cultural anthropological bases, their symbolism, it reflects the iconography of last paintings. It offers options for categories, which appear to be diversified, permeating, and beeing rather as auxiliary matter. The main weight of the work is based on selected case studies of individual authors. On the basis of case studies with the implied support of analytical psychology, the last paintings appear as a guide to...
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The Italian movement Arte Povera, Czechoslovak Nová citlivost and Czech-Italian relationships around Jindřich Chalupecký and Jiří Padrta
Horvatovičová, Zuzana ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee) ; Lux, Simonetta (referee)
Mgr. Zuzana Horvatovičová The Italian movement Arte Povera, Czechoslovak Nová citlivost and Czech - Italian relationships around Jindřich Chalupecký and Jiří Padrta ABSTRACT The main theme of this thesis was to compare two artistic phenomena of the sixties of the 20th century: the Italian movement Arte Povera (Poor Art, 1967) and the Czechoslovak avant-garde concentrated around the group exhibition New Sensitivity (Nová citlivost, 1968). It also focused on the network of contacts and principal organizers of Italian exhibitions especially in Prague and Czechoslovak exhibitions in Italy. Long research in archives and collecting of documentary material, catalogues and reviews led to very interesting results. Arguments of the thesis are based on the comparison of the constructivist work of the New Sensitivity artists with the group of Arte Povera and with the kinetic work of Arte Programmata. Much more shared elements were found to exist between the Czechoslovak circle of the New Sensitivity and the Italian artistic tendency Arte Programmata than between the artists and art works of exhibition New Sensitivity and the group Arte Povera. Italy and Czechoslovakia maintained a different art and "parallel" culture, although they came to a rather close contact in the "revolutionary" sixties.
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The RADAR Group
Tučková, Kateřina ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee) ; Lahoda, Vojtěch (referee)
THESIS ABSTRACT The thesis named The Radar Group deals with one of the creative groups that entered the Czech artistic scene after 1956, after the 20th Congress of the Soviet Communist Party (SCP) in February 1956, when the establishment of minor associations within the Union of Czechoslovak Artists was allowed. The Radar Group announced its foundation in 1960 and presented its first independent exhibition in 1961. It introduced eighteen members, of whom the most significant authors from the ranks of the defunct Group 42 (Skupina 42) - František Gross, František Hudeček a Ladislav Zívr - belonged to the established artists of previous generation. The majority of younger members born between 1923 and 1930 introduced their painting, sculptural and graphical works at the exhibition mostly for the first time. The members of the Radar Group may be regarded as the representatives of so- called "tame modern art" who took up to the pre-war modernism in the loosening period of the late 1950's. Their status within the contemporary scene was very high as they were coming out of the positions shielded by the Union - most were the Union members, some even functionaries in the Union senior management. This is the reason why the group did not become a part of the opposing Block of Art Groups (Blok tvůrčích skupin), though...
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Visual Poetry in the Network of the International Communication. Terms, Categories, Typology
Krátká, Eva ; Lahoda, Vojtěch (advisor) ; Langerová, Marie (referee) ; Pomajzlová, Alena (referee)
The doctoral thesis is concerned diachronically with the term "visual poetry". The focus is on its progress during the period after the Second World War in the context of the extensively advanced movement, as substantially defined in international expert discussion. The use of the term, which is supported by the arguments of many theoreticians and artists of the period, is studied in the thesis from the viewpoint of the inspirational sources and specific contacts between art and literature. The focus is on the specific positions and strategies of visual perception. Visual poetry is studied - considering the different contexts of the European avant-garde movements and through the analysis of contemporaneous theories which defined three main lines of thought - as an incoherent art stream manifesting itself in the eclectic use of artistic media. In conclusion, the thesis looks at the project of Czech author poetics typology which grew from purely Czech examples based on formal language of the visual poetry works. The thesis seeks to point out the original aspects of the internal discussion of visual poetry, and to place it in the international context.
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Josef Čapek and France
Dufková, Mariana ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee)
The master thesis Josef Capek and France closely documents Capek's two visits to Paris at the beginning of the 1910s and analyses to what degree France and its artistic milieu shaped Capek's artistic views and practice. In the first part, the author traces the origins of Capek's interest in French art during his childhood and his youth. In the second part, she expounds on his Parisian stays, emphasising especially the various exhibitions and galleries which the Czech artist could see. Finally, she evaluates the impact of Capek's Parisian experience on his cultural activities and, no less important, his painting. The main goal of the thesis is to deepen the reflection on Capek's artwork through its integration into an international context.
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