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Sculptural headstone on Olšany cemetery at the age of J. V. Myslbek
Eretová, Monika ; Prahl, Roman (advisor) ; Wittlich, Petr (referee)
This dissertation deals with sculptural headstones at Olšany cemetery. Time definition determinate age of the sculptor Josef Václav Myslbek, the end of the 19th century and first years of the next century are concerned. Introductory chapter informs about cemetery evolution from middle ages to the 19th century with reformations by emperor Josef II. as a important turning point. Part containing evolution of Olšany cemetery from the times, when there was plaguey burial ground, to present follows. One passage is especially devoted to the phenomenon of Olšany arts. Sculptors Ignác Platzer, František Xaver Lederer, Emanuel Max, Bohuslav Schnirch, Josef Mařatka and Olbram Zoubek are mentioned. Following part is finally dedicated to the person of Josef Václav Myslbek, his life, family, principal works and mainly his activity at course of sepulchral art. Whole his works from this field are listed. Extra accent is put on the setting of Olšany cemetery as a coulisse of his plastics. Now we are getting to the cardinal part of the dissertation, sepulchral monuments of eminent personages: Karel Sladkovský, Julius Grégr, Josef Barák, Jidnřich Fügner and Miroslav Tyrš. These chapters document initial idea of monument, its genesis, realization and also its festal revelation. These monuments are always described in detail...
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The sculptor Karel Novák and his artistic enterprise
Gaudeková, Helena ; Prahl, Roman (advisor) ; Wittlich, Petr (referee)
This thesis deals with life and work of the Czech sculptor Karel Novák (1871 - 1955) and the functioning of the artistic enterprise he founded in Prague. The emphasis is put on a detailed analysis of exterior facade decoration of private or rental houses and institutions (mainly) in Prague between 1898 and 1913 as this type of order was among the sculptor's most numerous ones in the pre first world war years. A new cataloque of the sculptor's works based (not only) on the newly discovered handwritten inventory from 1953 is also included in this thesis. This source has also enabled the mapping of a certain number of Novák's associates who are, therefore, as well mentioned in the thesis. The last part of this text is then devoted to a short summary of the sculptor's post war artistic production. Key words: Karel Novák, sculpture, artistic enterprise, stucco decoration, facade, art nouveau
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The Landscape painting in Prague 1840 - 1890. Presentation and reflection of landscape painting on the Art Union exhibitions
Vlčková, Lucie ; Prahl, Roman (advisor) ; Rakušanová, Marie (referee) ; Machalíková, Pavla (referee)
The Landscape painting in Prague 1840-1890: Presentation and reflection of landscape painting at the Art Union exhibitions. PhD thesis by PhDr. Lucie Vlčková Supervisor: Prof. PhDr. Roman Prahl ABSTRACT: The present thesis summarizes the results of the research project focused on the history of ladscape painting and its presentation at the annual exhibitions of the Art Union in Bohemia ("Krasoumná jednota") from 1840 to 1890, the period of a critical significance for evolution of the genre and establishing the aesthetical and ideological schemes characteristic for the Czech landscape painting of the 19th Century. The landscape painting was a respectufull and popular branch already from the beginning of the respective period, yet since then it grew into a leading source of aesthetic innovations and dominant component of the exhibitions and art trade. The 1840-1890 period begun with the establishing Max Hushofer's landscape class at the Prague Academy of Arts and terminates with close contacts with impressionists. For local landscape painting it brought not only the dramatic rearrangements of aesthetical frameworks but also the subsequent establishment of the standard cliches and themes which further accompanied Czech landscape painting until present. Although the history of the Czech landscape painting of...
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A contribution to the theory and practice of representation of passions in visual arts around 1800
Ježková, Markéta ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee)
The presented thesis deals with the French classicism theory of mechanism and representation of passions as the source of some art works created in the region of Bohemia around the year 1800. The theory of mechanism and representation of passions was developed in Paris at Academie Royalle de Peinture & Sculpture (Academy of Fine Arts) during the 17th century. The academicians were working on a project of creation of an universal model, which was based on the current scholastic discoveries and ancient Rome, to set a guideline to produce a piece of art which could "call" the spectator, touch his heart, allow him to read the presented story and recognize passions which the figures were undergoing. The way to reach this complex aim was initiated by René Descaretes in his writing "Passion of the Soul". His writing was lately modified and enriched by illustrations of Charles Le Brun, the artist of the king's court. Students of art were facilitated to learn and understand of the causes that lead in the expression of passions in the human face. Young artist were allowed to understand the passions, which were not publicly know because of the strict standards of social behavior. Le Brun's drawings of the human face were mostly neutral so they could be used for both sexes in various contexts. The Le Brun's writing was...
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August Brömse. The artist and his paintings
Kašková, Gabriela ; Prahl, Roman (referee) ; Wittlich, Petr (advisor)
The work is based on the estate of August Brömse in the Kunstforum Ostdeutsche Galerie Regensburg, which contains over 1050 letters from the period between 1902 and 1910, and a large collection of sketches and pictures. The structure of the work is determined by this material. The first part is focused on the period up to 1910. On the basis of his correspondence it investigates the artist's life after his studies in Berlin up until his establishment as Professor of Graphics at the Academy of Arts in Prague. The text not only provides a biographical study, but also gives an insight into the cultural life of "Czech Germans" in the specific context of the struggles between Czechs and Germans in Bohemia. Of special interest is the "fight" for the two posts for German professors at the Academy, which lasted four years and was very important for Brömse. The second part is devoted to Brömse's paintings from the period after 1910, which have not yet been treated adequately in research on the artist. It ties in with the first part, which shows the starting points of Brömse's painting and also comments on important pictures in the context of the artist's work. The second part offers an analysis of selected significant paintings. After 1910 Brömse concentrates on religious themes in his work. Two thematic issues have...
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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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Otakar Lebeda (1877-1901)
Hulíková, Veronika ; Prahl, Roman (referee) ; Wittlich, Petr (advisor)
Otakar Lebeda patřil, vedle Antonína Slavíčka a Františka Kavána, k největším talentům krajinářské školy Julia Mařáka na pražské Akademii. Svůj život se rozhodl ukončit měsíc před čtyřiadvacátými narozeninami. Dílo, které vytvořil v rozmezí pouhých devíti let (a to do něj započítáváme i pět let strávených na Akademii), je svým rozsahem i obsahem impozantní. Jeho jednotlivé etapy můžeme měřit na týdny a dny, podle toho jak se Lebeda pohyboval po krajině doma i v cizině. Přesto se mu podařilo dotknout se všech podstatných problémů soudobého malířství. Dnes se zdá jeho zařazení do vývoje českého umění konce 19. století nezpochybnitelné a jeho práce najdeme v každé publikaci, která se tímto obdobím zabývá. První umělcova monografie vyšla však po více než padesáti letech od jeho úmrtí a na dlouhou dobu se stala jediným zdrojem informací. Možnost podrobně prozkoumat dochovanou Lebedovu pozůstalost a korespondenci mne vedla k rozhodnutí zvolit si dílo Otakara Lebedy jako téma diplomové práce. Mým záměrem je podrobně zmapovat jeho umělecký odkaz, který je možné od posledního zpracování rozšířit o nově objevené obrazy a kresby. Prostřednictvím dopisů se také pokusím přiblížit jeho osobnost.
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Decoration of Prague's tenement houses in the last third of the XIXth century and the beginning of XXth century
Pelc, Vít ; Wittlich, Petr (referee) ; Prahl, Roman (advisor)
The work discribes decoration of Prague's tenement houses in the last third of the XIX.Century and the beginning of XX.Century. In the first instance it addresses questions of decoration at general level, the character and disposition of decorative elements on houses facades. Concisely it considers the materials and techniques used in the decoration of houses and it discusses usual methods of compositional solutions and disposition of decoration. Hereafter this work summarises in a brief survey the subjects of decoration in the reviewed period. Individual decorative elements may have decorative sense; otherwhile they express semantic or ideological meaning.
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Celda Klouček - personality and work
Teichmanová, Jana ; Prahl, Roman (advisor) ; Vondráček, Radim (referee)
This work is deling with personality and work of Celda Kloucek, a sculptor and ornamentalist living at the turn of 20th century. Celda Kloucek was born 6th December 1855 in Senomaty near Rakovnlk. Advised by his patron Milller, he decided to accept a position with ornamentalist sculptor Otto Lessing in Berlin, where he got his first professional training. Kloucek turned out to be an excellent sculptor, especially in ornamental construction work. The contracts were diverse and he learned to work with many different materials. In 1879 he enroled in professor Otto Konig special course at Arts and Crafts School in Vienna. After three years, he became a reader at Arts and Crafts School in Frankfurt am Main. In 1888, he opened his atelier at Arts and Crafts School in Prague. He was teaching here for twenty-eight years. Many recognized artists emerged from his atelier, all of them adhering to Kloucek's emphasis on clarity of composition and simplicity of the ornament. Kloucek's work evolved from ornamental creations on house exteriors in neo-Rennaissance and neo-baroque style to naturalism, and finally to Art Noveau, in which he created his master pieces: Wohanka house portal (1898), Museum of Western Bohemia in Pilsen (1900-1901), Prague Credit bank (1902), Blecha house (1904), and Order of the Cross monastery...
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