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Anotnín Karč - chaser and jeweller 1879-1952
Horáková, Ilona ; Křížová, Alena (referee) ; Prahl, Roman (advisor)
The introduction summarizes all existing sources dealing with Antonín Karč, and it is followed by the first chapter (Epoch and Education) explaining historical background and styles that influenced Antonín Karč' s works from the period 1900-1940. As Antonín Karč's jewellery works from the period after 1908 are closely connected with the Secondary Art School in Turnov, the second chapter (Turnov and the Secondary Art School for Grinding, Precious Stones Engraving and Goldsmithry) describes the establishing of the school and its history until 1940. The school was established in order to support the grinding industry in Turnov. Soon after, goldsmithry was added to processing and engraving of gems. Bohemian gamet belonged to traditiona1 raw materials of the region around Turnov, and development of Bohemian gamet jewellery is closely related to the Art School in Turnov; Antonín Karč also designed jewels with Bohemian garnets. In 1911 his design drafts were incorporated into the pattern templates collection of the Secondary Art School in Turnov. After 1930 he participated in development of contemporary gamet grindings and jewels containing Bohemian garnets distinctive through a combination of a plain strip ornament and a gold area. Therefore, one of this chapter' s sections summarizes the aims of the school after...
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The interior of the forest and forest characters (Landscape paintings of Julius Edvard Mařák)
Matoušek, Alexander ; Prahl, Roman (advisor) ; Wittlich, Petr (referee) ; Konečný, Lubomír (referee)
Julius Mařák patří k předním osobnostem české krajinomalby. Je připomínán, občas oceňován, k plnějšímu pochopení jeho díla máme přesto daleko. Hlubšímu porozumění brání rozkolísaná hlediska pro posuzování kvality uměleckých děl i mechanicky přebíraná vývojová klišé. V samém základě těchto 1 obtíží leží ale podivná nechuť zabývat se tím, co dílo sděluje. Namísto úsilí představit dílo na půdorysu jeho vlastních vnitřních pohnutek a směřování, se stále hojně setkáváme jen s povšechnými úvahami o cestě romantismu k realismu, či o možných vztazích k hnutí barbizonskému případně impresionistickému. Aby mohly mít takovéto úvahy váhu, musely by být daleko důkladnější a přesnější. Nezbytným předpokladem je ale vždy důvěrné poznání toho, co míníme porovnávat.Mařákovo dílo mohlo být ve své době chápáno a přijímáno snadněji než je tomu dnes. Případy, kdy kvalitní dílo umí lépe pochopit až doba pozdější, jsou spíše výjimkou než pravidlem. Jakkoli byla doba vnitřně rozporná a nepřehledná, současníci mohli daleko snáze sdílet východiska, ze kterých Mařákova práce vyrůstala. Chápali snadněji ono bezvýhradné zaujetí pro přírodní krásu i přesvědčení o její očistné moci. Sdostatek o tom svědčí těch několik zasvěcených hlasů, které tehdy o Mařákově práci referovaly. Nepochopení a intriky na které si umělec po návratu do Čech...
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Women artists in Bohemia in the nineteenth century
Šámal, Petr ; Bydžovská, Lenka (referee) ; Prahl, Roman (advisor)
The thesis consists of three chapters, which aim to describe and summarize the pivotal themes, important for the history of female art in Bohemia, i. e. questions of their origin, art education, placement and reception of their art in the temporary criticism. The first chapter inquires into forms of the artistic education according to the kinds of the social origin of the women. Separately it describes the issues of education for professional women artists and women of noble birth. A special attention is paid to the theme of an organized training in visual arts, which was provided by private arts schools at first. An important position among them had the school of drawing for ladies, founded by the painter Amalia Manes in 1853. The essay suggests some circumstances realting to this private school. In the 1860's the art education went through a considerable progress, when a new forms of art teaching were created, based mostly on arts and crafts aims. Considering the fact they arouse about twenty years before establishment the Arts and crafts school in Prague, where they on a relative high level. They also had a particular standing at that time in general. The Industrial School for Girls founded in 1865, was probably the first institution of its kind in the Habsburg Monarchy. The Trade and Industrial School...
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Decorative sculpture of Stanislav Sucharda
Jonáková, Ivana ; Prahl, Roman (referee) ; Wittlich, Petr (advisor)
The Czech Art Nouveau sculpture is represented by several1eading tigures, most of them graduates from the Specialist School of Figural Sculpture of .Josef Václav Myslbek, among wmch Stanislav Sucharda ranks. He is well known mainly thanks torus monument of the Czech historian František Palacký in Prague and to a large nuruber oť plaques aM medals. Ris works from the sphere of architectural sculpture wruch are decoratíng many newly-constructed prague buildings remain unnoticed. He specialized in the decorative sculpture since he wasa student andall his works were immediately favourably received. He collaborated with many renowned architects during Ws life.The mostintensiveand inspiring was ms partnership wiw the architect Jan Kotěra in hlseatly Art Nouveau period. This study dea1s with the questions concemlng decorative sculpture and Hs role in the period buildlng practice, as wen as the intluence of The Sch001 of Applled Aru and its teachers on architects and sculptotSand the approa,ch of publle anderitique including the arehiteets and sculptors themselves to this theme. The mam task is to make up a listot Sucharda's decorative sculptures created for new public buí1díngs, private villas, bridges, fountaines, temporary exhibition pavilions and others. Stanislav Sucharda (1866-1916) wasbornin Nová Paka in a...
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Adolf Liebscher 1857-1919
Dlábková, Markéta ; Slavická, Milena (referee) ; Prahl, Roman (advisor)
Adolf Liebscher belongs among the artists known as the "National Theatre Generation." Like ist foremost representatiwes, F. Ženíšek, M. Aleš and V. Hynais, Liebscher also produced an oeuvre of great diversity - he created decorative paintings and historical compositions, was interested in folklore painting, his drawings were published by the major journals of that time as Zlatá Praha or Světozor and rus illustrations appeared in many albums, books of poems and novels. Liebscher was bom on March 11, 1857, into a family of a Provincial Committee engineer Josef Liebscher. His older brother Karel (1851 - 1906) later became an appreciated landscape painter, with whom Adolf often cooperated. In 1875 - 1878, Adolf Liebscher studied at the School of Applied Arts in Vienna, in the three-year course for hand-drawing teachers under F. Laufberger. After obtaining a diploma, he entered the studio of E. A. Donadini for half-a-year, where he prepared his proposals for the competition for the National Theatre. In 1879, he was awarded in the competition and was commissioned to carry out some of his proposals in the passage of the theatre. Here he created eight lunette allegories of Dramatic arts.
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On relations of Czech artists to official art exhibition in Prague of the 19th century
Prahl, Roman
Foreign artists prevailed in both quantity and quality on art exhibitions in Prague to the domestic ones. Art exhibitions became subject of permanent criticism with the growing national movement. For the Czech artists associations, it was easier to compete with official art association on the field of art prints then on the field of art exhibitions. The article studies art prints as a tool of communication with broad public including projects by Josef Mánes.
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