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Sehe mit fühlendem Aug', fühle mit sehender Hand. Hmat v dějinách umění 1890-1960
Zachariáš, Jan ; Konečný, Lubomír (advisor) ; Thein, Karel (referee) ; Fedrová, Stanislava (referee)
The aim of the presented work is to show what role the touch and associated tactile perception played in the history of art between 1890-1960. It's main argument is that without the sense of touch, art history would not be able to build its conceptual apparatus. Constantly coming to terms with tactile experience as opposed to sight has provided art historians with a number of methodological tools for classifying works of art, many of which have become the backbone of formal analysis. The theses systematically covers German and selectively English art-historical discourse, thematizing touch, and traces how the selected authors worked with it. Already Johann Gottfried Herder laid the foundations of the aesthetics and noetics of touch, which were followed on an ideological level by the arthistory. Herder argued that touch gives us knowledge of space, while sight can only perceive colors. Touch is therefore much more reliable sense than sight. Herder connected different kinds of art with specific senses - music with hearing, sight with painting, and touch with sculpture. If the sense of touch is more reliable and truer than the sight, the art associated with it is also an art with a higher aesthetic and noetic value. Art historians around 1900 shared Herder's belief that touch is the creator of space....
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