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Self-portrait of Václav Hollar (1607-1677): on the problem of the representation of one's own face in the 17th century.
Melounová, Tereza ; Murár, Tomáš (advisor) ; Mádl, Martin (referee)
(EN) The bachelor's thesis "Self-portrait of Václav Hollar (1607-1677): on the problem of the representation of one's own face in the 17th century" examines the issue of the representation of one's own face in the 17th century using the example of Václav Hollar's graphic self-portrait in the etching technique in the second stage, which Hollar himself created based on his portrait by the painter and graphic artist Jan Meyssens. This "self-portrait" was created for the graphic album "Images de divers hommes" of contemporary artists, which Jan Meyssens published in Antwerp in 1646. The purpose of the work is the interpretation of Hollar's choice of a painting template for the graphic processing of his portrait instead of creating the drawing of his face, as we would expect given the artist's classic procedure when creating his self-portrait. As an example of the classic process of representing one's own face in the 17th century, we can point in particular to the self-portraits of Rembrandt van Rijn. In other words, the work aims to answer the question, why was another artist's painting template for Václav Hollar more important than his drawing design for the representation of his face? The work will answer this question by theoretically searching for the meaning of the self-portrait in the wider...
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Max Dvořák and Turn of Art (History) to Work of Art
Murár, Tomáš
In the last years of the Austro-Hungarian monarchy, it is possible to observe in literature and the visual arts the destabilisation of previously valid values in relation to tradition, which was no longer able to sufficiently express the world in its completeness. This process can also be observed in art historical research, in its shift away from research into the autonomous development of art towards defining a work of art by thinking about the time of its creation. This transformation is identified in particular with the influence of the spiritual sciences (Geisteswissenschaften), which were also developed by the Czech-born art historian Max Dvořák. In this paper it will be shown, using his thought as an example, how the art historical definition of the work of art can be related to the art of the early 20th century, i.e. as defining itself against the hitherto valid thought concepts of the late 19th century.
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(Sur)reality in Work of Mikulas Medek
Pišanová, Andrea ; Vojvodík, Josef (advisor) ; Murár, Tomáš (referee)
This thesis follows the artistic and literary work of Mikuláš Medek in the period of the fifties of twentieth century in the contemporary literary context, with the area of analogies and divisions we explored not being limited by the boundaries of the scope of surrealist artists. The testimonials of the situation people found themselves in after the year 1948, the complexities and contradictions of the meaning of human existence - it is from these subjects that both the ethical dimensions of Medek's work and sort of kinship with the work of the other poet-artist Jiří Kolář grow. Humor, irony, the struggle with the legacy of surrealism, the demand for harsh realism - all these artistic bases overlap, to a degree, with those of artists who gathered around Edice Půlnoc. The focus of the work presents an analysis of selected motifs (violence and everydayness), through which Medek relates to the "world we live in". Key words Mikulas Medek, literature, violence, existence, ideology
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Ermine as symbol and its resonance in fine arts
Marešová, Markéta ; Konečný, Lubomír (advisor) ; Murár, Tomáš (referee)
The master's thesis Ermine as Symbol and its Resonance in the Fine Arts focuses on the origin and development of ermine symbolism and its application in the European environment between antiquity and the end of the 16th century. The choice of the ermine as the subject of research arose from the dearth of systematic inquiry into both the symbolism of this particular animal, as well as its presence in the visual arts, which is rare compared to that of some other animals. From the uncertain identification of the ermine in classical sources and its possible confusion with other mustelids, the originally ambivalent symbolism of the ermine crystallized during the Middle Ages: the ermine came to represent integrity and moral purity. The ermine in its snow-white coat carried the allegory of these qualities and, in its significance, it also gradually became a political symbol and a representational strategy demonstrating social status and power. The main purpose of the present work, besides evaluating existing knowledge related to this topic, is primarily to synthesize and present the interpretation of the ermine as a symbol not only in its full breadth, but also in all its period and local iterations and transformations. The basis of this study is the location, description and comparison of the connections...
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BEYOND THE MAN: Transformations of the image of the man in painting from the mid-1940s until the 1960s. Theoretical and methodological principles.
Murár, Tomáš ; Vojvodík, Josef (advisor) ; Konečný, Lubomír (referee) ; Bydžovská, Lenka (referee)
The dissertation thesis deals with the interpretation of the "beyond-the-man" concept, which is being interpreted, on one hand, as a part of the art-theoretical and art-historical European modernity of the end of the 19th and beginning of the 20th century, on the other hand, as a theoretical and methodological starting point for an interpretation of the transformation of the human image in the painting of the second half of the 1940s until the beginning of the 1960s. The foundation for such an interpretation is an assumption of the necessary transformation of the intellectual concepts after the World War II, as it was postulated by Theodor W. Adorno and how it was researched by Giorgio Agamben and Miroslav Petříček in the political-philosophical discourse. The thesis thus researches the "beyond-the-man" concept in the theory and history of art of the end of the 19th and beginning of the 20th century in a way of it being as re-formulated art-creative concept after 1945, evident especially in abstract painting. The interpretation of the "beyond-the-man" concept is developed on reading of Fritz Novotny's interpretation of Paul Cézanne's art from the beginning of the 1930s. Novotny in Cézanne's painting described the concept of "beyond-the-man" (Außermenschlichkeit) as a breaking point of the...
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Nighthawks in The Age of Anxiety. The work of Edward Hopper of the 1940s and a "Baroque Eclogue" by Wystan Hugh Auden from the perspective of an intermediality.
Murár, Tomáš ; Konečný, Lubomír (advisor) ; Rakušanová, Marie (referee)
The main aim of the Master Thesis is the work of the 1940s by the American painter Edward Hopper (1882-1967) in a relationship to the long poem by Wystan Hugh Auden The Age of Anxiety. A Baroque Eclogue (1947). The Thesis in ten chapters researches Hopper's painting Nighthawks (1942), which is considered to be one of the most important works by Hopper from the war years. Unique position of this painting is reconstructed through intermedial projections and linkages towards the Auden's poem. Next to the interpretation of the intermedial relations, in the centre of the Thesis are time-space relations to Hopper's painting semantics due to period thoughs of temporality, atemporality and aperspectivism. An attention is also paid to the relation of the painting and phenomenology of temporal consciousness and continuance in connection with semantics of the space as "heterotopia".
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Baroque as a style in a concept of Vojtěch Birnbaum
Murár, Tomáš ; Konečný, Lubomír (advisor) ; Hlobil, Ivo (referee)
This thesis Baroque as a Style in the Concept of Vojtěch Birnbaum is dealing with the formulation of an important theoretical work Baroque Principle in History of Art (1924) of Czech art historian Vojtěch Birnbaum (1877-1934). In five chapters it deals with this exceptional work of Czech art history. After a brief introduction of Vojtěch Birnbaum it looks into the formulation of Baroque Principle in History of Art. It then sets this work into the historical context of Czech art history in the beginning of the 20th century. The thesis also sets this work into theoretical range of thinking about baroque from its origins up to this day. At last but not least it interprets Birnbaum's concept of baroque style in history of art.
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