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The Role of Myth in Mark Rothko's and Barnett Newman's art
Havelková, Tereza ; Lahoda, Vojtěch (advisor) ; Rakušanová, Marie (referee)
In my bachelor thesis I will focus on two important protagonists of American modern art, Mark Rothko and Barnett Newman, within the context of their historical situation. I will examine how their art and their thoughts, as reflected in occasional writings and statements, relate to period of World War II and how they coincide with other artists, poets and thinkers of their time. In early 1940s they often talked about myth and mythology became one of the main elements of their art. I will try to elucidate this interest and explain the position of myth in modern society. For this purpose I chose to base my research on theoretical work of René Girard and Eric Voegelin. My work is divided in three sections. In a beginning I will describe Girard's theory of myth and compare it with other opinions on this subject, I will also explain the relation between myths and ideologies of the 20th century. In second part I will outline the situation of those artists, significance of their Jewish origin and their position on American art scene. Two following chapters will be dedicated to analysis of Rothko's and Newman's art and opinions separately and the formal and emotional issues of their art will be discussed at the end. I believe that closer examination of the ideas that underlie their work will lead to fuller...
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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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Pollock and Jung
Dvořáková, Simona ; Lahoda, Vojtěch (advisor) ; Rakušanová, Marie (referee)
To be able to demonstrate Jung's symbolic archetypes of the collective unconscious, I have taken as an example the relation between Jackson Pollock and the analytical psychology of Carl Gustav Jung. At the beginning I have aimed to describe the wider context, the meaning of the unconscious, and key psychological aspects that are necessary to be understood for being able to interpret some of Pollock's early works. At my thesis, I am not talking only about psychotherapy, which he attend for the first time in 1938, but also about his deeper interest of Jungian concepts and archetypes were expressed in his paintings. Since 1941 is obvious that his work contains more elements of imagination. Base on Jung's principles, his work is also more focused on myths and cultures of early civilizations - Assyrian, Egyptian, Mayan and early Colombian art. This impact of unconscious symbolism was also caused by John Graham's theories, and by "Modern Man literatue" of Joseph Campbell or Harvey Fergusson. At the end of my thesis, I am looking for ways of implications of Pollock's experiences within psychoanalysis on visual style of his work. I am trying to find an answer; to what extent is possible to demonstrate the impact of psychoanalytic interpretations on his art. Powered by TCPDF (www.tcpdf.org)
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View, Photography and New Technological Eras
Stecker, Marcel ; PETŘÍČEK, Miroslav (advisor) ; ŠIMLOVÁ, Štěpánka (referee)
American painter Ed Ruscha has been using medium of photography since his studies at Chouinard ART Institute in Los Angeles. In 1963 he published author's book Twentysix Gasoline Stations which depicts gasoline stations on the road between Los Angeles and Oklahoma. My diploma thesis describes Ruscha´s book and the time and circumstances under which it was being made. I am putting Ruscha´s book in the context of cold war and atmosphere of this period. I am writing about american individualism and expansion of automobility and its strategies. I focused deeply on Ruscha´s early artist period and his studies in Los Angeles. I am describing the historical context of Ruscha´s way from Oklahoma to Los Angeles. I emphasize its influence on american society. I inquire Ruscha's point of view to art, art history and his resistance to mainstream that was coming from New York to California. The book Twentysix Gasoline Stations was published three years after Ruscha's graduation, so it is considered as an early masterpiece. I am writing about fusion of art and roadside imagery and its historical context of 30's and 40's. I emphasize their difference and their similarity. The field of my study was extended by Paul Virilio´s essay Aesthetics of Disappearance where Virilio draws relationship between automobilism and cinematography. Through his essay I am coming back to Ed Ruscha and thanks to it I am finding new relationships in Ruscha's work. I enhance the atmosphere of this period by mentioning roadmovies and its link to american individualism and explosion of automobilism. I contrast this context with situation in Europe, its identity and geopolitical influences. At the end of my thesis I emphasize Ruscha's work and his contribution to questions about aesthetic and non-aesthetic and his reflexion of automobilism expansion and a book form as a new way to present art.
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