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National Repository of Grey Literature 2 records found  Search took 0.00 seconds. 
School of Applied Art and its studios in the years 1890 - 1910
 Sklenářová Teichmanová, Jana ; Prahl, Roman (advisor) ; Mergl, Jan (referee) ; Vondráček, Radim (referee)
The theme of this thesis is History of School of Applied Arts studios in Prague between 1885 and 1910. The thesis focuses mainly on style development at the crucial point of turning of the century. This period was the turning point when advanced school's art manifested and also time of generation change that transformed overall school atmosphere. A specific contribution of this thesis lies in outlining less known specialized schools, with inclusion of female element, which are factors that were not previously described elsewhere, as well as in attempt to find methodical and development analogies between Prague and Vienna School of Applied Arts. The aim of my thesis was to assess exceptional status of the school, especially in context of Czech educational system of decorative arts, and to evaluate historical context based on detailed archive research. I included in the thesis a comprehensive list of students of general and specialized schools of decorative arts, thus creating a foundation for future researchers on individual artistic personalities. Study of development of School of Applied Arts is an analytical synthesis presenting the specific role of decorative arts and crafts in pre-WWI era.
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Otto Gutfreund
 PECH, Milan
This thesis examines a psycho-sociological context of Otto Gutfreund´s sculptures and drawings. In the first stage author surveys memoirs of sculptor´s contemporaries, his family history and his early childhood development to find out Gutfreund´s psychological dispositions and dymanics of his personality. After that he deals with sculptor´s artistic style development in connection to his living conditions. He focuses on Gutfreund´s artistic expression and its changes. Autor shows that sculptor´s turn to Cubism (1910-1911), to Social Civilism (1919-1926) and his return to cubistic creative principles are not only determined by art-historical context but psycho-sociological context, as well.
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