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JÁN ALBRECHT – ESTETICKÁ DIMENZIA VŠESTRANNEJ UMELECKEJ A PEDAGOGICKEJ OSOBNOSTI

100%
Kopčáková S.
ESPES
|
2012
|
vol. 1
|
issue 1
24 – 30
EN
In the presented paper attention is drawn to the so-far under-appreciated art history and aesthetic orientation of a multidimensional personality. Jan Albrecht (1919-1996) embodies a ”personal unity“ in whom a performing musician, musicologist, aesthetician, renowned university teacher and musical impresario all came together. He was one of those personalities that formed future generations of artists, teachers and theoreticians in the second half of the 20th century. With his personal imprint, Albrecht shaped post-war musical culture in Slovakia. His theoretical legacy represents a very interesting yet so-far not sufficiently researched chapter of the history of aesthetic reflection on art issues or the history of music aesthetics in Slovakia. As a music aesthetician, Jan Albrecht was in the background for a long time; for that reason, our aim is mainly to point out the aesthetic dimension of his personality and also partially analyse its results.
2
Content available remote

OBRAZY UMELCOV V TELEVÍZNYCH NARATÍVOCH NEŽNEJ REVOLÚCIE V ROKOCH 1990 – 1993

100%
Dudková J.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 1
73 – 85
EN
The text is a partial result of the thematic analysis of Slovak television production from the early 1990s, which Slovak film studies have not yet fully examined. The author analyses the figure of an artist and/or humanistic intelligentsia in television fiction after November 1989, emphasising especially images of their exclusion in terms of “purity and danger” concepts as well within the context of sceptical narratives of the social change.
3

EXPERIMENTAL POETRY AND ITS FORMS IN SLOVAK VISUAL ART (Experimentalna poezia a jej podoby v slovenskom vizualnom umeni)

100%
Ihringova K.
Slovenská literatúra (Slovak Literature)
|
2011
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vol. 58
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issue 4
317-330
EN
Experimental poetry, which became one of the main cultural manifestations in the 1960s, was not only a form of art of that time, but - first and foremost - a great revolution in poetry. Despite the fact that the new culture paradigm mainly influenced the poetry evolution, out of the whole Slovak art community it took strongest root among Slovak visual artists. One of the reasons was our visual artists´ additional response to Lettrism already going out of fashion, which made them interested in the question of language, raised by experimental poetry. Thus, the article makes an effort to see how the cultural as well as philosophical-aesthetical problem influenced Slovak visual artists and how different the approaches each of them were took. The focus of attention is visualisation of poetic works of art and poetization of images. The article mainly builds on fundamental theoretical works, which first became well-known in the Czech art scene in the 1960s and subsequently influenced the art scene in Slovakia, too. The examples include works written by M. Bense, E. Gomringer, A. Moles, J. Hirsal, B. Groger, as well as a semiotic view of the subject, represented by French linguist J.J. Thomas. He applies his semiotic analysis to Dadaist poems however, it can be applied to Slovak experimental works, too. The subject of the article is a response to a hot issue in contemporary art theory, which interferes with visual studies and intermediality.
4

THE GARDEN OF ARTIST, POET, THINKER. THE TERRITORY OF CREATION (Ogród artysty, poety, mysliciela. Terytorium tworzenia)

100%
Pienkos A.
Rocznik Historii Sztuki
|
2009
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vol. 34
171-198
EN
The garden of the 'artist's house' (artistically created home of a writer, painter, or musician) could be examined in the categories of gardening history, searching for references to typical models or solutions. We know of the influence of gardens of various artists on the solutions introduced in the art of gardening (for instance Alexander Pope or William Shenstone). More often gardens of this type are governed by rules of individual creativity, they have no specific traits and as a rule they do not belong to the history of gardening. From antiquity through Renaissance a garden brought to mind meditation and creation. More than a house it would be the figure/prefiguration of a place of creation and the product of a creation act. It is this role it plays in the 'Mémoires d'Outre-Tombe' by Francois-Rene de Chateaubriand and numerous comments by other writers. Garden as a 'microcosm' makes us redefine the notion of creation. Some of the 'gardening acts' elude thinking in the categories of gardening object. Garden as a place of important rituals can be found especially in the communes from the turn of the 19th and 20th century. Such kind of 'gardening acts' in their anthropological dimension are of crucial importance for understanding the character of the place of creation and the whole artistic activity of an artist. Regardless its size, form, relation to the artist's home, the garden is given a special assent. An artist's grave in his garden should be considered in the same categories. For Carl Linnaeus, Buffon, Voltaire, Goethe, later on also for John Ruskin, gardens were a testing ground in various fields of their scientific and artistic creativity. Claude Monet's creation at Giverny was developed in two inseparable orders: a garden 'was growing for' a painting. Around the same time, yet with no Monet's consistency, made their own gardens and then painted them also Jozef Mehoffer, Max Liebermann, HeinrichVogeler, Edward Atkinson Hornel, or Emil Nolde. The history of gardening as the element of a representative place of artist's residence could be presented in the categories of the history of gardening forms as well as a social history of art. This function is served by gardens in the residences of Peter Paul Rubens, Nicodemus Tessin the Younger, Charles Le Brun, and then later of Franz von Lenbach, Vincenzo Vela, Richard Wagner. Drawing upon the models from the 16th through the 18th centuries, Francis Poulenc, Edmond Rostand and Edith Wharton made their own gardens, nevertheless, with reference to their main field of creativity. A theme of Italian Renaissance inspirations belongs to the most important research tracks to follow when interested in the gardens of the 19th- and 20th-century artists. A 'locus amoenus' could have assumed the form of microcosm, full of personal or historical associations, relating to the interests of the artist. The gardens of Gabriele d'Annuzio, Axel Munthe, Anders Zorn, Vicente Blasco Ibanez became mainstays of private history of culture, characteristic of post-romantic trends.
5

EVALUATING THE RECEPTION OF AN EXHIBITION: DETERMINATION AT THE DOX CENTRE FOR CONTEMPORARY ART

100%
Ballarini M., Mougenot C., Prokůpek M.
Muzeológia a kultúrne dedičstvo
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2019
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vol. 7
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issue 1
41 – 55
EN
The aim of this paper is to analyse the impact of the exhibition on visitors’ thinking process. Applying Greiman’s model, we used the exhibition DeTermination by the artist Daniel Pešta at the DOX Centre for Contemporary Art in Prague and explored the exhibition as a story. The model is used as a tool to better understand the thinking process of the visitor stimulated by the exhibition. Qualitative research approach was used. In order to capture a message of the exhibition, interviews with exhibition creators were conducted and afterward interviews with exhibition visitors. This article summarizes the creative methodology created by the authors, followed by a discourse analysis. The study asks questions like: what is the place of mediation in contemporary art? What is the impact of an exhibition on visitors´ thinking process?
6

DESIRE TO BE AN ARTIST (BOZENA SLANCIKOVA TIMRAVA: Great Master) (Tuzba byt umelcom (Bozena Slancikova Timrava: Velky majster))

88%
Suchankova M.
Slovenská literatúra (Slovak Literature)
|
2010
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vol. 57
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issue 4
319-330
EN
In the novelette Velky majster (Great Master) Timrava got rid of the conception of nationally enthusiastic country gentlemen and artists. She created rational types of artists for whom creative work is a serious occupation. She removed the bondage of the pressure caused by nationally reviving ambitions. She refused sentimental production of Romanticism presented by Vajansky and his epigones. She created characters, whose lives are influenced by ambitious motives, and contaminated by laziness social uselessness, parasitism. The main character steps on the pathway of self-transformation; this process is usually a part of the theme of being set free from self-complacent and became more authentic. She is not only ironic in her depiction of the creative struggle of artists; she shows a lot of empathy. Contrary to Vajansky Timrava destructs cliché, she follows up artistic process itself. Timrava want to express what is genuine, even in a case that she shows also unflattering side of spontaneity. Her approach revives the spontaneity itself that way. This method shows different inspirational resources for artistic work. Timrava stresses subject of text. She lets the main hero to declare the most critical opinions. As a result of that, the auctorial subject is in the background without any intervention into the text. This method enables Timrava to change the view on ideologically burdened character of artist and stress also negative view on artist by city people.
7

UMELEC – PONTIFEX OPPOSITORUM

88%
Sucharek P.
Filozofia (Philosophy)
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2013
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vol. 68
|
issue 9
729 – 740
EN
The paper offers an interpretation of the canon background of one of the classical Chinese ink paintings. Besides some technical details, it exposes a number of important philosophical connections significant for the elucidation of the ontological status of artistic subjectivity as such. On the example of a reproduction of one of Chinese paintings (Fan Kchuan) from “the Golden era” as well as by some insights into contemporary phenomenological aesthetics (namely into the work of the French philosopher H. Maldiney), it shows the significance of the two fundamental aspects of artistic creation: Vacuity and Breath.
8

CONTEMPORRARY SACRED ART - A RELFECTION ON ITS ESSENCE AND REASON FOR CONCERN (Wspolczesna sztuka sakralna - refleksje o jej istocie i przyczyny niepokoju)

88%
Rodzinski S.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2008
|
vol. 1
46-50
EN
The text aims to show the crucial relationship between the creative process of an architect and artist, who undertakes a project for a church and for the Church, and his spiritual life and his faith. It is this relationship that has determined the creation of the greatest works of sacred art and architecture throughout the history of art and of the Church. The essence of good art is its universality. Texts by church hierarchs, including John Paul II and Cardinal Joseph Ratzinger, may give artista both an inspiration and assistance in finding the meaning and form of their works. This applies equally to the relation of religious architecture to the landscape as well as the importance of sacred art in the lives of the faithful. Without this awareness, the architect and the artist often create objects which may just as well be department stores (galleries) and churches; ones in which the faithful will not find any inspiration of faith.
9

NEW YORK BOHEMIANISM IN THE SECOND HALF OF THE NINETEENTH CENTURY

75%
Smith M. S.
ARS
|
2012
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vol. 45
|
issue 2
212 – 222
EN
In the second half of the 19th century, artists in the United States were under social and economic pressures, which led many to live in poverty. As a consequence, Parisian Bohemianism was easily imported by expatriate artists and found a fertile ground in New York City. Traditionally, Paris and the Fine Arts were associated to vice and spiritual corruption and, at first, the bohemian lifestyle only reinforced these stereotypes. Yet, the growing capital injected onto the European art market brought the Fine Arts into a more acceptable sphere. As a result Bohemianism came to represent very contradictory values. Through novels, the printed press and paintings, Bohemianism came to be a vehicle for a wide variety of images which reflected the many changes which the United States were undergoing from the 1850s to the 1900s. For all these reasons, Bohemianism became in the United States a complex movement which underlined the complexities of a society entering its “Modern” age.
10

KOMUNISTICKÝ INTELEKTUÁL – VÍŤAZ I PORAZENÝ HODNOTOVÉHO SPORU V „MEDZIČASE“ PRED KOMUNISTICKOU DIKTATÚROU

75%
Jaksicsová V.
|
2014
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vol. 62
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issue 1
61 – 89
EN
In this study authoress investigates Slovak literary life with an emphasis on literary journalism in the second half of the 20th century, and especially in the period 1945 – 1948, when the basic direction of Slovak and Czech society in the revived post-war Czechoslovakia was decided, and not only on the cultural, but chiefly on the socio-political level. On the cultural-political level, the heirs of the Czech and Slovak avant-gardes clashed with the forces of the traditional liberal and conservative right in the fields of social and artistic activity. The introductory part of the study is a sort of sounding into the past of inter-war Modernism, which was carried on a wave of revolutionary feeling, stimulated by an idealized idea of the liberating power of the Russian revolution. The author sees this period not only as an artistic phenomenon, but also in terms of the inter-connection of culture and politics. Culture, the home territory and autonomous field of the intellectual and the artist, could easily be manipulated when drawn into the political sphere. It could easily be ideologized under the pretext that it had to serve a higher aim, such as revival of the nation or the chosen class, especially after 1948, when it became the dominant state forming group. Culture, both Czech and Slovak, had been long accustomed to a politicized function. The new individual and collective positions after 1945 further radicalized and petrified them.
11

“BOHEMIAN” IN PRAGUE. BOHUMIL KUBIŠTA AS A SOCIAL CRITIC

63%
Moseman E. F.
ARS
|
2012
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vol. 45
|
issue 2
155 – 169
EN
The Czech artist Bohumil Kubišta (1884 – 1918) offers an example of the Parisian bohemian transposed into the tensions of class and ethnicity in Habsburg Prague. During two residencies in Paris between 1909 and 1910 Kubišta internalized the social envisioning of landscape and metropolis characteristic of much French modernist art. While in Paris, Kubišta – like his 19th-century artistic idols – sketched scenes of bustling street life, working-class entertainments, and urban labour. He transferred this roving eye for stratified social dynamics to local subjects in Prague and the surrounding countryside. Not satisfied to represent the merely beautiful, he strived to provoke his bourgeois viewer to contemplate the realities of class-based social dynamics in the political and social setting of Habsburg Prague. As a Paris-inspired bohemian in the streets of Prague, Kubišta rendered these class and ethnic tensions in scenes that reveal him as a critical observer of modern social life.
12

BOHEMIAN ARTISTS AND “REAL BOHEMIANS”. LIFE AS SPECTACLE IN HUGO’S “NOTRE-DAME DE PARIS” AND GAUTIER’S “LES JEUNES-FRANCE”

63%
Turman K.
ARS
|
2012
|
vol. 45
|
issue 2
94 – 107
EN
In the nineteenth century the bohemian artist became a recognized figure representing a counterculture of artists, musicians, poets and writers. This character defied categorical definition by refusing to subscribe to the mainstream norms of the bourgeois-ruled society in nineteenth-century Paris. Many critics argue that these bohemian artists originally modelled their own lifestyle after that of the Gypsy, or Romany. Was this lifestyle also a trait appropriated from the “real bohemians,” or Gypsies? Or was it rather the product of the constructed myth surrounding the Gypsy figure, projected onto the Gypsy in order to create and justify a modern artistic identity? The paper explores these questions by analogizing La Esmeralda in Victor Hugo’s Notre-Dame de Paris with Theophile Gautier’s Bohemians in Les Jeunes-France. The analysis deconstructs the myth of the Gypsy as public entertainer and spectacular object through historical publications from the nineteenth century.
13

RULE OF ART. A SHORT INTRODUCTION TO THE MUNICH ART WORLD IN THE NINETEENTH CENTURY

63%
Muthesius S.
ARS
|
2012
|
vol. 45
|
issue 2
126 – 142
EN
In the 19th century Munich was one of the art capitals of Europe. Did it fit with the definition of the art world as “bohemian”? It decidedly did not if the term is understood as stressing privation and the artist’s isolation from society. However, if a more general definition of the “bohemian” art world is considered, which includes also a distinct group of bona-fide geniuses, this term could be applied aptly to the successes of the “Kunststadt” throughout the 19th century. The article traces the various constituents that characterised Munich art life, of the ways in which its principal artists, from Cornelius to Lenbach, were dubbed “Kuenstlerfuersten” and the ways they were adulated by the patrons, from the king down to the buyers of their works at the Kunstverein.
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