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"Přistupmež blíže!" K umělecké kritice Miroslava Tyrše

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Willerthová P., Stibral K.

Umění (Art)

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2020

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vol. 68

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issue 4

399-413

EN

Miroslav Tyrš (1832–1884) is best-known to the public as one of the founders of the Sokol gymnastic movement, but he was also involved in the history of Czech fine art. He wrote various art historical studies and theoretical essays, organised academic lectures, and shortly before his death, he even became professor of art history at what is today the Charles University in Prague. This article focuses on his art criticism, which has never before been analysed in detail. Between 1872 and 1884, Tyrš wrote dozens of reviews of exhibitions, which he published in various periodicals, mainly in Národní listy. He also became an expert member of the jury that decided on the decoration of the National Theatre and sat on other competition committees for the creation of monuments and statues in public spaces. He perceived his work of a critic and mediator of art as an essential social task and wanted to provide it with a solid scientific basis. Therefore, he used his newly acquired knowledge from various fields to imbue his judgments with ‘exactness’, basing his opinion on his own empirical research. Thanks to archival research and a detailed analysis of all the texts, new information has been discovered in this respect. The study thus focuses firstly on Tyrš’s methodological sources of inspiration (Darwin and the evolution theory, Winckelmann and neo-Classicism, Schopenhauer and Voluntarism, Taine and Positivism, Brücke and the theory of colour, Zimmermann and Herbartism) and subsequently on the practical creation of the texts including interesting stylistic observations.

CS

Miroslav Tyrš (1832–1884) je nejvíce veřejnosti znám jako jeden ze zakladatelů tělocvičné jednoty Sokol, ale velmi zasáhl také do dějin českého výtvarného umění. Psal rozličné uměnovědné studie a teoretické statě, pořádal odborné přednášky a krátce před smrtí se dokonce stal profesorem dějin umění na dnešní Karlově univerzitě v Praze. Tento článek se zabývá jeho uměleckokritickou činností, která dosud nebyla komplexně zpracována. Tyrš během let 1872–1884 vytvořil na desítky recenzí výstav. Kritiky publikoval v různých periodikách, především v Národních listech. Stal se také odborným porotcem při výzdobě Národního divadla, ale stanul i v dalších soutěžních komitétech na vytváření pomníků a soch ve veřejném prostoru. Svou práci kritika a zprostředkovatele umění vnímal jako důležitou společenskou úlohu, kterou chtěl ukotvit na pevném vědeckém základě. Do svých textů tak vkládal nově nabyté znalosti z různých oborů, aby svým posudkům dodal punc „exaktnosti“, přičemž své názory zakládal na vlastním empirickém výzkumu. Díky podrobnému rozboru všech textů a archivnímu průzkumu byly v tomto ohledu zjištěny nové poznatky. Studie se proto nejdřív věnuje Tyršovým metodologickým inspiračním zdrojům (Darwin a evoluční teorie, Winckelmann a neoklasicismus, Schopenhauer a voluntarismus, Taine a pozitivismus, Brücke a teorie barev, Zimmermann a herbartismus) a následně také praktickému vzniku textů včetně stylistických zajímavostí.

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Patří Miroslav Tyrš k herbartovské estetické škole?

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Matúšek M.

Filosofický časopis (Philosophical Journal)

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2013

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vol. 61

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issue 5

705-724

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It is known that Miroslav Tyrš engaged intensively with philosophy, aesthetics and the history of creative art, even if his participation in the emergence of the sport and gymnastics organisation Sokol is more striking. In view of the fact that Tyrš’s work is an interesting symbiosis or eclecticism from several philosophical and aesthetic streams rather than a tight synthesis, I have attempted to point to one overlooked aspect of Tyrš’s work by stressing his affinity to the Czech aesthetic Herbartian tradition. Tyrš was a direct pupil of the eminent systematic Herbartian aesthetician Robert Zimmermann, and we can trace the influence of Zimmermann’s thought in Tyrš’s work, above all in the articles “Gymnastics from the Aesthetic Point of View” and “On the Laws of Composition in Creative Art”. Tyrš attempted to formulate the principles which every aesthetic creative aim should conform to, and he endeavoured to specificy the formal laws of compositional-construction in creative work, founded on empirical research. I treat it as demonstrable that this endeavour puts Tyrš in the tradition of concrete formalism, which is most prominently represented in Czech culture by Otakar Hostinský.

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Miroslav Tyrš – „filosofie“ aktivního národního života

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Matúšek M.

Filosofický časopis (Philosophical Journal)

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2012

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vol. 60

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issue 2, Special No: Hledání ztraceného času

91-107

EN

Tyrš originally contemplated a scientiﬁc career in the ﬁeld of philosophy but his theoretical interest gradually turned to aesthetics and plastic arts. T e speciﬁc culmination of his activities was his role of a founder of the gymnastic association Sokol in this his theoretical experiencefocused in the form of a distinctive “philosophy of living”. The author of this essay seeks to show a deeper philosophic and aesthetic level which shaped Tyrš’s Sokol idea. – Tyrš activism found a philosophic parallel in Schopenhauer’s voluntarism. Darwin’s conception of “struggle for sur¬vival” helped justify Tyrš’s conception of an armed and culturally active nationalism. Tyrš was fascinated with the mature culture of ancient Greece and in his conception Sokol was to be an embodiment of classic values in modern conditions.

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"Přistupmež blíže!" K umělecké kritice Miroslava Tyrše

Patří Miroslav Tyrš k herbartovské estetické škole?

Miroslav Tyrš – „filosofie“ aktivního národního života