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PRAMENE A FORMY PRIMITIVIZMU VO VÝTVARNOM UMENÍ PRVEJ POLOVICE 20. STOROČIA NA SLOVENSKU

100%
Migašová J.
ESPES
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2012
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vol. 1
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issue 1
49 – 59
EN
The study deals with a phenomenon of primitivism in fine art of the first three decades of 20th century in Europe and Slovakia. The Slovak after-war fine art stylistically stemmed from two remarkable centres – from Budapest academic environment and from Prague cultural environment. On the basis of examining contemporary documents, the paper therefore proves Hungarian and Czech intellectual environment served the ideas of primitivism into Slovak fine art practice and science. The paper is based on the knowledge, that primitivism is a dynamic phenomenon and artistic expressions of primitivism come into Slovakia only it is second development stage – in 1920’s. This fact significantly influenced character of fine art modernity in Kosice and folk-oriented modernity of Prague school.
2
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POSTMODERNÁ PRIMITÍVNOSŤ V OKRUHU SLOVENSKÉHO VÝTVARNÉHO UMENIA

100%
Migašová J.
ESPES
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2013
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vol. 2
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issue 2
30 – 40
EN
The paper is the outcome of search for various forms of primitivism tendency in 20th century fine art in Slovakia. The development period of art called postmodernity is at the same time strong actualisation of the culture primitivism. It occurs not only as a type of “new wildness” painting in style level, but also as a sign or sign group which refers to “pre-cultural” or “counter-civilisation” ways of life in semantic sphere. Specific feature of Slovak postmodern primitivism is an artistic evocation of the Paradise and utopia images. From the primitivism point of view, there are presented contextually connected motifs of Arcadia, utopic lands, “lost Paradise” and “lost childhood”.
3
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ERNST HANS GOMBRICH: JEHO KONCEPCIA DEJÍN UMENIA, METODOLOGICKÉ VÝCHODISKÁ A PRÍSPEVOK K CHÁPANIU MODERNÉHO VÝTVARNÉHO UMENIA

88%
Migašová J.
ESPES
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2017
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vol. 6
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issue 1
29 – 39
EN
The paper is the contribution approach to interpretations of Ernst Gombrich’s contribution to the understanding of modern fine art. The basis of the paper stems out from knowledge of domestic and foreign interpretations of Gombrich’s art history concept (Bakoš, Mikš, Kesner, Hříbek, Elkins etc.). The main hypothesis of the paper is idea that Gombrich’s posthumously published work The Preference for the Primitive (2002) is, in spite of legitimate critiques on the part of contemporary art historians, not solely contribution to the primitivism phenomenon, but also to the understanding of modern art by its own historical perspective.
4

Jāņa Jaunsudrabiņa ilustrācijas 'Baltajai grāmatai' – viens no pirmajiem primitīvisma piemēriem Latvijā

88%
Pohomova E.
Makslas Vesture un Teorija
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2015
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vol. 18
66-83
EN
Jānis Jaunsudrabiņš (1877–1962) was a talented writer who was also active in the visual arts – painting, book illustration, as well as art theory and criticism. One of Jaunsudrabiņš’ most outstanding contributions to literature and art is his collection of childhood memories 'The White Book', written and illustrated by the author. The first part of the book was published in 1914, the second in 1921, and this publication has retained its place in Latvia’s cultural scene up to the present, as evident from its inclusion in the Latvian Cultural Canon. During his work on illustrations for 'The White Book', Jaunsudrabiņš was inspired by children’s drawings. Firstly, as the book is an autobiographical narrative about the author’s, little Jancis’, childhood, it seems reasonable to accompany it with matching illustrations. Although the idea seems clear and simple, this approach was used in Latvia for the first time and artists illustrated books in a similar manner later too. Secondly, Jaunsudrabiņš’ study trips to Germany must also have left some influence; he travelled to Munich in 1905 and Berlin in 1908. His stay in the modern cities of the time could provide completely new impressions and experience of art. Thirdly, inspiration could have been found in printed or reprinted articles on children’s drawings in the local press, especially German publications that dealt with new art and primitivism as well as psychology and children’s education at an early age. One should mention that such artists as Pablo Picasso, Wassily Kandinsky, Gabriele Münter, Paul Klee, Natalya Goncharova and many others also collected children’s drawings. Prior to the publication of the book’s first part in 1914, separate stories with illustrations and vignettes were issued. These small brochures demonstrate the artist’s wish to approximate the aesthetics of children’s drawings but he had not yet reached the level of stylisation that would appear in parts of the book published in 1914 and 1921. Illustrations of both parts of 'The White Book' feature simple ink lines that are in a sense reserved but viewers, children and adults alike, can quickly figure out what is depicted in these drawings.
5
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Josef Čapek: The Art of Primitive Peoples; Folk Painters; What We Encounter; The Social Utility of Art

88%
Pečinková P.
Estetika: The Central European Journal of Aesthetics
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2012
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vol. 49
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issue 1
71-109
EN
Josef Čapek’s writings from between 1914 and 1920 present a distinctive conception of primitivism, which was, beginning in the early twentieth century, of fundamental importance for the development of modern trends in the fine arts, in connection with the essential change in understanding the term ‘art’. Two manuscript version of the essay Umění přírodních národů (The art of primitive peoples) from 1914 to 1916 and the article ‘Sochařství černochů’ (Negro sculpture) from 1918 are amongst the first European critical attempts to interpret ethnic art. Čapek presents the ‘art of the savages’ (divošské umění) as fully fledged art, and he tries to analyse its principles of expression. He compares them to current trends in art. The essays from the volume Nejskromnější umění (The humblest art, 1919–20), which consider other dimensions of primitivism, present a particular definition and expansion of the term ‘art’. In contrast to academic virtuosity, Čapek here emphasizes values of hitherto peripheral and unacknowledged areas of artistic expression, and achieves a distinctively personal revision of the traditional conception of the boundaries of the work of art and therefore also its essence and purpose. The essay ‘Sociální užitečnost umění’ (The social utility of art, 1919) also relates to these questions.
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