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"Je-li umělecká forma vtělením duchovního vztahu ke světu..." : Max Dvořák a umění Pietra Bruegela staršího

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Murár T.
Umění (Art)
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2018
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vol. 66
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issue 6
458-465
EN
This study deals with the interpretation of the late art-historical thoughts of Max Dvořák (1874–1921) on the basis of his text from 1921 on the art of Pieter Bruegel the Elder (1525–1569). After 1914 Dvořák developed a new method of research into art and its history, linking up with the theoretical considerations on art-historical development of his teachers at the University of Vienna, Franz Wickhoff (1853–1909) and especially Alois Riegl (1858–1905). In historiographical literature Dvořák’s late method of art-historical research is represented in particular by Dvořák’s lecture on the art of El Greco (1541–1614) or his unfinished project on the interpretation of the painting of Tintoretto (1518–1594). Dvořák’s late art-historical method is linked in this context mainly with pre-war expressionism and with his interest in the internal meaning of artistic creativity, as also handled by Dvořák in his text on the drawings of Oskar Kokoschka (1886–1980). As this study shows, a further dimension of Dvořák’s later thoughts on art history can, alongside his texts on El Greco, Tintoretto and Kokoschka, be traced in his interpretation of the art of Pieter Bruegel the Elder, which can place Dvořák’s thinking closer to the philosophy of Georg Simmel (1858–1918) from the same period or in the direction of the phenomenology of Edmund Husserl (1859-1938). Using the example of Dvořák’s interpretation of Bruegel’s painting, it is therefore possible to open up further questions about his history of art as an expression of the ‘spirit’, with the indication and also the overcoming of the ‘human’ aspect of artistic creation.
CS
Studie se zabývá interpretací pozdního uměleckohistorického uvažování Maxe Dvořáka (1874–1921) na příkladu Dvořákova textu o umění Pietra Bruegela staršího (1525–1569) z roku 1921. Dvořák po roce 1914 rozvíjel nový způsob výzkumu umění a jeho dějin, navazoval na teoretické uvažování o uměleckohistorickém vývoji svých učitelů na vídeňské univerzitě Franze Wickhoffa (1853–1909), a především Aloise Riegla (1858–1905). V historiografické literatuře je Dvořákova pozdní metoda výzkumu dějin umění reprezentována zejména jeho přednáškou o umění El Greca (1541–1614) či jeho nedokončeným projektem o výkladu malířství Tintoretta (1518–1594). Dvořákova pozdní uměleckohistorická metoda je v tomto kontextu spojována především s předválečným expresionismem a s jeho zájmem o vnitřní významy uměleckého tvoření, jak se jimi i Dvořák zabýval v textu o kresbách Oskara Kokoschky (1886–1980). Jak ukazuje předkládaná studie, další rozměr Dvořákova pozdního uvažování o dějinách umění lze vedle jeho textu o El Grecovi, Tintorettovi a Kokoschkovi sledovat na jeho interpretaci umění Pietra Bruegela staršího, jež může Dvořákovo uvažování přibližovat filosofii Georga Simmela (1858–1918) ze stejné doby či fenomenologii Edmunda Husserla (1859–1938). Na příkladu Dvořákovy interpretace Bruegelova malířství lze proto otevírat další otázky o jeho dějinách umění jako projevu „ducha“, s indikací a zároveň s překonáváním „lidského“ v uměleckém tvoření.
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Brueghel’s Two Monkeys – a Tiny Painting by Bruegel, a Very Short Poem by Szymborska and the Biggest Problems of Mankind

75%
Kołodziej P.
International Journal on Language, Literature and Culture in Education
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2016
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vol. 3
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issue 1
83-99
EN
There is a great power in works of art. Art provides knowledge about human experience, which is not available in another way. Art gives answers to the most important and eternal questions about humanity, even though these answers are never final. Sometimes it happens that works of some artists encourage or provoke a reaction of other artists. Thanks to this in history of culture - across borders of time and space - there lasts a continuous dialogue, a continuous reflection on the essence of human existence. This text shows a fragment of such a dialogue, in which the interlocutors are a sixteenth-century painter Pieter Bruegel the Elder and a twentieth-century poet and Nobel Prize winner Wislawa Szymborska. Szymborska, proposing a masterful interpretation of a tiny painting by Bruegel, poses dramatic questions about human freedom, formulates a poetic response and forces a recipient to reflect on the most important topics. This text also brings up a question of a word - picture relationship, a problem of translation of visual signs to verbal signs, as well as a problem of translation of poetry from one language to another.
3
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Pieter Bruegel the Elder’s The Tower of Babel (1563). From Art to Architecture

75%
Dorot R., Langenthal E.
Journal of Education Culture and Society
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2023
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vol. 14
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issue 2
380-400
EN
Aim. This paper examines the meaning of The Tower of Babel (1563), Pieter Bruegel’s painting, as a physical, cultural, social, and architectural herald of the modern skyscraper. The interpretation generated will form the background for a contemporary analogy to the modern skyscrapers. These large-scale aesthetic structures, form the sensation of an unnerving lack of space and does not correspond with the existing urban outline. Similar to the tower at the painting, that is a symbol of the lack of connection between nations and peoples, the skyscraper follows in the footsteps of its predecessor that symbolized the confounding of the languages. Methods. Four theoretical approaches will be utilized: (a) Examining the place of the painting within common approaches to the biblical text, based on familiar examples; (b) Converting the biblical story into a painting; (c) Analyzing and evaluating the painting from an aesthetic perspective; (d) In order to overcome the alienation and lack of community we shall utilize the phenomenological notion of place and space, which opens a path to architectural experiencing that promises to connect the individual to the environment, the world, and the community. Results. Pieter Bruegel the Elder’s approach to the biblical story and its artistic portrayal teaches us that The Contemporary Torah (2006, Genesis 11:1-9) is a timeless and universal story that illustrates human pretense, a lack of adequate self-evaluation, arrogance, and stupidity. Conclusion. The artist understood all this very well and possessed the originality and the daring to represent it even in contradiction of contemporary conventions.
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