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1

BOHEMIANS IN PRAGUE IN THE LATTER HALF OF THE NINETEENTH CENTURY

100%
Prahl R.
ARS
|
2012
|
vol. 45
|
issue 2
143 – 154
EN
The article identifies certain elements of bohemianism, and its relevance to the development of the Prague art scene. It provides a brief outline of the artists’ movement in the 19th-century Prague and of its opposition to the local official art institutions. The development of bohemianism in the city was chiefly determined by the existence of a comparatively numerous community of local artists. Their manifestations of opposition corresponded with the overall frustration felt by this community, resulting from its awkward status on the fringe of society. Several reproductions of art works and related visual documents are supplemented, exemplifying certain radical gestures with which artists addressed the general public.
2

Cielesność miasta w powieści Jurgisa Kunčinasa

88%
Wołogdina T.
Slavica Wratislaviensia
|
2011
|
vol. 153
453-460
EN
Vilnius and especially the district of bohemians — Užupis is the main place where the action of Jurgis Kunčinas’ novel Tula takes place. Narrator describes a plan of the district with great accuracy and thereby gives it specific personality. The district plays an individual role of a character who lives their own life. Simultaneously, the city gets carnality and some kind of human physiology — “innards and cesspit of real Užupis tear apart.”
3

BOHEMIANISM OUTSIDE PARIS. CENTRAL EUROPE AND BEYOND

88%
Murawska-Muthesius K.
ARS
|
2012
|
vol. 45
|
issue 2
87 – 93
EN
The issue investigates the Central European variants of bohemianism, as seen in relation to Paris, but also to other centres, which adopted the French bohemian life styles, such as New York. What initially appeared to be a somewhat marginal issue, of interest mainly to the local researchers aiming to complete the archives of the transnational bohemianism, did, in fact, attract contributors from very diverse disciplines and from a plethora of academic centres worldwide, reaching from California and Colorado to New Zealand, not omitting the United Kingdom and France, as well as, of course, Hungary, Czech Republic and Poland.
4

MYTH OF BOHEMIANISM IN NINETEENTH-CENTURY WARSAW

75%
Murawska-Muthesius K.
ARS
|
2012
|
vol. 45
|
issue 2
183 – 201
EN
The text looks at the origins of the modern art world in the mid-nineteenth-century Warsaw which remained in the grip of persecution by the Tsarist apparatus. It compares the two artistic communities, which were dubbed as bohemian by their later critics: the coterie of radical poets of the early 1840s and the group of visual artists active during the 1850s. The first was identified through its eccentric behaviour and dress, as well as its provocative actions in the streets of Warsaw. The second group was constructing their collective identity by means of informal sketches, preserved in seven albums by their patron Marcin Olszyński. Examining the collection of drawings, caricatures and photographs, the text argues that those informal sketches provide a unique insight into the ways in which the artists sought to establish their new professional identity, stressing their distinctiveness from other social groups, at the time of the major socio-cultural transition from noble to bourgeois patronage, and during the formation period of Warsaw’s urban intelligentsia.
5

LISZT’S INVOLVEMENT IN MANET’S GYPSY IMAGES

75%
Ewing C.
ARS
|
2012
|
vol. 45
|
issue 2
108 – 125
EN
Edouard Manet began his professional career with works reflecting bohemian street life in Paris and music. The most intriguing of these feature “Gypsy” subjects. The artist drew upon prevailing discourses about Gypsies and in particular he was responding to a book by Franz Liszt Des Bohemiens et de leur musique en Hongrie which was published in Paris in 1859. A number of Manet’s innovations take their cue from the Gypsy’s revolutionary approach to music-making described in that book. Through the evocation of sound, music and other non-visual experiences he was pointing the way to a redefinition of art’s referential function.
6

NEW YORK BOHEMIANISM IN THE SECOND HALF OF THE NINETEENTH CENTURY

75%
Smith M. S.
ARS
|
2012
|
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.
7

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

63%
Moseman E. F.
ARS
|
2012
|
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.
8

BOHEMIANS IN HUNGARY, HUNGARIANS IN “BOHEMIA”

63%
Szűcs G.
ARS
|
2012
|
vol. 45
|
issue 2
170 – 182
EN
In 1893, István Réti worked in Munich and Paris, doing sketches for his Bohemians’ Christmas Abroad. The painting itself was completed in his native town, Nagybanya (now Baia Mare, Romania). With the assistance of Réti, the Nagybanya art colony was founded in 1896 by artist and Munich art school manager Simon Hollósy and his pupils and friends. In Nagybanya, the artists went on with their urban bohemian lifestyle: work outdoors or in open studios was often followed by conversations and partying with Gypsy music in pubs or coffee houses. Also Gypsies were the first models, and a range of compositions depicted, often in stereotypes, the lives of marginalized Gypsies. While the founders’ generation gradually abandoned their libertine artists’ lifestyle to become part of the urban middle class, newer generations of artists would in subsequent years establish their own “Bohemias”.
9

DECADENTS, PESSIMISTS AND NEO-ROMANTICS, OR, YOUNG POLAND AND BOHEMIANISM IN KRAKOW

63%
Kozakowska-Zaucha U.
ARS
|
2012
|
vol. 45
|
issue 2
202 – 211
EN
The article takes a closer look at the artistic life in Krakow at the turn of the 19th and 20th century. Activities of the artists, led by Stanislaw Przybyszewski, and all in the social-café-salon life make it possible to distinguish a completely new kind of bohemianism: exquisite, noble and even aristocratic. Krakow Bohemians comprised of the very elite of the cultural life: renowned artists – mainly professors of the Academy of Fine Arts – prominent actors, talented writers and poets, influential critics. A time of the triumph of the bohemian circle coincided with the era of major exhibitions, shown not only in Krakow, but also in Vienna. Though initially shocking the Galician bourgeois mentality, with time bohemians became more and more influential, promoting a new style and created, at the end Polish modernism.
10

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.
11

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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