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1

ERNST GOMBRICH AND MAX DVOŘÁK

100%
Woodfield R.
ARS
|
2011
|
vol. 44
|
issue 1
125-138
EN
Ernst Gombrich stated that reading Max Dvořák convinced him that the art of the past “offered an immediate and exciting access to the mind of bygone ages”. The paper documents his involvement with Dvořák from his school-leaving essay, through his experience at university, into his essays for Kritische Berichte and then into his later career at the Warburg Institute. It will argue that although Gombrich rapidly came to criticise the notion of “immediate” access, it nevertheless raised problems that stayed with him through his career and thus exercised a benign influence on his development.
2
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JOHAN HUIZINGA AND MAX DVOŘÁK ON IMAGES: A SHARED INTEREST IN MEDIEVAL IMAGES IN AND AROUND 1919

100%
Gerát I.
World Literature Studies
|
2017
|
vol. 9
|
issue 1
31 – 40
EN
Huizinga’s contribution to the understanding of late medieval artistic cultures can be productively compared with the treatise Idealismus und Naturalismus in der Gotischen Skulptur und Malerei, published in 1918 by the famous Viennese art historian Max Dvořák. The author ś paper will focus on the polarity between naturalism/realism vs. idealism/symbolism clearly present in both texts. His comparison will focus on the following questions: 1. What was the exact meaning of the concepts? 2. How had they been rooted in various philosophical traditions? 3. How do they appear in the light of recent criticism?
3

EINE IDEALISTISCHE KULTURVISION VOR HUNDERT JAHREN ODER DER KRIEG UND DIE KUNSTGESCHICHTE. ERGANZENDE BEMERKUNGEN ZUR WISSENSCHAFTLICHEN GENESE MAX DVOŘÁKS

100%
Lachnit E.
ARS
|
2011
|
vol. 44
|
issue 1
9-14
EN
The article examines the perception of the relationship between war and art in Max Dvořák’s work, exemplified on papers dedicated to works of art by Francisco de Goya (“Desastres de la guerra”) and Albrecht Dürer (“Apocalypse”). The influential Central European art historian thought that the war experience had no causal effect on the spiritual life, but may have, to some extent as a kind of catalyst, amplified the already existing collective spiritual development.
4

MAX DVOŘÁK’S LEGACY AFTER NINETY YEARS

100%
Bakoš J.
ARS
|
2011
|
vol. 44
|
issue 1
3-8
EN
The introduction presents basic facts about the work of Max Dvořák, one of the founding fathers of the 20th-century art history, whom the given issue of Ars is dedicated to. It also summarizes how the art historical community perceived ideas of this distinctive Central European scholar in course of the 20th century.
5

DVOŘÁK AND THE TREND IN MONUMENT CARE

88%
Scarrocchia S.
ARS
|
2011
|
vol. 44
|
issue 1
45-67
EN
The article takes a closer look at strategies employed by Max Dvořák in his influential involvement in monument care. The author emphasises Dvořák’s acknowledgement of the need to integrate conservation with the destiny of planning and the impossibility to exclude contemporary architecture, in his case the preferred modern Classic tendency, from monument care.
6

MAX DVOŘÁK BETRACHTET TINTORETTO ODER ŰBER DEN MANIERISMUS

75%
Bałus W.
ARS
|
2011
|
vol. 44
|
issue 1
26-44
EN
The article deals with Max Dvořákk’s handling of Mannerism, exemplified on Tintoretto’s “Crucifixion” in Scuola Grande di San Rocco in Venice. In Mannerist pictures, he found ruptures, symptoms and disturbing traits. To him, all artefacts of this artistic style originated as embodiments of the pure spirituality. He didn’t regard the Mannerist era as an epoch of crisis (as did Alois Riegl and other philosophers and art historians), but as an epoch of subjectivism.
7

MAX DVOŘÁK, WILHELM VON BODE AND THE MONUMENTS OF GERMAN ART

75%
Blower J. B.
ARS
|
2011
|
vol. 44
|
issue 1
92-124
EN
The article studies Max Dvořák’s role in the monumental enterprise of the Deutscher Verein fűr Kunstwissenschaft (German Society for Art Scholarship) – a comprehensive publication of German monuments (“Monumenta artis Germaniae”, from 1908). The author points out that Dvořák’s active involvement with the “Verein” and its nationalistic aim suggests a gradual personal rapprochement with some form of pan-German cultural ideology.
8

MAX DVOŘÁK UND DIE HEIMATSCHUTZBEWEGUNG

63%
Hajós G.
ARS
|
2011
|
vol. 44
|
issue 1
68-91
EN
The Heimatschutzbewegung (movement for the care of the fatherland) had a strong influence in German speaking countries during the late 19th century. The article examines Max Dvořák’s employment of its ideas in his thinking about monument care and preservation of landscape and nature – a topic only rarely touched by the art historical community (Hans H. Aurenhammer, Alessandro Scarrocchia).
9

NATION AND ART. FROM MIROSLAV TYRŠ TO MAX DVOŘÁK AND BACK

63%
Bažant J.
ARS
|
2011
|
vol. 44
|
issue 1
15-25
EN
The article compares the lives and works of two scholars, marking the beginnings of Czech history of art, with emphasis put on the relation between art and nation. Miroslav Tyrš (1832 – 1884) devoted all his energy and skills to the Czech national renascence, while thinking and attitudes of Max Dvořák (1874 – 1921) already belonged to the era of a culturally integrated Europe, which had started to form itself at that very time.
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