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"Nemůžeme tam dát nějakého kopáče!" : program výzdoby pražského metra v sedmdesátých letech 20. století

100%

Rollová V.

Umění (Art)

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2018

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vol. 66

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issue 6

489-503

EN

This study focuses on the programme of artistic decoration of the first stages of Lines A and C of the Prague Metro during the 1970s. It deals with the status of the Metro in the symbolical framework of the city and the ways in which the transition from the relaxed sixties to the period of normalisation was reflected in the artwork in the space. Continuity was preserved in the orientation towards the building of the environment as the socialist response to the anonymity of the public spaces of the cities of the West, but together with the weakening of the utopian dimension of socialism art no longer had the task of sharing in the education of New Man. The normalisation ideals had arrived of calm cooperation, leisure time and family life. At the same time, even in the socialist context, the consumer lifestyle was gaining strength, implemented in the Metro in the shape of a number of shops and advertising showcases. The text follows the decision-making processes of the members of the Art Council of the National Committee of Prague, responsible for the ideological concepts and approval of the realisations for the Metro. This committee could not find a right way for Czechoslovak-Soviet Cooperation to be represented in the Metro. Thanks to the study of the record of their meetings we can no longer maintain our assumption that commissions for public spaces were acquired in the normalisation period exclusively by politically loyal artists creating monumental figural works, or else that the central motivation of the members of such commissions was personal profit. The members of the council were certified conservative figures, active in leading cultural institutions, but nevertheless progressive artists were also given space in the contests. Although the focal point of the decoration was works reacting to the names of the stations, space was also reserved for abstract works, defined here as ‘applied art’. The members of the Art Council gradually developed a strategy through which they were able to restrict the realisation of concrete works for the Metro. They did not implement this with regard to works that were insufficiently realistic, idealised or monumental, but on the contrary often for works that were ideologically direct or simply unsuitably located in a concrete space.

CS

Studie se soustředí na program výtvarné výzdoby prvních etap linek A a C pražského metra, budovaných v průběhu sedmdesátých let 20. století. Zabývá se postavením metra v symbolickém rámci města a způsoby, jakými se v jeho výzdobě odrazil přechod od uvolněných šedesátých let do období normalizace. Byla zachována kontinuita v orientaci na budování životního prostředí jako socialistické odpovědi na anonymitu veřejných prostorů západních měst, spolu s oslabením utopického rozměru socialismu už však umění nemělo za úkol podílet se na výchově Nového člověka, který měl především pilně pracovat a bojovat za socialismus. Nastoupily normalizační ideály klidné spolupráce, volného času a rodinného soužití. Zároveň i v socialistickém kontextu sílil konzumní způsob života, který se v metru uplatnil v řadě obchodů a propagačních vitrín. Konzervativní komise, zodpovědná za výzdobu metra jako stavby československo-sovětské spolupráce, jen obtížně hledala způsob, jakým by umělecká díla mohla toto téma přesvědčivě prezentovat, a v konečném důsledku bylo ve výzdobě potlačeno. Text sleduje procesy rozhodování členů výtvarné rady Národního výboru hl. m. Prahy zodpovědné za ideovou koncepci i schvalování realizací pro metro. Studium zápisů z jejích jednání zkomplikovalo zažitý předpoklad, že zakázky pro veřejný prostor získávali v období normalizace výhradně politicky loajální umělci vytvářející monumentálními figurální díla, případně že ústřední motivací členů podobných komisí byl osobní prospěch. Členy rady byly osvědčené, konzervativní osobnosti, činné v předních kulturních institucích, přesto v soutěžích dostávali prostor i progresivní umělci. Ačkoli byla těžištěm výzdoby díla vyjadřující konkrétní socialistické ideje a reagující na názvy stanic, místo bylo vyhrazeno i dílům abstraktním, definovaným zde jako „užitá“. Členové výtvarné rady postupně vyvinuli strategii, jejímž prostřednictvím dokázali zamezit realizaci konkrétních děl pro metro. Neuplatňovali ji přitom na díla nedostatečně realistická, idealizovaná či monumentální, ale naopak často na práce ideologicky přímočaré nebo jednoduše nevhodně umístěné do konkrétního prostoru.

2

House H9 from Marina el-Alamein – a Research Summary

88%

Bąkowska-Czerner G., Czerner R.

Światowit

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2019

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vol. 58

73-86

EN

Studies on the relics of the Hellenistic-Roman town at the site of Marina el-Alamein in Egypt have been carried out since 1986. House H9 was one of the first buildings to be excavated, investigated, and preserved through conservation. Successive research has supplemented the previous studies. The house is one of the largest and earliest features at the site. In the context of Marina, it is more firmly embedded in the Greek-Hellenistic tradition, yet also refers to Roman solutions. It is a house of the oikos type, featuring a courtyard with two porticoes situated asymmetrically perpendicular to each other. Elements referring to the Greek systems of prostas and pastas can be discerned in the layout. The research focused on domestic cult as well as elements and character of the decor, including painted interior decoration. Architecture and home furnishings document civilisational changes at the cultural touchpoint between the Greek and Roman traditions.

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House H10 from Marina el-Alamein on the northwest coast of Egypt

88%

Czerner R., Bąkowska-Czerner G.

Polish Archaeology in the Mediterranean

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2020

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vol. 29(2)

313-340

EN

House H10 was one of the buildings located in a Hellenistic-Roman city at the Marina el-Alamein site in Egypt, whose relics were the first to be discovered. Successive research, conducted since 1997 along with initial conservation work, has provided a comprehensive overview. The house is one of the largest and most extensive of this site. Its spatial design is a showcase for the technology typical of houses from Marina. The house is embedded in both Greco-Hellenic and Roman traditions. It is an oikos house with a courtyard with two columned porticoes situated symmetrically on either side parallel to the main axis. A third, perpendicular portico, complementing the layout of the incomplete peristyle, is imitated by the architectural decoration of the courtyard elevation, organised by semi-columns. The layout includes two main rooms located opposite each other on two sides of the peristyle. The house was rebuilt several times, which made for a complicated layout. The studies conducted have cast light on domestic religious practice and the distinctive character of the architectural and artistic interior design, including exceptional examples of figural painting. The architecture and décor of the house document the changes occurring at the intersection of Hellenistic and Roman traditions.

4

Among Prestigious Edifices – on Ceramic Decorations and Mosaics in Poland Post-WWII

88%

Kostuch B.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2017

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issue 30

81-98

EN

Ceramic materials may have multifarious applications, the visual arts being one of them. Furthermore, they have been often used in architecture for decorative purposes. In Poland, the application of ceramics in architecture reached its peak of popularity in the post-WWII period. It was used in mosaics, reliefs, architectural and sculptural details, as well as combined with other materials, like glass or stone. Ceramics was applied for creating various small decorative forms but also large compositions that covered even several dozen or several hundred square metres, in buildings that served various functions, and were situated either indoors or on their external facades. Amongst these, there are buildings which were both important for local communities and became landmarks for particular sites, like modern hotels, railway stations, theatres, museums or academies. The paper is focused on compositions executed for such prestigious edifices.

5

Výzdoba misálu z Načeradce

88%

Brodský P.

Studie o rukopisech (Manuscript Studies)

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2009

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vol. 37-38

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issue 2007-2008

45-50

EN

The missal of Načeradec is a modest codex from an artistic point of view. Its decoration is limited to one figural illumination only – a canon depiction of the Crucifixion; besides this, the manuscript contains only filigree initials and clerical capitals. The quality of its figural decoration is comparatively high. Its style is post-classical Gothic; linear pleats of the draperies imply a date in the beginning of the 14th century. Only a few analogies can be found in simultaneous book painting, e.g. in the decoration of the manuscripts of Eliška (Elisabeth) Rejčka, but these analogies are not immediate. Some correspondence, however, can be found in monumental art, more precisely in mural painting.

51%

Tvrzníková J.

Knihy a dějiny (Books and history)

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2018

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vol. 25

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issue 1-2

4-22

EN

Mikuláš Štraus is mainly known as a publisher of newspapers and leaflets after the Battle of White Mountain. The article builds on the analysis of the decorative material used by his printing workshop and provides some new conclusions concerning the illustrations of four books published by Štraus: a German translation of Hájek’s Kronika česká [Bohemian Chronicle], Barthold’s hymn-book Hymnorum sacrorum, Luython’s mass-book Liber I. missarum and the verse adaptation of an Old German legend published under the title Sumovní kronika. It identifies some illustrations as the work of the remarkable illustrator Jan Willenberg and thus indicates the wide range of motifs used by this hitherto undervalued artist.

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Decorated burial chamber of Meru (TT 240 in Asasif): some remarks on the layout

45%

Stupko-Lubczyńska A.

Polish Archaeology in the Mediterranean

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2020

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vol. 29(2)

207-220

EN

The paper offers some preliminary considerations concerning the distribution, composition, and orientation of the elements comprising the decoration of the burial chamber of Meru, TT 240. The tomb, situated within the North Asasif slope, dates to the last phase of the reign of Mentuhotep II Nebhepetra. The repertoire of the decorative elements found in Meru’s burial chamber may be traced back to the Old Kingdom, while some peculiarities in their distribution and orientation seem to be a consequence of introduction of the Pyramid Texts, a post-Old Kingdom novelty in the decoration of a non-royal burial space.

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"Nemůžeme tam dát nějakého kopáče!" : program výzdoby pražského metra v sedmdesátých letech 20. století

House H9 from Marina el-Alamein – a Research Summary

House H10 from Marina el-Alamein on the northwest coast of Egypt

Among Prestigious Edifices – on Ceramic Decorations and Mosaics in Poland Post-WWII

Výzdoba misálu z Načeradce

Arcybiskup Szczepan Wesoły. Doctor honoris causa Universitatis Silesiae. Wydział Teologiczny Uniwersytetu Śląskiego, Katowice 14 I 2015 r.

Иконография страшного суда по двум памятникам книжных собраний урало-сибирского региона

Ornament a sztuka abstrakcyjna. Florenski, Kandinsky, Malewicz

Tradycyjna biżuteria tybetańska

The Shell Motif in the Culture and Architecture of the Ancient Town of Marina el-Alamein in Egypt

Několik poznámek k ilustraci knih pražského tiskaře Mikuláše Štrause

Decorated burial chamber of Meru (TT 240 in Asasif): some remarks on the layout