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1. Akty aktualizovania aktov: sexty a texty Holých báb

Creator:
Monika Mitášová
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
gender, feminismus a umění, výtvarné umění, ženské akty, ženy v umění, umělecké výstavy, feminism and art, art, female nude in art, women in art, art exhibitions, 21, and 72/76
Language:
Czech
Description:
Monika Mitášová., Poznámky na str. 52-53 (31), and Biografická poznámka o autorce článku na str. 53
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

2. ALMA: společné pracoviště pro výzkum výtvarného umění

Creator:
Švarcová, Silvie and David Hradil
Format:
print, bez média, and svazek
Type:
article, články, model:article, and TEXT
Subject:
Věda. Všeobecnosti. Základy vědy a kultury. Vědecká práce, Akademická laboratoř materiálového průzkumu malířských děl, výtvarné umění, vědecké instituce a organizace, art, scientific institutions and organizations, Česko, Czechia, 12, and 00
Language:
Czech
Description:
Academic Materials Research Laboratory of Painted Artworks (ALMA) is a joint workplace of the Academy of Fine Arts in Prague (AFA) and the Institute of Inorganic Chemistry of the Academy of Sciences of the Czech Republic (IIC ASCR). This is a scientific laboratory focused on the Czech cultural heritage. Combining the branches of the natural sciences, art and the history of art, ALMA seeks to deepen the knowledge of painting materials and techniques. The knowledge acquired is integrated into a complete evaluation of painted art works by origin, age, and authenticity. The ALMA Laboratory develops instrumental materials analysis methods and interprets the results in the context of art history and history of materials technology. and Silvie Švarcová, David Hradil.
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

3. Estetická syntéza a poukaz ke společenské nápravě v "Estetické teorii" Theodora W. Adorna

Creator:
Muchová, Sabrina
Format:
bez média and svazek
Type:
model:article and TEXT
Subject:
Theodor W. Adorno, aesthetic synthesis, reconciliation, art, and peculiar
Language:
Czech
Description:
From the perspective of the concept of aesthetic synthesis, i.e. the principle of the internal organization of works of art, this study looks at the question of the linkage of works of art and the possibility of social reconciliation in the thought of Theodor W. Adorno. The starting point of the interpretation consists of two passages from Aesthetic Theory. Subsequently, the meaning of Adorno’s concept of aesthetic synthesis as a principle open to the peculiar is clarified. This is also where the social significance of the aesthetic synthesis of works of art originates as a reference or reminder of the possibility of social change. and Tato studie nahlíží na otázku vazby uměleckých děl a možnosti společenského smíření v myšlení Theodora W. Adorna z perspektivy pojmu estetické syntézy, tj. principu vnitřní organizace uměleckých děl. Východiskem interpretace jsou dvě pasáže z Estetické teorie. Následně je objasněn význam Adornova pojetí estetické syntézy coby principu otevřeného vůči zvláštnímu. Odtud pramení také sociální význam estetické syntézy uměleckých děl jakožto poukazu či upomínky na možnost společenské změny.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

4. Grand illusions: large-scale optical toys and contemporary scientific spectacle

Creator:
Bak, Meredith A
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
teorie vědy, umění, reklama a propagace, theory of science, art, advertising, zoetrop, velké měřítko, publikum, zoetrope, large-scale, audience, 12, and 00
Language:
Czech
Description:
Zoetrop, optická hračka 19. století předvádějící iluzi pohybu, oživla v různých podobách ve 20. a 21. století. Dnes ji nalezneme ve výtvarném umění či reklamě a to často v mnohem větším měřítku než ve století předcházejícím. Moderní zoetropy uchvacují své diváky primárně díky tomuto zvětšení měřítka. Věnuji se řadě jejich příkladů z umění, zábavního průmyslu a reklamy a sleduji různé technické úpravy vedoucí k jejich zvětšení. Tyto nové aparáty proměňují vztah mezi přístrojem a publikem, přehodnocují tradiční pojetí jejich uživatele, který s ním zacházel dotykem, a předpokládají naopak diváka, který má nad iluzí méně kontroly a je často publikem, zajatým a obklopeným touto animací. Současné zoetropy jako vizuální a vědecké spektákly dokáží vzbuzovat údiv primárně díky změně svého měřítka., The zoetrope, a nineteenthcentury optical toy that showcases illusions of motion, has enjoyed an active “afterlife” in the 20th and 21st centuries. Today, zoetropic devices are found in fine art and advertising, and are often much larger than their 19th-century counterparts. Modern-day zoetropes still captivate viewers primarily because of their adjustment in scale. Exploring a range of examples in art, entertainment, and advertising, this article discusses various technical adjustments made to successfully “scale up” the zoetrope, arguing that these new apparatus reconfigure the relationship between audience and device. Large-scale zoetropes revise the traditional conception of the user, who tactilely manipulates and interacts with the apparatus, instead positing a viewer who has less control over the illusion and is often a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as visual and scientific spectacles from their audiences today., and Meredith A. Bak.
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

5. Left turn, right turn - artistic and political radicalism of late socialism in Hungary: the Orfeo and the Inconnu groups

Creator:
Nagy, Kristóf and Szarvas, Márton
Format:
bez média and svazek
Type:
model:article and TEXT
Subject:
sociology of intellectuals, sociology of culture, cultural politics and policy, social movements, post-socialism, left history, politics of dissent, art, 1968, and transition
Language:
Czech
Description:
This paper compares and contrasts two of the few radical political artistic groups of late socialism in Hungary. Through an analysis of the Orfeo and Inconnu groups we highlight their patterns of politicization and de-politicization to show that the critique of existing socialism was not free floating but was embedded in social structures. By going against the current of individualizing and moralizing artistic biographies, we give a historical materialist account of the two groups. Firstly, the paper shows how the anti-systemic mobilization of the two groups was conditioned by changes in Hungary’s world-economic integration and the subsequent restructuration of its field of cultural production. Secondly, it analyzes the tension between two groups’ critique of the oppressive nature of state-socialism and their politics of everyday life, by paying special attention to their uneven gender-relations. The analysis places the political ideas of the two groups not only in the changing landscape of late-socialist dissent, but we link them to class positions and social biographies. The article also highlights how radical, left-leaning criticisms of the state-socialist regime were co-opted into the competing liberal and nationalist cultural-political-economic complexes of the post-socialist order, and how the ways of incorporation were the products of individual but socially situated biographies of the intellectual actors. By combining class analysis and comparative historical research with a sociology of culture and intellectuals, this article draws attention to the role of determinate and contingent historical processes in the formation of anti-systemic mobilizations in late-socialist Hungary.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

6. Mewari paintings in the collection of The Metropolitan Museum of Art: Mughal influences and Rajput experimentation at the court of Maharana Amar Singh II (r. 1698-1710)

Creator:
Nardi, Isabella
Format:
bez média and svazek
Type:
model:article and TEXT
Subject:
painting and art
Language:
English
Description:
This paper examines the visual tradition of the court of Udaipur, in Rajasthan (India) during the reign of Maharana Amar Singh II, who ruled over the region of Mewar from 1698 to 1710 AD. This was a period of transition and experimentation from iconographic as well as stylistic perspectives. In tracing the development of Mewari painting during this period, the article analyses the different influences that shaped the emergence of this court tradition while drawing comparisons with Mughal painting. The development of painting in the court of Amar Singh II is examined through historical, stylistic, and thematic lenses. The article first briefly introduces earlier examples of portraiture; it then focuses on some of the paintings in the collection of The Metropolitan Museum of Art, identifying the evolution of certain key stylistic and thematic characteristics. While comparisons with the Mughal examples highlight the source of the changes in Mewari painting, the paper also emphasises the syncretistic nature of Mewari painting and the experimentation that led to the emergence of a unique approach to court painting under the reign of Maharana Amar Singh II.
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

10. Pražské zastavení programu Palatium

Creator:
Sylva Dobalová and Ivan Muchka
Format:
print, bez média, and svazek
Type:
article, články, model:article, and TEXT
Subject:
Věda. Všeobecnosti. Základy vědy a kultury. Vědecká práce, Habsburkové (rod), Valois (rod), European Science Foundation, programy a projekty, architektura, umění, šlechtické rody, programs and projects, architecture, art, house of nobility, 12, and 00
Language:
Czech
Description:
Sylva Dobalová, Ivan Muchka.
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public