Modern Czech Art Midterm

Compare and contrast an artwork from Alphonse Mucha's Art Nouveau (Paris) period and a poster from his Czech patriotic period, both in terms of style, subject matter and symbolism used. Example: Aphonse Mucha:Dance (1898), Poster for the '8th Sokol Festival Prague' (1926)

- Alphonse Mucha was a Czech illustrator and painter who is best-remembered for his Art Nouveau posters. - This movement of new art swept through Europe at the end of the 19th century which was characterized by an interest in stylistically reinterpreting the beauty of nature. This avant-garde style. - The work of Alphonse Mucha features heavily in architecture and decorative arts His posters from Paris feature conventionally beautiful, contemporary women as their subjects, whose soft, traditionally feminine features—including flowing hair, gracefully moving bodies, and fashionable, ornamental clothing—reflect the sinuous curves and nature-inspired motifs that characterized the "new art" movement. - When he moved to Prague, he crafted his project called Slav Epic which sought to shine a spotlight on the achievements of Slavic cultures. These works were far different from his earlier posters

Use the two examples to characterize Art Nouveau architecture. What were its main innovative traces when compared to historicizing styles (colors, materials, form, etc.)? Explain the difference between "organic" and "geometric" style and their historical background. Example: Hector Guimard:Entrance to a Metro station, Paris (1900), Otto Wagner:SubwayPavilion, Vienna (1898)

- Art Nouveau (or new art) was a style that accompanied decorative arts, design, and architecture. Some of its most recognizable characteristics are flower lines, often reflected in flowers for hair, and inspiration derived from nature. - Though both styles utilize geometric shapes, in geometric styles they are more linear, streamlined, repetitive, and symmetrical. In geometric styles, there tends to be more use of modern materials and textural forms - In organic Art Nouveau there are organic, fluid and asymmetrical curves that mimic the natural world - In Hector Guimard's Entrance to a Metro station in Paris, we see Vitruvius's three criteria come into play. Structural soundness is seen in his use of glass and wrought iron, Function is seen in the fact that it's a transportation system, and beauty is seen as Art Nouveau is a curvilinear style that uses floral decoration.

Characterize Cubism in Architecture on given examples (2 buildings). How do they relate to older architecture (i.e. Gothic, Baroque, Neoclassicism) and how do they differ from Art Nouveau architecture and Revival style architecture? Artworks: Josef Gočár: House of the Black Madonna (1911), Josef Chochol: Block of Flats, Neklanova Street (1913-14)

- Cubism architecture borrowed heavily from cubist art regarding geometric forms and shapes. The most common characteristics shared were transparency, spatial ambiguity, form-faceting, and multiplicity - Czech Cubists distinguish their work through the construction of sharp points, slicing planes, and crystalline shapes in their art works. These angles allowed the Czech Cubists to incorporate their own trademark in the avant-garde art group of Modernism - The House of the Black Madonna, built by Josef Gočár, was constructed in the height of a modern era and sought to demolish Baroque style. This historical building served as one of the first malls and cafes and the was it was built serves that exactly. Seeing as it was a mall, representing the modern industrial and consumer world, it has a big grand entrant with big windows for every shop. The cafe is one of the main attractions and takes up the whole first floor of the building. - Baroque architecture is a highly decorative and theatrical style which appeared in Italy in the early 17th century and gradually spread across Europe

Use the two sculptural works to explain methods of subtraction and addition. How does the material impact the form and understanding of the work? Shortly describe their subject matter. Artworks: František Bílek: Wonder (1907) - stained oak wood, Josef Václav Myslbek: St. Wenceslas. Bronze 1894 - 1912

- Subtractive sculpture is the oldest form of sculpture and involves removing material, as in wood carving or stone sculpture, to create a finished work. - Additive sculpture is the process of creating sculpture by adding material to create the work. - In Bílek's work, he used stained oak wook, one of his favorite materials, which enhanced the dramatic character of his woodcuts show every move of his hand. Although these sculptures are more detailed, it's hard to achieve the smoothness that an additive process allows for - In Myslbek's work, he uses bronze for a metallic sculptures, creating a form in clay, then making a mold and casting it in bronze or some other metal. - Assemblage sculptures are additive, in that they take a number of objects and arrange or attach them to form a larger piece. - Additive sculpture allows for a certain fluidity of form that is difficult to achieve in carving, simply because clay is so malleable it shows tool marks, directionality and the hand of the artist

Use the two paintings by Pablo Picasso to illustrate the main characteristics of Cubism (what happened to colors, forms, pictorial space)? Explain the difference between Analytical and Synthetic Cubism. Artworks: Pablo Picasso: Woman in an Armchair (1910), Souvenir from Le Havre (1912)

- Cubism was a revolutionary new approach to representing reality invented in around 1907-08 by artists Pablo Picasso and Georges Braque. They brought different views of subjects (usually objects or figures) together in the same picture, resulting in paintings that appear fragmented and abstracted - In Analytical Cubism, the subject is broken down into flattened planes and sharp angles. In Synthetic Cubism, the subject is reduced to simple shapes that are built upon each other - In Picasso's piece, the colors are very mundane and nonrepresentational, almost purposefully to throw the viewer off and make them question what they are looking at - With Analytical Cubism, Picasso utilized a muted color palette of monochromatic browns, grays, and blacks and chose to convey relatively unemotional subject matters such as still lifes and landscapes. He placed an emphasis on open figuration and abstraction, but did not yet incorporate elements of texture and collage. - In his piece using synthetic cubism, Picasso becomes much more cheerful and concrete. Not only the color but also the texture of the materials were added to the old abstract compositions. In synthetic cubism, the space of the picture is in front of the plane. This is achieved by using several layers of glued materials

Explain typical subject matter and form of Czech Expressionism using the artwork by Emil Filla. Use the tools of formal analysis (color, composition, etc.) and your knowledge of the contents to suggest possible interpretation of the artwork. How is the artwork related to the work by Edvard Munch? Artwork: Emil Filla: Reader of Dostoyevsky (1907), Edvard Munch: The Scream (1893)

- Expressionism is characterized by presenting the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Artists seek to express the meaning of emotional experience rather than physical reality. - In Emil Filla's painting, Reader of Dostoevsky, he captures the feeling of hopelessness that was typical of the early 20th century . he values of the old world such as tradition and faith (depicted symbolically by the crucifix on the wall) were replaced with modern values (originality, progress, etc.) which aroused uncertainty and fear in many people. In this piece, a man appears to be laying over a chair with the dark city outside the window. The man appears to be a yellow color, maybe symbolizing his mood and emotional state of mind. The room is red could represent feelings of anger and helplessness - Edvard Munch's piece, The Scream, is referred to as his "soul painting," Edvard Munch reveals an honest and perhaps even ugly glimpse of his inner troubles and feelings of anxiety, putting more importance on personal meaning than on technical skill or "beauty," a traditional goal of art. - In both pieces, color in nonrepresentational when depicting the main characters. Many believe that these figures could be self portraits or at least represent the artists emotional state

Compare and contrast the Symbolist painting Black Lake (1904) by Jan Preisler and Impressionist Garden Wall (circa 1900) by Antonín Slavíček. How does the subject matter and the form of the artwork differ? What symbols do the artists use (if any)? Example: Antonín Slavíček:Garden Wall (1900), Jan Preisler:Black Lake (1904)

- Impressionism focuses on the use of loose brushwork, spontaneous sketchy style, interest in the influence of light on color, complementary colors, often landscapes or realistic scenes of contemporary life - Symbolism is the representation of a concept through symbols or underlying meanings of objects or qualities while impressionism is a movement in art characterized by visible brush strokes, ordinary subject matters, and an emphasis on light and its changing qualities - Symbolism is the painting of ideas. Another world lies behind the world of appearances (closed eyes). Searching for an ideal world - A symbol is a conventional representation of a concept. It can be an object, shape, figure, sound, or colors used to represent abstract ideas - In Jan Preisler's work, Black Lake, the symbolism represents an imaginative flight into dreams and unconscious, a search for a lost paradise issuing form contrast: mythical beauty x harsh reality, and an attempt at synthesis (to create an order in the chaos of values in modern age)

Shortly explain the term Japonism. Use the two works by Gauguin and Mucha to assess major influences of Japanese prints on European art (in terms of composition, color palette, etc.) Example: Paul Gauguin: Bonjour Monsieur Gauguin(1888),Alphonse Mucha: Iris (1898)

- Japonism = the study of Japanese art, and more specifically, its influence on European art. Japonism style is mostly expressed through posters with strong silhouettes, pictorial flatness, limited color palette, and asymmetrical diagonals of the composition. - In the late 19th century, Japonism had a huge influence on Impressionism. Japanese woodblock prints became a source of inspiration for many Western artists who were intrigued by the original use of color and composition in these works. -In the work of Paul Gauguin, he adopted the simplified color palette, absence of depth and shadow, and the division of the pictorial plane into several broad areas found in Japanese prints, creating a pictorial minimalism and flatness - His work is not trying to create an illusionistic depth but signals that it is in fact only a flat painted surface, vibrant with color. - Alphonse Mucha was especially inspired by Japanese woodblock prints which included elaborately detailed designs and whimsical floral patterns

Use the three examples to explain how Prague expanded from its Medieval scale (Charles IV foundation of the New Town) and was transformed into a Modern metropolis. What new materials, functions and styles appeared in this era (use the images as case studies)? Example:Petřín Lookout Tower (1891), Urban redevelopment of Josefov Quarter (1890s - WW1), Masaryk Embankment (after 1900)

- The Modern Era inspired numerous architectural changes all around Europe with modern materials and innovations. Prague was apart of this modern expansion and transformed into a modern metropolis with creations such as the Petřín Lookout Tower and other developments. This tower was a copy of the Eiffel Tower which Prague made as a demonstration of industrial power and iron production. - While wood, stone, and brick was popular historically amongst architects, they were swapped out for more reliable materials such as glass, iron and concrete. - Industrial Revolution brought trains and industrial suburbs to Prague -Large scale redevelopment of the ancient Jewish ghetto was made to protect Jewish citizens at the time - Eclecticism (the practice of deriving ideas, style, or taste from a broad and diverse range of sources) of Masaryk Embankment showed inspiration from Baroque style - Subtraction was a popular method at the time which included the carving and drilling of stone, wood or ivory

Use the three criteria by Vitruvius to evaluate Villa Bílek. What material did the artist use, what function did the building serve and what was its aesthetic values (what type of decoration, styles and inspiration did the artist use)? Was Bílek successful in fulfilling all 3 criteria? Example: František Bílek: Villa in Prague, Hradčany (1911)

- The three criteria outlined by Vitruius are solid, useful and beautiful. This building is unique to Prague as the main material used for construction is brick. - The villa has an unusual elliptical shape to the building, complete with a row of massive columns inspired by ancient Egyptian architecture - Villa Bílek is in the style of Art Nouveau - The house itself, which was used as his personal studio and home, is symbolic and has religious undertones - The whole villa in fact has no right angles and all the rooms have rectangular shapes. Bílek believed that there were no right angles in nature, and he wanted to build a temple that would resemble the nature itself as much as possible. - If Vitruvius were to evaluate this piece of architecture, I think he would say that the brick and stone serve the structural soundness as the building still houses a permanent exhibition. Functionally, the building was used as his home and studio space and includes a massive gallery room for all his sculptures. In this sense, the building serves two functions so I think it fits the second criteria. The last criteria on the other hand might be up to the critique. Although every piece of the building was thought out by Bílek, the work itself is not very aesthetically pleasing. Whether that was the look he was going for or not, the building looks slightly off compared to other historical sights around Prague.

Outline of Modern Styles

JAPONISM 1850's- 1890's Japonism' is the term used to describe the study of Japanese art, and more specifically, its influence on European art. Japonosm style is expressed through the style of the poster itself. This includes strong silhouettes, pictorial flatness, limited color palette, and asymmetrical diagonals of the composition. In the late 19th century, Japonism had a huge influence on European art, especially on Impressionism. Beginning in the 1860's Japanese woodblock prints became a source of inspiration for many Western artists who were intrigued by the original use of color and composition in these works. ARTIST → Alphonse Mucha: Iris (1898), was especially inspired by Japanise woodblock prints which included elaborately detailed designs and whimsical floral patterns ART NOUVEAU (or new art) 1890 through 1910 Accompanied decorative arts, design, and architecture. Some of its most recognizable characteristics are flower lines, often reflected in flowers for hair, and inspiration derived from nature. Last UNIVERSAL STYLE - Encompassing decorative arts, design and architecture ARTS and CRAFTS - accentuation of high quality handiwork and crafts Floral (Organic) Hector Guimard: Entrance to a Metro station, Paris (1900) Aphonse Mucha: Dance (1898) Geometrical Otto Wagner: Subway Pavilion, Vienna (1898) SYMBOLISM 1886-1900 Symbolism is the representation of a concept through symbols or underlying meanings of objects or qualities while impressionism is a movement in art characterized by visible brush strokes, ordinary subject matters, and an emphasis on light and its changing qualities Symbolism is the painting of ideas. Another world lies behind the world of appearances (closed eyes). Searching for an ideal world A symbol is a conventional representation of a concept. It can be an object, shape, figure, sound, or colors used to represent abstract ideas ARTIST → In Jan Preisler's work, Black Lake, the symbolism represents an imaginative flight into dreams and unconscious, a search for a lost paradise issuing form contrast: mythical beauty x harsh reality, and an attempt at synthesis (to create an order in the chaos of values in modern age) Simultaneous with art nouveau EXPRESSIONISM (liberation of COLOR and FORM) 1905-1920'S A style that flourished between c.1905 - c.1920 especially in Germany. Depicting scenes from the city life - alienation, anxiety, loneliness, emotional psychological experience. Colors, brushwork and shapes are deformed to comply with inner reality of the depicted subject matter (self-portraits, eroticism, city life). ARTWORKS - Edvard Munch: The Scream (1893), Emil Filla: Reader of Dostoyevsky (1907) CUBISM (radical liberation of FORM) 1907-1920'S Origins: African Sculpture, Paul Cézanne - brings back volume into painting, replaces one-point perspective by multiple viewing points (1907 - WW1, 1920s - dissolves into more lyrical forms) - reality is cut into geometrical forms (facets, with black outlines, these forms are unrelated to natural forms of the objects), diminishing the importance of color (limited to shades of grey, occasionally brown..) - subject matter - classical genres - figure, still-life ARTWORKS - Pablo Picasso: Woman in an Armchair (1910)

The three criteria outlined by Vitruius

Solid, useful and beautiful