Question of German-Bohemian Art and New Objectivity

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F46747885%3A24510%2F18%3A00008497" target="_blank" >RIV/46747885:24510/18:00008497 - isvavai.cz</a>

Výsledek na webu

<a href="https://digilib.phil.muni.cz/handle/11222.digilib/138622" target="_blank" >https://digilib.phil.muni.cz/handle/11222.digilib/138622</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Question of German-Bohemian Art and New Objectivity

Popis výsledku v původním jazyce

This essay reviews historiographical issues that arise when one relates New Objectivity painting in Germany with the visual arts of ethnic German visual artists in Bohemia, Moravia, and Siliesia. It also discusses potential avenues of inquiry to examine this interrelationship more closely. Readers are reminded of the tortured complications arising in artists’ lives, careers, identities, and their wartime and postwar dislocations that separated them from playing roles in representing states in the postwar period. Apropos New Objectivity, it asks who defined the art of ethnic Germans in Czechoslovakia and how did those definitions relate to the discourse produced and disseminated by Gustav Hartlaub and Franz Roh’s trail-blazing positions in Germany? It also asks that more specificity be placed upon defining the sense and scope new realist pictures by ethnic Germans were “modernist,” or “avant-garde” in the Czechoslovak interwar context. Finally, the essay suggests an opening through which new realist paintings, prints or drawings might be studied as artifacts involved in the address of audiences whose expectations for art were engrained within local notions and practices of craftsmanship in the highly respected design industries.

Název v anglickém jazyce

Question of German-Bohemian Art and New Objectivity

Popis výsledku anglicky

This essay reviews historiographical issues that arise when one relates New Objectivity painting in Germany with the visual arts of ethnic German visual artists in Bohemia, Moravia, and Siliesia. It also discusses potential avenues of inquiry to examine this interrelationship more closely. Readers are reminded of the tortured complications arising in artists’ lives, careers, identities, and their wartime and postwar dislocations that separated them from playing roles in representing states in the postwar period. Apropos New Objectivity, it asks who defined the art of ethnic Germans in Czechoslovakia and how did those definitions relate to the discourse produced and disseminated by Gustav Hartlaub and Franz Roh’s trail-blazing positions in Germany? It also asks that more specificity be placed upon defining the sense and scope new realist pictures by ethnic Germans were “modernist,” or “avant-garde” in the Czechoslovak interwar context. Finally, the essay suggests an opening through which new realist paintings, prints or drawings might be studied as artifacts involved in the address of audiences whose expectations for art were engrained within local notions and practices of craftsmanship in the highly respected design industries.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/GA17-06031S" target="_blank" >GA17-06031S: Nové realismy na československé výtvarné scéně 1918–1945</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2018

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Opuscula Historiae Artium

ISSN

1211-7390

e-ISSN

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Svazek periodika

67

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

10

Strana od-do

14-23

Kód UT WoS článku

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EID výsledku v databázi Scopus

2-s2.0-85060930390