Modernism in Regional Architecture of Bohemian Germans Between 1900 and 1918

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461071%3A_____%2F23%3AN0000088" target="_blank" >RIV/60461071:_____/23:N0000088 - isvavai.cz</a>

Výsledek na webu

<a href="https://kramerius.lib.cas.cz/uuid/uuid:13d90049-3675-4365-8500-2b589e0d7d44" target="_blank" >https://kramerius.lib.cas.cz/uuid/uuid:13d90049-3675-4365-8500-2b589e0d7d44</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Modernism in Regional Architecture of Bohemian Germans Between 1900 and 1918

Popis výsledku v původním jazyce

Around 1900, the architecture of the German-speaking enclaves in Bohemia displayed a great variety of styles and forms. Unlike their Czech rivals, the Germans lacked a natural geographical centre and struggled with political and cultural fragmentation. Prague could no longer play a unifying role as it gradually became a city of dominant Czech representation. The study introduces three hitherto overlooked architects whose work represents three different trends in Bohemian-German architecture of the early 20th century: Emil F. Ruehr (1861–1920), who worked mainly in Česká Lípa and its surroundings, was inspired by Art Nouveau; the Lanškroun builder Richard Kreissl (1874–1920) worked with elements borrowed from vernacular architecture; while the Most-based architect Adolf Schwarzer (1876– 1914) leaned towards Neo-Biedermeier and classicism. Each of these architects found their own way of designing modern buildings, even if they did not follow the direction set by the ‘founders’ of modern architecture. From a Prague-centric perspective, it may seem that there were no modernist architects in the German-speaking regions of Bohemia at the beginning of the 20th century. However, the perceived contrast between the ‘modern’ and the ‘traditional’ was less pronounced in this period than after the rise of the interwar avant-garde. The stylistic pluralism characteristic of Bohemian-German architecture around 1900 is related to the modernist search for a style appropriate to the needs of the new era but also reflects the deepening differences between individual areas inhabited by Bohemian Germans. In many local centres without close links to Prague many original creations were created. The study demonstrates that without one artistic midpoint, Bohemian-German artists were unable to articulate their specific national identity.

Název v anglickém jazyce

Modernism in Regional Architecture of Bohemian Germans Between 1900 and 1918

Popis výsledku anglicky

Around 1900, the architecture of the German-speaking enclaves in Bohemia displayed a great variety of styles and forms. Unlike their Czech rivals, the Germans lacked a natural geographical centre and struggled with political and cultural fragmentation. Prague could no longer play a unifying role as it gradually became a city of dominant Czech representation. The study introduces three hitherto overlooked architects whose work represents three different trends in Bohemian-German architecture of the early 20th century: Emil F. Ruehr (1861–1920), who worked mainly in Česká Lípa and its surroundings, was inspired by Art Nouveau; the Lanškroun builder Richard Kreissl (1874–1920) worked with elements borrowed from vernacular architecture; while the Most-based architect Adolf Schwarzer (1876– 1914) leaned towards Neo-Biedermeier and classicism. Each of these architects found their own way of designing modern buildings, even if they did not follow the direction set by the ‘founders’ of modern architecture. From a Prague-centric perspective, it may seem that there were no modernist architects in the German-speaking regions of Bohemia at the beginning of the 20th century. However, the perceived contrast between the ‘modern’ and the ‘traditional’ was less pronounced in this period than after the rise of the interwar avant-garde. The stylistic pluralism characteristic of Bohemian-German architecture around 1900 is related to the modernist search for a style appropriate to the needs of the new era but also reflects the deepening differences between individual areas inhabited by Bohemian Germans. In many local centres without close links to Prague many original creations were created. The study demonstrates that without one artistic midpoint, Bohemian-German artists were unable to articulate their specific national identity.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60402 - Architectural design

Projekt

<a href="/cs/project/GA18-04816S" target="_blank" >GA18-04816S: Hledání identity: Architektura českých Němců 1891–1918</a><br>

Návaznosti

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

Rok uplatnění

2023

Kód důvěrnosti údajů

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

Název periodika

Umění: časopis dějin umění AV ČR

ISSN

0049-5123

e-ISSN

1804-6509

Svazek periodika

2023/LXXI

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

21

Strana od-do

121-141

Kód UT WoS článku

001061037900002

EID výsledku v databázi Scopus

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