Czech Cubism in the Marketplace of Symbolic Goods

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461071%3A_____%2F24%3AN0000007" target="_blank" >RIV/60461071:_____/24:N0000007 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.arthistorystudies.lt/wp-content/uploads/2024/03/MIS-14_03_vybiral_compressed.pdf" target="_blank" >https://www.arthistorystudies.lt/wp-content/uploads/2024/03/MIS-14_03_vybiral_compressed.pdf</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.53631/MIS/2023.14.3" target="_blank" >10.53631/MIS/2023.14.3</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Czech Cubism in the Marketplace of Symbolic Goods

Popis výsledku v původním jazyce

The study analyses the concept of Czech architectural cubism, describes its genesis and explains the function of this label. So-called Czech Cubism is one of the most attractive topics in the historiography of Central European architecture, but few scholars have asked themselves what is truly Cubist in Czech ‘Cubist’ architecture. Although the ideological basis of this phenomenon lies in German, psychologically oriented art theory, the wider professional community perceives it as a response to concurrent events in French art. This paper analyses the notion of Czech architectural ‘Cubism’, shows its genesis, and explains the function of this label. The term ‘Cubism’ began to be used in Czech critical discourse as a classification concept for architectural works only after the form of modernity advocated by Emil Filla and Vincenc Kramář became canonical in the competitive struggle for a monopoly on artistic recognition. The term ‘Cubism’ expressed the orientation of Czech modernism towards Paris, which in Filla’s and Kramář’s conception represented the only legitimate centre of development. The chosen label neutralised the controversial, anti-rationalist, or even anti-modernist aspects of the Pavel Janák group’s programme, as well as its origins in German theory. The autonomous and original artistic phenomenon that emerged from rich transcultural encounters and interchanges was thus subordinated to the model of vertical art history and degraded to a product of diffusion – i.e., the reception of French art.

Název v anglickém jazyce

Czech Cubism in the Marketplace of Symbolic Goods

Popis výsledku anglicky

The study analyses the concept of Czech architectural cubism, describes its genesis and explains the function of this label. So-called Czech Cubism is one of the most attractive topics in the historiography of Central European architecture, but few scholars have asked themselves what is truly Cubist in Czech ‘Cubist’ architecture. Although the ideological basis of this phenomenon lies in German, psychologically oriented art theory, the wider professional community perceives it as a response to concurrent events in French art. This paper analyses the notion of Czech architectural ‘Cubism’, shows its genesis, and explains the function of this label. The term ‘Cubism’ began to be used in Czech critical discourse as a classification concept for architectural works only after the form of modernity advocated by Emil Filla and Vincenc Kramář became canonical in the competitive struggle for a monopoly on artistic recognition. The term ‘Cubism’ expressed the orientation of Czech modernism towards Paris, which in Filla’s and Kramář’s conception represented the only legitimate centre of development. The chosen label neutralised the controversial, anti-rationalist, or even anti-modernist aspects of the Pavel Janák group’s programme, as well as its origins in German theory. The autonomous and original artistic phenomenon that emerged from rich transcultural encounters and interchanges was thus subordinated to the model of vertical art history and degraded to a product of diffusion – i.e., the reception of French art.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

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

Název periodika

Meno istorijos studijos/ Art History Studies

ISSN

2783-6193

e-ISSN

—

Svazek periodika

14

Číslo periodika v rámci svazku

03

Stát vydavatele periodika

LT - Litevská republika

Počet stran výsledku

32

Strana od-do

65-96

Kód UT WoS článku

—

EID výsledku v databázi Scopus

—