Zdeněk Kovář Shaping Machines and Tools

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F70883521%3A28130%2F20%3A63539398" target="_blank" >RIV/70883521:28130/20:63539398 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.moussemagazine.it/shop/cold-revolution-central-and-eastern-european-societies-in-time-of-socialist-realism-1940-1959/" target="_blank" >https://www.moussemagazine.it/shop/cold-revolution-central-and-eastern-european-societies-in-time-of-socialist-realism-1940-1959/</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Zdeněk Kovář Shaping Machines and Tools

Popis výsledku v původním jazyce

The article deals with the beginnings of the work of the Zlín sculptor and designer Zdeněk Kovář, who has been pioneering new and ergonomically correct shaping of tools and machines since the 1940s. In the field of industrial design, Kovář set himself the goal of humanizing a technique that would harmonize with man and not hurt him and was a de facto artificial extension or adjustment of the human hand, a gear for a certain job. He dedicated himself to the same theme—the relation between a tool, machine and the human—in his artistic work as well. His figural creations which evolved after the Second World War, were sometimes classified as a part of the mainstream Socialist Realism. The author points out that in Kovář’s case, such a claim is at least disputable, mainly due to the context of pre-war ‘corporate’ art supported by the Baťa company. Its ideal was the glorification of the labour cult, which would help the development of the capitalist industrial enterprise.

Název v anglickém jazyce

Zdeněk Kovář Shaping Machines and Tools

Popis výsledku anglicky

The article deals with the beginnings of the work of the Zlín sculptor and designer Zdeněk Kovář, who has been pioneering new and ergonomically correct shaping of tools and machines since the 1940s. In the field of industrial design, Kovář set himself the goal of humanizing a technique that would harmonize with man and not hurt him and was a de facto artificial extension or adjustment of the human hand, a gear for a certain job. He dedicated himself to the same theme—the relation between a tool, machine and the human—in his artistic work as well. His figural creations which evolved after the Second World War, were sometimes classified as a part of the mainstream Socialist Realism. The author points out that in Kovář’s case, such a claim is at least disputable, mainly due to the context of pre-war ‘corporate’ art supported by the Baťa company. Its ideal was the glorification of the labour cult, which would help the development of the capitalist industrial enterprise.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

N - Vyzkumna aktivita podporovana z neverejnych zdroju

Rok uplatnění

2020

Kód důvěrnosti údajů

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

Název knihy nebo sborníku

Cold Revolution: Central and Eastern European Societies in Times of Socialist Realism, 1948-1959

ISBN

978-88-6749-450-7

Počet stran výsledku

8

Strana od-do

134-141

Počet stran knihy

313

Název nakladatele

Mousse Publishing

Místo vydání

Milán

Kód UT WoS kapitoly

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