Hoffmann, Josef Franz Maria (1870–1956)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Twentieth Century ◽  
Czech Republic ◽  
Interior Design ◽  
Fine Arts ◽  
Turn Of The Century ◽  
Art Nouveau ◽  
Total Work ◽  
Work Of Art ◽  
The Czech Republic ◽  
Classical Architecture

Josef Hoffmann was an Austrian architect and designer who proved instrumental in formulating the aesthetics and theory of modernist design. Among the most progressive architects in turn-of-the-century Austria, he was a founder of the Vienna Secession and the Wiene Werkstätte. His early work was aligned with Jugendstil, the German and Austrian manifestation of Art Nouveau, but graduated towards an abstract, geometric simplicity that anticipated twentieth-century Modernism. Committed to the concept of the Gesamtkunstwerk (total work of art), Hoffmann applied his talents to architecture, interior design, furniture and metalwork. His greatest achievement is the Palais Stoclet in Brussels, a true Gesamtkunstwerk in which all elements are synthesized into symphonic unity. Born in Pirnitz, Moravia (now part of the Czech Republic), Hoffmann studied at the Higher State Crafts School in Brno and at Vienna’s Academy of Fine Arts. He worked in the office of proto-modernist architect Otto Wagner, where he met future collaborator Joseph Maria Olbrich. He won the Prix de Rome in 1895, which gave him the opportunity to study classical architecture, and Mycenaean influences proliferated in his early work. Hoffmann was among the group of artists, architects and designers who seceded from the Association of Austrian Artists in 1897, objecting to what they saw as the inherent conservatism of established academies.

The Dance of Exile: Jerzy Starzyński, Kyczera, and the Polish Lemkos

2008 ◽  
Vol 40 (2) ◽  
pp. 41-55
Author(s):  
Cathy Black
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Czech Republic ◽  
Ethnic Minority ◽  
Fourteenth Century ◽  
The United States ◽  
Minority Population ◽  
Carpathian Mountains ◽  
The Czech Republic ◽  
Ethnic Minority Population

Since at least the fourteenth century the Slavic ethnic minority population known as Polish Lemkos has claimed the northern slopes of the Carpathian Mountains as its homeland. Lemkos are part of a larger east Slavic population of Carpathian Rus' collectively known as Rusyns, who reside in the Lemko region (in Poland), the Prešov region (in Slovakia), and western Subcarpathian Rus' (in Ukraine) (see Figure I). Beyond the Carpathian homeland Rusyns live in Serbia, Croatia, the Czech Republic, Hungary, Romania, and outside of Europe in the United States, Canada, and Australia (Magocsi 2005, 433; 2006, II). By the outset of the twentieth century in the Lemko Region, the term “Lemko” was gradually adopted as an ethnonym instead of “Rusyn.” Some Rusyns in lands other than Poland also choose to refer to themselves as Lemkos.

scholarly journals A contribution to researching Russian-Serbian connections in sacral and court painting and architecture through the opera of Russian emigrants in Serbia between the world wars: Examples of adopting Russian models

Muzikologija ◽  
2020 ◽  
pp. 99-124
Author(s):  
Jelena Mezinski-Milovanovic
Keyword(s):  
Interior Design ◽  
Cultural Models ◽  
Turn Of The Century ◽  
October Revolution ◽  
Art Nouveau ◽  
Russian Symbolism ◽  
The World ◽  
Cultural Connections

Russian-Serbian cultural connections in a broader sense, represented through direct parallels in Russian and Serbian sacral painting, architectural decoration, sacral interior design and phenomen? in court art canons of the last Romanov?s and Karadjordjevic?s dynasties are insufficiently researched. By using the concrete monuments, mostly in Russian style, Russian symbolism and Art Nouveau, but also the court canon at the turn of the century in Russia through the works of Russian emigrants after the October revolution in Serbia during the 1920s and 1930s, the use of Russian pictorial features and cultural models adapted to Serbian demands is going to be demonstrated.

scholarly journals Living for creating, painting for staying sane. The complex story-board of Charlotte Salomon

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Angela Articoni
Keyword(s):  
Twentieth Century ◽  
Expressive Power ◽  
Work Life ◽  
Nazi Germany ◽  
Artistic Development ◽  
Total Work ◽  
Work Of Art ◽  
Private And Public ◽  
Working Out

The talent of Charlotte Salomon, a young Jewish artist from Berlin, takes shape during Nazism. Her artistic development is concentrated in a single work, Life? Or Theatre?, whereby the author retraces her life in a style bringing together painting with comics, cinema, music. A total work of art as it is embodied in and hinged on her own life, and the only Gesamtkunstwerk is one where the work is an extension of her own existence, where everything becomes art.Salomonʼs work is much more than a diary: it is a way of working out grief and mourning, a stratagem for reacting and driving out pain in the madness of Nazi Germany. It is a ‘graphic novelʼ hybridizing codes and languages with an overflowing expressive power, in which each panel is a story in itself, it is staged memory, the private and public twentieth-century obscenity dealt with and thought out by means of words, images and music, with characters, dialogues, breaks, changes in perspective.

The Glass Curtain

2009 ◽  
Vol 18 (1) ◽  
pp. 90-106
Author(s):  
Katharina Eisch-Angus
Keyword(s):  
Twentieth Century ◽  
Czech Republic ◽  
Cultural Difference ◽  
Iron Curtain ◽  
Collective Identities ◽  
Cultural Dynamics ◽  
The Czech Republic ◽  
Scientific Methods ◽  
Psychoanalytic Interpretation ◽  
The Impact

In an interdisciplinary workshop in the former Iron Curtain borderlands of the Czech Republic and Bavaria seven multi-national artists and one European ethnologist revealed the cultural dynamics of boundaries both by exploring an expressive landscape and memory field, and by experiencing cultural difference as reflected in the co-operation and creation processes within the group. By using ethnographic approaches to assist the process of developing and conceptualising artworks and self-reflexive, ethno-psychoanalytic interpretation, the project followed the impact of twentieth-century border frictions and violence into collective identities, but also the arbitrary character of borders. The results suggest how a multi-perspective, subjectively informed methodology of approaching space and spatially expressed memory could be developed both for ethnology and for art, bridging the supposed gap between 'artistic' and 'scientific' methods by combining their strengths in a complementary way.

scholarly journals The Position of Humanities in the Curriculumn of Architects and Urban Planners

1995 ◽  
Author(s):  
Karel Schmeidler ◽  
Keyword(s):  
Czech Republic ◽  
Professional Education ◽  
Fine Arts ◽  
Present Situation ◽  
The Czech Republic ◽  
Future System ◽  
Technical University

The place of sociology and related humanities in the curriculum of the Faculty of Architecture of the Technical University of Brno and other schools of architecture in the Czech Republic. Critical comments on the present situation. Sociology as a counterpart to the technically – oriented and limited approach of fine arts? Linlung to other subjects, continuity, optimisation of tuition in the present and future system of professional education.

scholarly journals Research by Dr. Myron Korduba on the problems of geography of the population of Bukovina

2020 ◽  
pp. 78-83
Author(s):  
Valery Rudenko ◽  
Kateryna Hrek
Keyword(s):  
Czech Republic ◽  
Population Density ◽  
Turn Of The Century ◽  
Political Life ◽  
The Political ◽  
Creative Work ◽  
Comprehensive Understanding ◽  
The Czech Republic ◽  
Development Analysis ◽  
The City

The creative work of Dr. Myron Korduba (1876 - 1947) in the geography of the population of Bukovina in the early twentieth century is analyzed. Scientists are given a thorough comprehensive geographical assessment of the population of the region, studied the levels of education of the inhabitants of Bukovina, the structure of employment and its distribution by major social strata. The boundaries of the Ukrainian and Romanian "ethnographic territories" of Bukovina are clearly delineated as a basis for establishing appropriate state borders. With the arrival of Chernivtsi at the turn of the century and employment in the Second Academic Gymnasium, a young, full of energy Dr. Myron Korduba plunged into the whirlpool of active socio-political life. He had clearly expressed Ukrainian-centric state views, which he vigorously defended and scientifically substantiated. Therefore, it seems quite natural that his increased attention to politico-geographical and geopolitical research, important areas of which we have considered earlier. A significant place in the creative work of the scientist, of course, is also occupied by geographical and pedagogical developments. Studying the work of a scientist in the geography of the population of Bukovina, we should pay attention to the extremely valuable for the study of problems of regional development - analysis-review of Myron Korduba on official census materials published by the regional statistical bureau. It is important, as M. Korduba claims, that the publisher is not limited to information only for 1900, but also provides data for both 1880 and 1890 for comparison. It was necessary to dwell on the most important indicators of the last census of the population of Bukovyna also because neither the Bukovynian nor the Galician communities were acquainted in detail with these materials. First of all, Myron Korduba pays attention to population density and its geographical distribution in the counties of the region. According to the average - 70 people per 1 km² in 1900 Bukovina ranked 9th among the Austrian provinces (in 1890 - 10th place after Istria). Kitsman and Sadagur counties of Bukovina were "most densely populated" - 125 and 123 people per 1 km, respectively. The counties of DornaVatra and Seletyn had the lowest population density in the region (22 and 13 people per 1 km). For comparison, M. Korduba provides data on the average population density in the Czech Republic - 121 people per 1 km². In his analysis of the geography of the region's population, the reviewer focuses significantly on the language issue. He notes that in 1900, Ukrainian was spoken by 41.2% of all residents of Bukovina, Wallachian - 31.7%, German - 22.0%, Polish - 3.7%. Dr. Myron Korduba's brief but extremely informative study "Bukowina / Bukowina v nástinuhistorickémaetnografickém", published in Czech in the series "PoznejmeUkrainu", is of great interest for a comprehensive understanding of the problems of the geography of the region's population. This article by the scholar is all the more significant because it was published during the Paris Peace Conference and, in particular, the preparation of the Saint-Germain and future Sevres peace treaties, which legitimized the transfer of Bukovina to the Kingdom of Romania. Based on the above, Dr. Myron Korduba gives the following generalizations: neither historically nor ethnographically, Bukovyna can be considered as a "purely Romanian land", as Ukrainians make up a relative majority of the region's population; the communities of Zastavna, Kitsman, Vashkivtsi, Vyzhnytsia, and the environs of Selyatyn are purely Ukrainian; the political districts of Chernivtsi and Seret, as well as the Ukrainian parts of the communities of Storozhynets and Kimpolungu, have a Ukrainian majority. It is the relative majority of nationalities in a given area that should be decisive in the "division of Bukovina into regions with different nationalities"; although the region's capital, Chernivtsi, is dominated by Jews, Ukrainians are second only to Jews. The city is surrounded by Ukrainian communities and borders a small "Romanian island of several villages." Therefore, it is natural to "deliver" Chernivtsi to the Ukrainian part of Bukovyna.

scholarly journals Images of War in Opera

2020 ◽  
Vol 3 (2) ◽  
pp. 25-34
Author(s):  
Anastasia Siopsi
Keyword(s):  
Twentieth Century ◽  
Cultural History ◽  
Human Activities ◽  
Human Experience ◽  
The Political ◽  
Total Work ◽  
Work Of Art ◽  
The Core ◽  
Western European

The main aim of this article is to raise questions with wars seen as part of cultural history attempting, thus, to provide a cultural reading. As such, I attempt to show operatic responses to war, to the meaning of violence, and to the ways they illustrate emotions that are at the core of such destructive activities (that is, patriotism, heroism and so forth) and depict wartime ideologies, practices, values and symbols. This paper is a critical and selective overview of images of war in opera mainly up to the twentieth century. There is no aspect in human activities which is not related, more or less, with the issue of war. War has been part of the total human experience. Subsequently, my paper is about the various ways of projecting images of war in opera. In more detail, it is about the ways that opera, since the era of its birth, responds to human conflicts, named wars, and bring on stage an interpretation: an illustration of a hero, a context of values related to the necessity or the avoidance of war, a message to humanity to make us look at our civilization in either positive or negative ways. A cultural contemplation is not about “truths” of the war but raises the question as to how different “truths” inhabit the political and cultural Western European world by means of the total work of art of opera. Opera has had a fundamental role in privileging some ideals of “truths” from others. The main aim is to raise questions with wars seen as part of cultural history attempting, thus, to provide a cultural reading. As such, I attempt to show operatic responses to war, to the meaning of violence, and to the ways they illustrate emotions that are at the core of such destructive activities (that is, patriotism, heroism and so forth) and depict wartime ideologies, practices, values and symbols.

IMAGINARY SPECIAL EFFECTS IN THE CLASSICAL ROMANTIC GESAMTKUNSTWERK FANTASY

2021 ◽  
Vol 6 (15) ◽  
pp. 100-112
Author(s):  
Leman Berdeli
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Point Of View ◽  
Total Work ◽  
Work Of Art ◽  
Special Effects ◽  
Creative Ability ◽  
Television Screen ◽  
Human Labor ◽  
The Ideal

This study aims to contribute to the field of contemporary art-technology by leaving a historical-artistic touch in line with the function of the fine arts on our ‘senses’ that were conceived, imagined, and took place on the stage by dint of human labor and creative ability during the absence of technology. The prominent outcome shows that an integrated Opera where optics and acoustics dominate and the production of spectacular effects depends more on the art of the stage machinist is among the auditory-visual spectacles of the scene that one which has the most need for ‘artificial visions’.The study has shown that the ideal of achieving a holistic work of art, by aestheticizing the ‘scenic space’ has been stated by the Italian scenographer Pietro Gonzaga (1751-1831) in one of his several theoretical treatises: “À Propos d'Optique Théâtrale”(About Theatre Optics) stamped in 1807 in St. Petersburg before Richard Wagner's (1813–1883) conception of the total work of art has been professed. The scenographer has particularly considered that the stage which contains the show and its simulation in the place where the event takes place could itself be expressive. The study concludes by referring to the clairvoyant point of view of a scenographer who could be regarded as the pioneer of modern day directing art, that the total work of stage art took place in 18th -19th centuries is envisaged to function as a kind of television screen.

scholarly journals Tsvyntar Olʹshany u Prazi yak mistse pamʺyati ukrayintsiv

2021 ◽  
Vol 8 ◽  
pp. 261-273
Author(s):  
Ihor Stambol
Keyword(s):  
Twentieth Century ◽  
Czech Republic ◽  
Information Space ◽  
The Czech Republic ◽  
Left Behind ◽  
Early Twentieth Century ◽  
The People ◽  
The Subject ◽  
The Military

The article clarifies the role of the Olshany cemetery in Prague as a location for the memory of Ukrainians and about Ukrainians. Olshany is one of the largest necropolises of prominent Ukrainians outside Ukraine. Most Ukrainians buried here became emigrants as a result of the defeat of the Ukrainian National Revolution of 1917-1921. The purpose of this article is to demonstrate the perception of this necropolis among Ukrainians, to show some aspects of mentions of Olshany in the Ukrainian information space and to find out its possible role as a place of memory. The topic of Olshany became more active in the Ukrainian media in 2017 due to the threat of losing the grave of one of the most prominent Ukrainian poets of the early twentieth century – Oleksandr Oles (Kandyba) and his wife. The periodicity of attention to Olshany is explained by the interest of Ukrainians in the subject of the Ukrainian National Revolution of 1917-1921, which also acquires a greater resonance closer to the memorable dates. Members of the Ukrainian governments buried in the cemetery, including Fedor Shvets, Stepan Siropolko, Volodymyr Leontovych, Sofia Rusova, Hryhoriy Sydorenko, Apollinarii Marshynsky, as well as scientists and artists Spiridon Cherkasenko, Mykola Andrusov, Yevhen Ivanenko and others, together with the military UGA, are very important part of the memory of Ukrainian post-revolutionary emigration, and involve people in understanding their destinies through the fields in which they were engaged before, during and after the Revolution. That is why Olshany already acts as a place of memory for Ukrainian historians, teachers, diplomats, etc. But given the professional diversity of the people buried there and the significant legacy they have left behind, this place has greater potential. And new generations of Ukrainians who work or study in the Czech Republic now can contribute even more to this.

The way to the Soviet nation against the backdrop of wars and revolutions: the initial stage of Belarusianization in the interpretation of Alena Marková

2018 ◽  
pp. 247-253
Author(s):  
Yuri Borisenok
Keyword(s):  
Twentieth Century ◽  
Czech Republic ◽  
The Czech Republic ◽  
Initial Stage ◽  
History Of ◽  
The Way

The review focuses on the monograph of the researcher from the Czech Republic A. Marková, devoted to the process of Belarusianization as one of the most topical issues of the Belarusian history of the twentieth century. The book makes an important contribution to the modern interpretation of complex national and ethnic changes that took place on the Belarusian territory in the period between the two world wars.

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