Abstract
Second half of the 19th century saw a number of national attempts to revise the Baroque values. Czech Neo-Baroque sculpture represents a style-expressive tendency, which reflected this nationally motivated interest and at the same time became a response to the change of esthetic taste of the end of the century. The goal of this article is to introduce the generation of sculptures of 1890s who built on the works of Josef Václav Myslbek, František Bílek and Bohuslav Schnich and presented their Neo-Baroque pieces for public monument tenders or at Art Union exhibitions. Variable and unexplored Neo-Baroque, which can be found in pieces by many authors (Vilím Amort, Quido Kocián, Josef Strachovský, Stanislav Sucharda, Gustav Zoula etc.) helps to find the missing idealistic and stylistic links between key Czech sculptores whose work made way towards modern articulation of matter in the beginning of the 20th century.
Highlights
Second half of the 19th century saw a number of national attempts to revise the Baroque values
Czech Neo-Baroque sculpture represents a style-expressive tendency, which reflected this nationally motivated interest and at the same time became a response to the change of esthetic taste of the end of the century
The goal of this article is to introduce the generation of sculptures of 1890s who built on the works of Josef Václav Myslbek, František Bílek and Bohuslav Schnich and presented their Neo-Baroque pieces for public monument tenders or at Art Union exhibitions
Summary
Second half of the 19th century saw a number of national attempts to revise the Baroque values. Století.[1] V rámci českého sochařství v sobě zmíněné téma spojuje pochopení novobaroka coby stylově-expresivní tendence a zároveň docenění dlouho hanobeného barokního umění, jehož kouzlo bylo v evropském formátu objevováno především ve druhé polovině 19. Zatímco Ilg se domníval, že rakouský národ by měl znovu oživit slavné časy, kdy baroko šlo ruku v ruce s rozkvětem habsburské dynastie, Gurlittova reakce se nedokázala zbavit zmínek o nadřazenosti umění německé provenience.[5] Jejich názory se staly ukazatelem k nalezení abstraktního systému v pojetí Heinricha Wölfflina, který chtěl objasnit stylové principy baroka. Století (zastupující kategorii „klasické“) a druhé poloviny 19. Wölfflinovy pojmy související s neklasickým modem – malířskost, hloubka, otevřená (atektonická) forma, jednota a nejasnost – tak sice zdánlivě jednoduše vedou k nalezení barokního principu v sochařství druhé poloviny 19.
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
