Sculptures from the Herczeg Collection

International scientific conference: Modernist Sculpture and Culture: Historiographical Approaches and Critical Analyses, Conference programme and book of abstracts, 2017

For this article I have chosen a particular "slice" of contemporary sculpture in Slovenia. A walk through the generations enables us to perceive that there are very different concepts constituting the phenomenon of the "contemporary Slovene sculpture". It shows also how the perception of the medium itself has been changing. The academic frame of sculpture has loosened - from abstract figurative art to recycled modernist sculptures, from conceptual sculpture to medium-bin.

Skulptura u umjetničkim zbirkama plemićkih obitelji, u: Umjetnost slavonskog plemstva – vrhunska djela europske baštine/ The Art of the Slavonian Nobility – Masterpieces of European Heritage, Najcer Sabljak, Jasminka; Lučevnjak, Silvija; Galović, Valentina (ur.). Zagreb: Galerija Klovićevi dvori, 2021

Galerija Klovićevi dvori zahvaljuje svim pojedincima, suradnicima i kolegama, koji su na bilo koji način doprinijeli ostvarenju izložbe. The Klovićevi dvori Gallery wishes to thank all individuals, coworkers and colleagues who have in any way contributed to the realisation of this exhibition.

This article is the first part of a larger study dedicated to the works of Hungarian painters and sculptors in the contemporary art collection of the Brukenthal National Museum. After an introductory section, which has as its central subject the ethnic minority status of Hungarians in Romania, several paintings signed by Ferenc Incze, Imre Nagy and Dórián Szász will be analysed.

Arts, 2022

Socialist realism was more than just a trend in art. It was also, and perhaps predominantly, a method of educating the new post-revolutionary society in the Union of Soviet Socialist Republics. In socialism, the state became the commissioner, consumer, and critic of art, treating it as a major propaganda tool. It is thus not surprising that the socialist realism patterns were imposed on artists working in those countries which found themselves in the Soviet sphere of influence after the end of the Second World War. In Poland, which was the Soviet Union’s closest neighbour and one of the larger countries in the post-war “Eastern Bloc”, socialist realism was the only permitted creative method in the years 1949–1956. The ideologists of the new art assigned a special role to sculpture, which, next to posters and murals, was considered the most socially accessible form of artistic expression due to the possibility of placing it in public space. Monuments as material carriers of ideology were used as an expression of power, but they also marked the places of strengthening collective identity. During the period of socialist realism in Poland, sculptural activity followed the main three directions: heroic, portrait, and architectural–decorative. Therefore, this paper aims to present theoretical and ideological assumptions relating to socialist sculpture and their confrontation with realisations in Poland during the period of the Soviet artistic doctrine. The paper also presents the aesthetic paradigms of socialist sculptures and their relationships with the canons of European art, and, for Poland, also with the native art, mainly sacral.

2016

Any general theory of art must start from the following assumption: man reacts to the shape, surface and mass of objects he gets into contact through senses, and certain ratios in the proportions of shape, surface area and mass of objects have resulted in a feeling of pleasure; and the lack of those relationships generates indifference or even annoyance and disgust. The feeling of pleasant relations is the sense of beautiful; the opposite is the sense of ugly. Art, we have to admit it, is not the plastic expression of any particular ideal. It is the expression of any the ideal that the artist can achieve in an artistic form.

Sudek and Sculpture, 2020

From his panoramic views of Prague to his enigmatic still lifes and reflections in the misty window of his studio, photographer Josef Sudek captured the unique spirit of the Czech capital between the 1920s and 1970s. Already in his lifetime, Sudek enjoyed a worldwide reputation—and yet a substantial part of his practice, dedicated to photographing works of art, has remained largely unknown until now. This book shines a light on Sudek’s most beloved topic—sculpture—which acted as a bridge between his fine art photography and his commercial work. Sumptuous full-page reproductions of Sudek’s black-and-white photographs illustrate a series of thematic essays, focusing on the scope and legacy of his work; while cameos of the key people and institutions supporting his career reveal Sudek’s rich connection to the artistic circles and tendencies of his day. Together, they uncover the shifting tension between the ability of photographs to bring art closer to the people and their potential as works of art in their own right, raising important questions for the history of photography. Editor: Hana Buddeus Texts: Hana Buddeus, Katarína Mašterová, Kateřina Doležalová, Zuzana Krišková, Mariana Kubištová, Martin Pavlis, Fedora Parkmann Translations: Barbora Štefanová, Hana Logan Copy editing: Julia Tatiana Bailey Index: Tatjana Štemberová Design: Martin Groch & Tim+Tim Litography: Radek Typovský Publisher: Artefactum – Institute of Art History of the Czech Academy of Sciences & Karolinum (1st edition, 2020) Reviewed by PhDr Hana Rousová and Doc. Karel Císař, PhD 624 pages, 429 images ISBN: 978-80-88283-34-8 Published to accompany the exhibition: Lovelies from the Files. Sudek and Sculpture House of Photography, Prague City Gallery Revoluční 5, Prague 1 – Czech Republic 23 June – 27 September 2020 Content Introduction (Hana Buddeus) The Life of Sculptures: Ways of Photographic Recontextualization (Hana Buddeus) Vanished Statues: Finding Images, Creating Pictures (Hana Buddeus) Light on Sculpture, Sculpture in Light (Katarína Mašterová) Sudek’s Archival Garden (Katarína Mašterová) Glass, Plastics, and Papers: A Conservator’s Perspective (Kateřina Doležalová) Artia (Mariana Kubištová) Československý spisovatel (Mariana Kubištová) Družstevní práce (Mariana Kubištová) Karel Dvořák (Zuzana Krišková) Emanuel Famíra (Zuzana Krišková) Emil Filla (Martin Pavlis) Fotografický obzor (Fedora Parkmann) Stanislav Hanzík (Zuzana Krišková) Jiří Jaška (Zuzana Krišková) Bohumil Kafka (Martin Pavlis) Kmen (Mariana Kubištová) Karel Kotrba (Zuzana Krišková) Karel Lidický (Martin Pavlis) Vincenc Makovský (Zuzana Krišková) Josef Mařatka (Zuzana Krišková) Melantrich (Mariana Kubištová) Orbis (Mariana Kubištová) Karel Otáhal (Zuzana Krišková) Pestrý týden (Fedora Parkmann) Karel Pokorný (Zuzana Krišková) Pražské nakladatelství (Mariana Kubištová) Otto Rothmayer (Martin Pavlis – Hana Buddeus) Sfinx and ELK (Mariana Kubištová) SNKLHU/Odeon (Mariana Kubištová) Bedřich Stefan (Martin Pavlis) Svaz československých výtvarných umělců (Katarína Mašterová) Světozor (Martin Pavlis) SVU Mánes (Hana Buddeus) Umělecká beseda (Hana Buddeus) Václav Vokálek (Zuzana Krišková) Volné směry (Hana Buddeus) Josef Wagner (Katarína Mašterová) Marie Wagnerová-Kulhánková (Katarína Mašterová) Hana Wichterlová (Katarína Mašterová) Cyril Zatloukal (Zuzana Krišková) Život (Hana Buddeus)

Laplage em Revista, 2021

In this article we attempt at demonstrating the inseparability of Ukrainian sculpture from global culture creating process despite cultural and political isolation as a component republic of the Soviet Union for over 70 years of the 20th century. There is a considerable difference in the character of creativity of Ukrainian sculptors, who lived and worked within the borders of the Soviet Union, and those, who migrated to Western Europe or America and had an opportunity to freely experiment with shape and ideas. In this article, particular attention is dedicated to those personalities that have made the most significant ideological and plastic transformations in the 20th-century sculpture with respect to the previous epochs, i.e., to the sculpture of avant-garde and modernism. The last decade of the 20th century was marked by the end of the Soviet-era cultural isolation from the democratic world, when a powerful stream of information penetrated the artistic arena of already independe...

L'Harmattan, 2011

that are covered by what Ernst Gombrich aptly named Kunstliteratur, 1 as opposed to art history's history and the science of art (Kunstwissenschaft). My research aims at sketching a general picture of the Romanian art historiography produced between 1918 and 1947, and the portraits of the most important authors active during those years, having in view to identify their methodology and the most important ideas guiding their works. I have also followed these ideas and methods to their origins and the way in which they had been used for scientifi c purposes, or at times for propaganda, polemics or with a diff erent intention. In doing so I have tried not to let my work slip outside of the boundaries of scholarly investigation, and to observe and to analyse sine ira et studio the sources that I used. The present study, without claiming that it followed unbeaten tracks, aims at looking into aspects that have been, unfortunately, very little discussed until now in Romanian literature. Beside the studies coordinated by

2006