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(in English): This diploma thesis introduces Prince Vincenz Karl Auersperg's travel diary from his journey to Great Britain undertaken in summer 1837 (title on title page: "Vincenz Carl Fürsten v. Auersperg's Reise nach England"). Diploma thesis has theoretical and practical part (in which there is Auersperg's diary edited). Vincenz Karl (1812-1867) was member of wealthy landed nobility. Thesis tries to describe his education, as well as important educator Alexis Du Rieux. Mature work (after 1837) is addressed as well: He is known as owner of Žleby Castle during castle's romantic renovation. He published two political (anonymous) brochures. Importance of the British journey (or traveling in general) in Auersperg's biography has been recognised for a long time, but was not known in detail. Most of the information about his particular British travel we have in diary (it has form of transcripts of letters addressed to his mother): Prince began his journey at the beginning of May in Vienna; stayed in Bruxelles for a week; he stayed in London between May 25th - June 28th ; after that he visited Scotland and Wales; he left Great Britain August 3rd ; he stayed in Paris from August 7th for a few weeks. This thesis also tries to put journey into a broader context. Firstly, it tries to describe it as a grand...

The dissertation is dedicated to the under-researched subject of the official sculpture in the DDR and ČSR in the time-frame 1948-1968. By evaluating the material on a broad background of the art historical, historical, cultural and ideological determinants, the dissertation endeavour to provide an accurate insight into the internal processes of the cultural machinery of the Socialist states with regard to sculpture and sculptors. The comparative character of the dissertation contributes to the understanding of the critical questions of art historical research of the period - such as the (in)authenticity of the local varieties of Socialist Realism and relatedness to the SSSR Socrealism, dates of the Socrealism existence, engagement of modernist sculptors, principles of the state/artist relationship or the second life of the Socrealist sculpture.

Because of the new Education Act (Hasner's reform), the second half of the nineteenth century was a very important time for education. I introduce a primary school teacher living at that time, his way to 'success' and whether the image, which surrounded him, corresponded to the reality. Using the Bourdieu's theory of capital, I investigate the individual aspects of the life of Vincenc Paulus (1840-1913), the school director in Chrast. He was the educator of the public, an amateur historian and archivist, an organizer of an ethnographic exhibition, a founder of a local museum, an active official of teachers' association Budeč chrudimská, and a member of municipal committee. Hence, it seems that he met the contemporary ideas about a publicly, and especially culturally active teacher and educator; who carries out all the work selflessly and enthusiastically, thinking only of the welfare of teachers, his pupils, local citizens, the municipality, the nation, the State and the Church. Convinced of the importance of his mission, he withstands any "slights" with patience and with belief in the future awards; and pays attention to avoid any unnecessary conflicts in order to protect his most important work - the education. Although, his behaviour may seem as conform, it was rather a "strategy", which, in the...

5 ABSTRACT The subject of this diploma work is the documentation and presentation of program contents of the new exhibition at "Svaz československých výtvarných umělců" in Prague 6 Dejvice between the years 1964 to 1972, which carried the name of Czech theoretic artist, Vincenc Kramář. This diploma work is divided into three distinct parts. The first part focuses on the founders of the gallery and briefly about the personality of Vincenc Kramář. The second part is devoted to the work posted in the gallery between 1964 and 1972. The final part of the work explores the question of what place and position the Vincenc Kramář Gallery holds in comparison to other galleries during the same period. The introduction of the work comments on society and politics of the 1960s in the context of "fine arts", which was an era marked by the official tendencies of the socialist realism of the decade previous. The introduction also includes the process of creating and building a new exhibition hall into this era. The first chapter is dedicated to the patron of the gallery, Vincenc Kramář, and to the founding figures of this new gallery including František Doležal, commissioner and chairman of the exhibition committee; František Rocman, typographer; secretaries and co-founders of the gallery Antonín Kulda, Alena...

Following old master drawings within the collections of selected Czech collectors Abstract This thesis is a contribution to the history of collecting in Bohemia. It deals with the collecting of drawings and tracks them within the selected collections and collectors. It focuses primarily on the old master drawings, defined as works from the 16th to the 18th century. Within the issue of collecting the attention is, even when studying specific personalities, often paid to the picture galleries rather than the print collections. Due to its fragile nature, drawing tends to fit into the background and, if it does not form the main part of the collection, is not reflected. Many of the collections and collectors have come to attention lately, but many still await their appreciation and introduction into new contexts. Keywords Collecting, collector, drawing, Old Master Drawings, Bohemia, provenance, Prokop Toman, Rudolf Kuchynka, Vincenc Kramář, Jan Krčmář, Frits Lugt

The goal of this dissertation is to document and present exhibition concepts of new or re- established galleries and exhibition halls united in the Union of Czechoslovak Visual Artists in Prague in 1964-1969. A partial goal is to find and clarify principal legal, political and cultural events in the background of which such exhibition and artistic life unfolded. The thesis covers the period between two conventions of the Union of Czechoslovak Visual Artists, i.e. the period from December 1964 until the end of 1969 with certain intermissions. In terms of the selection, it deals with "smaller" galleries that influenced the most the level of presentation of visual arts at exhibitions in Prague in the period under consideration. For this reason, attention is paid to the Václav Špála Gallery, Nová síň Gallery, Galerie Na Karlově náměstí, and the Vincenc Kramář Gallery. The basic topics of the dissertation are concentrated in two spheres that pervade one another. The first sphere is dedicated to fundamental social and political prerequisites for the establishment of "smaller" galleries as well as, in brief, the history of the formation of the Union of Czechoslovak Visual Artists. In particular, it deals with the then applicable legislation concerning the given field of cultural life of society. It takes...