The aim of the theoretical part of this diploma thesis is to clarify the issue of creating worksheets as didactical aids in the intermediate form of teaching. The aim is also to partially introduce the history of book printing and the life and work of Michael Jindrich Rentz. The work is also devoted to the Rentz Museum itself as an inspirational resource for creating worksheets and teaching art education. The practical part of the diploma thesis tries to create functional and representative worksheets for pupils of middle and upper school age to the Rentz Museum of Baroque Printing at Kuksu. This part of the thesis contains the definition of worksheet objectives, pupils age specification, analysis of individual tasks, description of the format and appearance of worksheets. At the end of the thesis, reflection and evaluation of the resulting sheets will be made.

This thesis deals with the problems of reception of art works. The theoretical part induces this theme. It lists the most common factors which influencing our perception and assessment of art works and watching them from the position of art teacher. The practical part is trying to work with these findings in the glass objects and is also verified in the pedagogical work with children in the gallery.

Štefková, J.: The principles of Eastern Ceramics in Czech. Bowl as a Conception of the World. /Diploma thesis/ Prague 2014, Charles University in Prague, Faculty of Education. 113 p. This thesis is concerned with selected aspects of Asian ceramic production and its influence on ceramic production in Europe, both in the past and the present. The thesis maps the historical development of Asian porcelain and its journey to the West. In addition, the thesis describes ways of decorating ceramics, with the principles and methods of firing in a wood kiln. The educational part of the thesis presents the options for undertaking a project on the theme of "the bowl in the plastic arts, painting and drawing". The artistic chapter follows the structure of the theoretical one. It is divided into sections focusing on matter, decoration and firing and it introduces the practical application of the theoretical findings connected with these subjects. Klíčová slova: asijské umění, evropské umění, keramika, porcelán, dekor, pálení, prostorová tvorba

The doctoral thesis Czech public art collections and the acquisition policy during the normalization era deals with the topic of domestic institutional operation in 1970s and 1980s, with specific focus on activities of galleries incorporated in the national, hierarchically organized network of art institutions. The research of these acquisition activities uncovers composition of the works of art acquired this way. It finds aspects in which individual institutions differed and detects the reasons behind these differences. Besides the acquisition process itself, the thesis also outlines the circumstances of establishment of the gallery network and summarizes its activities in more tolerant 1960s based on various material sources and oral history. The acquisition policy of galleries as such is analysed in the thesis covering the period from the beginning of the year 1970, when the resolution of the turning meeting of the Central Committee of the Communist Party of Czechoslovakia in April 1969 started to be fulfilled, until the end of the year 1989. Geographically, it is limited to the Czech territory. The results obtained by the analysis point out fundamental differences between individual institutions and between regions in which they operated. The results bring answers to questions concerning...

This thesis deals with the six Czech regional institutions, which aimed at unofficial art during 1980s, thereby created an alternative to Prague's galleries, which were refusing such type of an art. Among them belongs Galerie 55 (Gallery 55) in Kladno, Městské kulturní středisko (Municipal culture centre) in Dobříš, Letohrádek (Summer residence) Ostrov nad Ohří, Galerie ve věži (Gallery in the tower) in Mělník, Alšova jihočeská galerie (Aleš's South Bohemian gallery) in Hluboká nad Vltavou along with Malá scéna Domu kultury (Culture centre's Small scene) in České Budějovice and, as the only private gallery, Galerie H (Gallery H) in Kostelec nad Černými lesy. Based on period documents and memorial texts, this thesis characterize each and every art space, the groups of people who were gathering around them, the exhibition program and the most important exhibitions. It introduces these "galleries" to the period cultural-politics context and to relations with other galleries and important exhibitions of the Czech unofficial art during the eighties.

The work deals with finding the position of the gallery / museum education in art education for children with special educational needs. The first part is devoted to the theoretical background of the topic, explains the basic terms (visual literacy, gallery / museum education). A substantial part is devoted to research in the field of the gallery / museum education in art education for children with special educational needs. The survey has a qualitative charakter and trying to describe possibilities and limits of children with disabilities in the gallery programs. At the same time provides essential findings on the form of art education in concrete school achieved through an analysis of the relevant curriculum documents and interviews with teachers. For the processing of the acquired data are used qualitative research methods. The work aims to identify a design of concrete the relevant curriculum document. Art of the work takes the form of educational materials.

In the beginning of my thesis, I reckon with terms of installation and videoinstallation from a theoretical point of view. After establishing their meaning, I work with them in the context of my works. The centre of my thesis is my project called "232 712 steps" and its motive of voyage. My art project contains three main aspects which are experience, documentation and installation and which I explore with my own subjective perspective, but also contextualize with other works of art. Through my didactic part, I work with the term of projection and ways of recording it, each time with different perspectives. Key words: voyage, experience, documentation, photography, installation, space, gallery space, spectator

The diploma thesis deals with the topic of gallery and museum educating. The work is divided into two parts, theoretical and practical ones. The theoretical part, which is defined on the basis of the processing of professional resources, focuses on the connection of gallery and museum educating with the curricular documents of primary schools. A substantial part is devoted to the benefits of a three-phase educational model. Emphasis is then placed on the constructivist approach in teaching and the discursive field of art and its application in teaching. The practical part focuses on the verification of the three-phase model in practice. The results of the work are proposals and implementations of two educational programs and their interconnection with the expected outcomes according to the Framework Educational Program. The educational programs were realized in the regional gallery and museum with children from the 1st and 3rd year of a primary school.

The study deals with the creation of gallery educational programs based on cooperation with artists and curators. The text is divided into two parts. In the theoretical part we try to define theoretical discursive field of art, galleries and gallery education. In the practical part we design gallery educational programs in cooperation with the artists and verify them with the children's group. KEYWORDS gallery education, discourse, visual culture, art work, contemporary art

This diploma thesis deals with the issue of intermediation of abstract art in gallery education programs for primary school students. Its theoretical part outlines the process from figurative to non-figurative imaging through the theory and history of art. The term of abstraction is further expounded by general and developmental psychology. The final theoretical part deals with the intermediation of art and all its connections, including potential difficulties which can occur. The empirical part contains a research with gallery lecturers, which brings and analyzes their attitude to the process of gallery-educational programs providing intermediation of non-figurative art to pupils of younger school age.