Bunker Kunst is an experimental and co-working platform, exploring potential and contemporary role of formal borders, post-military landscape and Czechoslovakian fotress built before 2WW. The point is a resuscitation of post-war space, where tens thousand of concrete mementos are still present. Deadly border line is becoming an environment of freedom. The project consist of theoretical, studio and site-specific works and happenings. More than 40 volunteers, students and specialists have been participating. Live long freedom!

This dissertation deals with sepulchral artworks of Franta Úprka (1868-1929), the Czech sculptor. At first his life is described. Franta Úprka was born in Kněždub, south-eastern Moravia. Beginning of his artistic activity belonged to the end of 19th century, when he worked as an assistant of two famous Czech sculptors - A. P. Wagner and Bohuslav Schnirch. His own career took place in the first two decades of the 20th century. Name Úprka is best known for Joža Uprka, Moravian painter and Franta's elder brother. Although Franta Úprka lived and worked in Prague from 1890th, the midpoint of his artistic interests and main theme of his sculptures was depicting people, traditions and subjects from his home country, Moravian Slovakia. Moravian Slovakia was specific part of Moravian countryside full of long lasting and still surviving folklore, folk traditions, peculiar vivacious characters and intact nature. As Auguste Rodin said during his visit of Moravian Slovakia in 1902 it was kind a Greek Helada overflowing with bright colours, sunshine and cheerful relaxed atmosphere. On the other side, common people lived there their uneasy rural lives with all ordinary worries and pleasures. Both sights of the issue were solved by Úprka's artworks. Very specific and the most significant part of his chef-d'oeuvre...

One of the main goals of this thesis is to better understand Czech Neo-Baroque tendencies and their placement within the context of Czech sculpture in general. To be able to better understand the role of Neo-Baroque in this artistic branch it is important to first cover the process of Baroque's revival in Czech lands which triggered creative approach to Baroque motifs and the birth of Neo-Baroque at the end of the 19th century. This is covered in the first part of the thesis. The opening chapter mentions different perceptions of the term Neo-Baroque and how its understanding evolved from the 19th century until present. Chapter that follows elaborates on the topic of Neo-Baroque being one of the historicizing styles and discusses the cultural and ideological circumstances which led to its widespread use. The topic that strongly resonates here is the Prague urban sanitation which turned most of the sculptors into modelers who would transform Neo-Baroque facades of new buildings into complex decorative schemes. The topic in question also covers periodical swatches of Celda Klouček and Friedrich Ohmann, a very valuable ideological impulse which significantly contributed to raising awareness of the Baroque beauties of Czech provenience as an inspirational source for decorative sculpture and plaster...

Notre thèse porte sur Étienne Decroux, le créateur du mime corporel. Nous montrons que Decroux s’inspire à la fois du théâtre et de la sculpture pour concevoir son art du mime, qu’il définit comme la statuaire mobile. D’une part, il reprend le concept du masque de Jacques Copeau et celui de la sur-marionnette d’Edward Gordon Craig pour les transposer directement au corps. D’autre part, ses œuvres incarnent les formules de pathos observées dans les statues. La sculpture d’Auguste Rodin est une source d’inspiration centrale dans sa manière de représenter le corps sur scène. De plus, Decroux conçoit le corps comme une suite de prises de vues défilant devant le spectateur. Collaborant avec Étienne-Bertrand Weill qui photographie ses spectacles, il constitue une iconographie du mime pour mieux donner à voir le mouvement du corps en image. Enfin, Decroux considère le corps comme de la matière à sculpter. En s’identifiant aux sculpteurs mythiques, il met en avant l’aspect créateur de son art. Comme Pygmalion, il anime les corps de ses élèves. Comme Prométhée il transforme la société par son art aux aspects politiques. La statuaire mobile représente un concept-clé du mime corporel d’Étienne Decroux qui s’étend de la conception du mouvement sur scène à la prise de position éthique de l’homme dans le monde. / The thesis main subject is Etienne Decroux, the father of corporeal mime. The main objective is to show that Decroux draws on both theatre and sculpture, thus conceiving his art of mime as the mobile statuary. On the one hand, he takes up the concept of mask put forward by Jacques Copeau and Edward Gordon Craig's ubermarionnette, transposing both concepts directly to the body. On the other hand, he embodies the pathos formulas observed in the statues. Decroux was heavily inspired by Auguste Rodin's sculptures in order to represent the body on stage. Moreover, Decroux conceives the body as a series of images which unfold before the audience. Working along with Etienne-Bertrand Weill who photographs his shows, he creates a relevant source of iconography of the mime that unveils the movement of the body in images. Finally, for Decroux, the body is a sculpting material. By identifying himself with the mythical sculptors, he brings forward the creative aspect of his art. Just as Pygmalion, he enlivens the body of his students and, as Prometheus, he transforms the society through his political art. The mobile statuary is then a key concept in the corporeal mime that goes from the conception of the movement on stage to the ideal and the universal in man. / Disertační práce se zabývá osobností Étienna Decroux, tvůrce projektu tělesného mima (mime corporel). Jejím cílem je dokázat, že se Decroux inspiroval divadlem i výtvarným uměním k vytvoření koncepce tzv. „pohyblivé sochy“ (statuaire mobile). Z divadla přebral koncept masky Jacquesa Copeau a koncept nadloutky Edwarda Gordona Craiga, aby je převedl přímo na tělo. Ze sochařství přejímal formule patosu, zejména se inspiroval dílem Augusta Rodina a jeho koncepcí tělesné figury. Decroux pojímal tělo jako sérii obrazů, které se odvíjejí před divákem. Ve spolupráci s fotografem Étiennem-Bertrandem Weillem, který dokumentoval jeho představení, vytvářel ikonografický soubor, jenž zobrazuje mimovo tělo v pohybu. Na druhou stranu chápal tělo jako materiál, který mim modeluje jako sochař. Decroux se ztotožňoval s mytickými sochaři, aby dal najevo svoji roli umělce a tvůrce. Jako Pygmalion „oživoval“ těla svých žáků a jako Prométheus přetvářel společnost svým uměním, které mělo politický náboj. „Pohyblivá socha“ (statuaire mobile) představuje klíčový koncept umění tělesného mima Étienna Decroux, který zahrnuje jak koncepci scénického pohybu, tak etické postavení člověka ve světě.

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.

Dissertation work called Decoration of Prague Residential Buildings from the sixties of the 19th Century until World War I is devoted to sculptures and paintings of buildings, primarily serving for residential purposes. Residential aspect in this work is chosen to express difference from public buildings. City of Prague was chosen as a place of studied buildings not just only in its contemporary range, but in the sense of later "Great Prague". The period of the time covered in this work shows Prague intensely connected through cultural, social and artistic sense.Sculptures and paintings were the key elements for public buildings in the era of Historicism, Art Nouveau and Modernism. There were two essential meanings - ornaments and its richness represented the quality of the builder, as well as its content and symbolism expressed ideas, meaning and message of the building or its institution. The sculptures and paintings to a significant extent were developed not only in public buildings but also in private, ie. entirely residential. Also, these buildings contained their messages in the ornaments. Dissertation focuses exclusively on the part of the building where the ornaments included semantic component. It was either intended to be "read" by the audience, or contained meaning so individual in...

The diploma thesis deals with lives and masterpieces of the most important baroque artists and architectures. There are also descriptions of their works. The practical part of the thesis deals with the Kuks' area, the hospitál and spa, its historical, artistic and practical value. Lives of patients and nurses are also mentioned as well as the present-day situation of the Kuks' area and nearby Christian crib. There is a reference to F. A. Špork. He was an important man of that time who supported artists and gave an order for the project of Kuks' area.

This thesis deals with portraiture of roman emperors on their statues and coins during the 3rd and 4th century. It begins with accession of military emperors and ends by Constantinian dynasty. The thesis tries to describe the changes in roman imperial portrait and determine its clearer roadmap. Main influences for roman imperial portraits are found together with milestones within the roadmap. It primarily focuses on individual attributes in the portrait and attempts to define ability to identify emperors themselves. Also, it tries to describe the extent to which these attributes influence the ability to identify the emperor on the statue or on the coin. Moreover, the thesis aims to connect imperial propaganda and portrait of the emperor. Finally, the thesis contains brief historical overview of this era. KEYWORDS: Roman Empire, Roman coins, Roman sculpture, portrait, the Military Emperors, crisis, Gallic Roman Empire, principate, dominate, tetrarchy, Gallienus, Aurelianus, Probus, Diocletianus, Constantinus, Julianus Apostata

This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...

My thesis titled Attributes of corporeality is a continuation of my thinking on the topic of identity. Now I approach identity as a category, not as an identity that belongs to a particular person. I consider the question of how is identity shaped in a postmodern, globalized world and how is it related to corporeality. My answer is based on the reality I know, on the current state of society. However, the intention of my work is above all to express my idea, which is rather a utopian scenario than anything else.