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...

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...