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ARS 2014 2.Pdf 4 ARS 2/201 Men of Taste. Essays on Art Collecting in East-Central Europe is a collection of four case-studies devoted to Duke Albert Saxe-Teschen, Count János Pálffy, Baron Karl Kuffner, Enea Grazioso Lanfranconi and Count Antoine E. Seilern. The book fills a gap in the literature on the history of art collecting in general and, at the same time, enriches the reader’s knowledge of the cultural milieu of East-Central Europe during the Enlightenment and beyond to the post-World War II era. It is a significant contribution to the still-sparse scholarly literature on art collecting in this part of the world. The book is devoted mainly to scenes from the lives of saints in panel paintings originally produced in the northern regions of the Kingdom of Hungary in present-day Slovakia. The individual scenes in the pictorial legends expressed human ideas about the world, human needs and the essential values of human existence. The effectiveness of images was usually based on the repetition of tried-and-tested pictorial models, presenting particular examples of actions and the organization Niklāvs � of value relations. ars 2014 Ročník / Volume 47 Číslo / Number 2 Obsah / Contents Úvod / Introduction Vojtěch LAHODA Cubist Territories (109) Teritoria kubismu ŠTÚDIE / ARTICLES Timo HUUSKO The Reception of Cubism in Finland (113) Recepcia kubizmu vo Fínsku Helena ČAPKOVÁ The Japanese Cubist Body – mapping modern experience in the pre-WWII Japanese artistic network (122) Japonská kubistická tvorba – mapovanie modernity na japonskej umeleckej scéne pred druhou svetovou vojnou Erwin KESSLER M. H. Maxy: Cubo-Constructivist Integralism (134) M. H. Maxy: Kubo-konštruktivistický integralizmus Dace LAMBERGA Latvian Cubism (146) Lotyšský kubizmus Lidia GŁUCHOWSKA In the Shadow of the Official Discourse: Towards a Revision of the History and Theory of the Polish Idiom of Cubism (156) V tieni oficiálneho diskurzu: smerom k revízii dejín a teórie poľskej verzie kubizmu Bela TSIPURIA – Nana KIPIANI Cubist Influence in Georgia: Cubo-Futurism, Kirill Zdanevich, David Kakabadze (172) Vplyv kubizmu v Gruzínsku: Kubofuturizmus, Kirill Zdanevič a David Kakabadze Myroslava M. MUDRAK Cubism, the Icon and the Ukrainian Legacy of Alexis Gritchenko (186) Kubizmus, ikona a ukrajinský odkaz Alexisa Gritchenka RECENZIE / REVIEWS Bohunka KOKLESOVÁ Antonín Dufek: Jaromír Funke. Mezi konstrukcí a emocí (197) SPRÁVY / NEWS Zuzana BARTOŠOVÁ Za Ivou Mojžišovou (200) ÚVOD / INTRODUCTION ARS 47, 2014, 2 Teritoria kubismu / Cubist Territories Vojtěch LAHODA Jakkoliv byl kubismus při svém zjevení se v Paříži Although sharply condemned and derided at the v roce 1909 – 1910 ostře odsuzován a vysmíván, time of its emergence in Paris in 1909 – 1910, Cu- „vynález“ Picassa a Braqua se záhy stal základním bism – “the invention” of Picasso and Braque – was kamenem moderního umění první poloviny dva- very soon to become the cornerstone of modern art cátého století.1 V roce 1966 vydal americký historik of the first half of the 20th century.1 In 1966, the umění Edward F. Fry antologii textů, napsaných od American art historian Edward Fort Fry published an počátku hnutí až do raných dvacátých let. Dodnes anthology of texts written during the period between je Fryova publikace základním pramenem pro ty, Cubism’s inception and the early 1920s, which to kteří se zabývají kubismem.2 Fry ukázal, že hned po this day is a seminal reference book specializing in objevení první kubistické malby byla zahájena disku- Cubism.2 Fry demonstrated that immediately upon se o povaze kubismu, která podnítila úsilí v oblasti the appearance of the first Cubist paintings, a discus- výtvarné kritiky, a od dvacátých let také dějin umění, sion on the nature of Cubism began that initiated the začlenit kubismus do kontextu dějin umění. Vybrané endeavour in the fields of art criticism – and, from pojednání ve Fryově antologii odhalují jeden podstat- the 1920s onward, also art history – to incorporate ný rys: řada autorů nepoužívala pojem „kubismus“ ve Cubism within the art-historical context. vztahu k dílu Picassa a Braqua, ale spíše malířů, jako Selected treatises in Fry’s anthology revealed one byli Jean Metzinger, Albert Gleizes a další; jinými important fact: a number of authors used the term slovy pojem odkazoval k tvůrčímu úsilí, které bylo “Cubism” not in relation to the works of Picasso později označeno jako „epický kubismus“, o němž and Braque, but rather to those of Jean Metzinger, sám Fry v souvislosti s tvorbou Jeana Metzingera Albert Gleizes and other artists; in other words, to psal jako o „sub-kubismu“. the creative efforts which were later termed “Epic Podle Frye francouzský kritik Roger Allard, který Cubism,” or which Fry himself referred to as sub- psal o principech kubismu v roce 1910, neměl tehdy Cubist – in reference to Metzinger. According to ani tušení o tvorbě Picassa a Braqua. Jeho pochopení Fry, Roger Allard, a French critic who wrote about kubismu bylo závislé na obrazech Jeana Metzingera. the principles of Cubism in 1910, had not had the Tudíž od samého počátku byly dobové interpretace least inkling at the time about Picasso’s and Braque’s kubismu závislé na disparátním materiálu – zpočát- work. Allard’s understanding of Cubism was based ku na díle Metzingera a Gleizese, a na řadě dalších on Jean Metzinger’s paintings. Therefore, from the „salóních“ kubistů, a jen později na tvorbě Picassa very beginning, period interpretations of Cubism a Braqua. Yve-Alain Bois charakterizoval toto napětí had drawn on disparate material – initially, on the 1 Na tomto místě bych rád poděkoval prof. Jánovi Bakošovi, 1 I would like to thank the Editor-in-Chief of Ars, Prof. Ján hlavnímu redaktorovi časopisu Ars, za pozvání k sestavení Bakoš, for inviting me to edit an issue of this journal on the čísla věnovanému problematice kubismu. topic of Cubism. 2 FRY, E. F.: Cubism. London 1966. 2 FRY, E. F.: Cubism. London 1966. 109 termíny věřejné/soukromé: zatímco Metzinger a dal- work of Metzinger and Gleizes, and various other ší často vystavovali, dílo Picassa a Braqua bylo během so-called “Salon” Cubists, and only later on the works heroických let kubismu zveřejňované daleko méně. of Picasso and Braque. Yve-Alain Bois characterizes Pokud výše uvedené naznačuje, že existovaly this disparity with the terms “public/private”: while minimálně dvě verze kubismu již v době vzniku, pak Metzinger et al. were amply exhibited, Picasso’s and nepřekvapuje, že dějiny umění postupně odkrývaly Braque’s art was shown far less during the initial další prostory a teritoria kubismu. Stačilo se podívat years of Cubism. na významné modernistické směry mimo Francii a by- If this is to imply that no less than two types of lo jasné, že různé variance kubismu je možné sledovat Cubism already existed at the time of its emergence, v Holandsku (Mondrian), Německu (Marc, Macke, then it comes as no surprise that art history gradu- Feininger, ad.), Itálii (futuristé), Rusku (kubo-futuris- ally discovered other areas of Cubism, other Cubist té) a dokonce v Anglii (vorticismus) a v USA (stejně territories. It sufficed to turn to certain significant jako v rámci americké umělecké komunity v Paříži). modernist trends outside France and it became clear Cílem předkládaného čísla je sledovat, jak kubismus that diverse variations of Cubism could be perceived v dalších zemích je, nebo není zahrnut do kánonu in Holland (Mondrian), Germany (Marc, Macke, západních dějin umění, a sledovat cesty k pochopení Feininger, and others), Italy (the Futurists), Russia tohoto fenoménu, tj. kubismu na periferii. V někte- (Cubo-Futurism) and even England (Vorticism) rých případech existuje přímý podnět kubismu, i když and the United States (as well as in the American vztah, kdo ovlivňuje a kdo je ovlivňován je často artistic community in Paris). However, the purpose komplikovaný a rozhodně není jednosměrný. Michael of this issue is to examine how the Cubisms in other Baxandall si to uvědomil na příkladu vztahu Cézanna countries, are, or are not, included in the canon k Picassovi. „´Vliv´ je prokletí výtvarné kritiky zejména of Western art history, and ways to approach this díky špatně nastavenému předpokladu, kdo je agent a kdo je phenomenon. pacient: vypadá to na obrácení vztahu aktivní/pasívní, který In some cases, there is an immediate impact of zažívá historický aktér a který by rád obeznámený divák vzal Cubism, although the relationship of what has in- do úvahy.“ Baxandall píše, že pokud někdo říká, že X fluence to what is affected is often complicated and ovlivnil Y, tak to vypadá, jako kdyby říkal, že X něco certainly not one-way. Michael Baxandall already udělalo Y, spíše než Y udělalo něco X. Ale pokud realized this when he wrote of the relationship of uvažujeme o dobrých obrazech a dobrých malířích, Cézanne to Picasso. “´Influence´ is a curse of art criticism realita je právě opačná. „Pokud se uvažuje o tom, že Y primarily because of its wrong-headed grammatical prejudice je spíše než X aktivním prvkem, pak slovník je mnohem bo- about who is agent and who the patient is: it seems to reverse hatěji rozvrstvený: čerpat, uchýlit se k
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