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Masarykova univerzita Filozofická fakulta Ústav slavistiky Sdružená jihoslovanská studia Bc. et Bc. Michaela Ivanovová Bulharské moderné výtvarné umenie na stránkach avantgardných časopisov v 20. rokoch 20. storočia Magisterská diplomová práca Vedúci práce: doc. PhDr. Václav Štěpánek, Ph.D. 2020 Vyhlasujem, že som diplomovú prácu vypracovala samostatne s využitím uvedených prameňov a literatúry. …................................. Michaela Ivanovová 2 Obsah Úvod .......................................................................................................................................... 5 1. Bulharské výtvarné umenie na konci 19. storočia .......................................................... 14 1.1. Českí maliari – učitelia ............................................................................................... 14 1.2. Žánrová maľba v realistickom prevedení .................................................................... 16 1.3. Prvý umelecký spolok, prvý časopis zameraný na výtvarné umenie a vznik Národnej akadémie výtvarných umení v Sofii ............................................................................................ 21 2. Bulharské výtvarné umenie na začiatku 20. storočia. ..................................................... 26 2.1. Symbolizmus a secesia ako prvá fáza bulharskej moderny ........................................ 27 2.2. Pionieri nového umenia – spolok Săvremenno izkustvo ............................................. 30 3. Pod vplyvom svetovej avantgardy – výtvarná rôznorodosť a nejasné postavenie bulharského umenia .................................................................................................................... 34 3.1. Bulharské stredoveké a ľudové umenie v novom šate – návrat ku koreňom a nový dekoratívny štýl ........................................................................................................................... 37 3.2. Spolok Rodno izkustvo ................................................................................................ 39 4. Časopisecká tvorba ......................................................................................................... 41 4.1. Prvé ilustrované periodiká .......................................................................................... 41 4.2. Literárno-umelecko-spoločenské peridodiká moderny ............................................... 42 5. Lebed ............................................................................................................................... 47 5.1. Labutia pieseň Lebedu, prvé číslo Crescenda ............................................................. 53 6. Crescendo ....................................................................................................................... 56 7. Novis ............................................................................................................................... 59 3 Záver ........................................................................................................................................ 66 Резюме..................................................................................................................................... 70 Použitá literatúra ...................................................................................................................... 73 Internetové zdroje .................................................................................................................... 76 Obrazová príloha ...................................................................................................................... 82 4 Úvod Na stránkach predloženej magisterskej diplomovej práce sme sa venovali bulharskému modernému výtvarnému umeniu v avantgardných časopisoch v 20. rokoch 20. storočia. Sledovali sme niekoľko cieľov. V prvom rade sme chceli podať stručný a prehľadný vývoj bulharského výtvarného umenia od konca 19. storočia až do konca tretieho desaťročia 20. storočia. Chceli sme tak sami seba dokonale pripraviť na praktickú časť tejto práce, ktorá sa už venuje výtvarnému umeniu v samotných časopisoch. Táto záverečná práca nie je a ani sa nesnaží byť kunsthistorická. Ak píšeme o stave a vývoji výtvarného umenia v Bulharsku, upriamujeme pozornosť len na najdôležitejšie procesy a osobnosti, kontakty s literátmi a politikmi, snahu o inšpiráciu a priblíženie sa zahraničiu. Predmetom nášho záujmu bola tá časť bulharskej kultúry, ktorá je v našom prostredí opomínaná a veľmi málo spracovaná. A prečo práve časopisy? Vieme, že periodík vychádzajúcich v období, ktoré je predmetom nášho záujmu bolo požehnane a významne sa podieľali na formovaní avantgardy v Bulharsku. Preto sme sa rozhodli, že bude zaujímavé hľadať otázky na naše odpovede práve na ich stránkach. Chceli sme zistiť nasledovné – existujú v plejáde periodík nejaké, ktoré sa venujú aj výtvarnému umeniu? Ak áno, akým spôsobom sa mu venujú? Sú len priestorom, kde sa uverejňujú reprodukcie známych výtvarných diel? Jedná sa o umelcov bulharských alebo aj zahraničných? Predstavujú len akési spestrenie a doplnenie literárneho obsahu alebo sú rovnocennou zložkou? Zaujímalo nás, ako (a či vôbec) tieto časopisy o výtvarnom umení píšu. Hľadali sme v nich manifesty, state, polemiky, kritiky, reportáže z vernisáží atď. Zaujímalo nás, do akej miery boli osobnosti 5 literárneho sveta prepojené na ten výtvarný. Zisťovali sme, ako veľmi bola (alebo nebola) výtvarná scéna súčasťou kultúrneho života vtedajšieho Bulharska. Táto magisterská diplomová práca je rozdelená na sedem kapitol. Môžeme ju rozdeliť na dve časti – na časť teoretickú (prvé štyri kapitoly) a časť praktickú (zvyšné tri kapitoly). Snažili sme sa, aby boli prvé tri kapitoly, ktoré sa venujú histórii a vývoju bulharského výtvarného umenia po roku 1878, približne rovnako obsiahle. Nepodarilo sa nám to – v prvej sme boli nútení sa rozpísať viac. Popisovali sme v nej začiatky zložitej cesty bulharského umenia. Ak by nebolo Ivana Mrkvičku, Jaroslava Věšína, Antona Mitova a Ivana Angelova, len ťažko si predstaviť, akou rýchlosťou a akým smerom by sa už aj tak dosť zložitá cesta uberala. Nebolo naším cieľom konkrétnejšie opisovať prácu či život jednotlivých výtvarníkov, ktorých v práci spomíname. U vyššie uvedenej štvorky umelcov sme však nemohli inak. Mrkvička, Věšín, Mitov a Angelov stáli pri zrode moderného výtvarného umenia. Ich doménou bola žánrová maľba v realistickom štýle. Čo si pod týmto pojmom predstaviť? Scény z každodenného života (zväčša dedinského obyvateľstva). Na obrazoch týchto výtvarníkov tak vidíme ľudí pracujúcich na poli, pouličné scény – najmä z prostredia trhov, ale aj oslavy a ukážky bulharských rituálov. Každý z maliarov vynikal vo vyobrazovaní inej udalosti. Divák tak prostredníctvom ich obrazov môže zistiť nielen to, ako v tejto dobe bulharské umenie vôbec vyzeralo, no najmä – ako v tej dobe vyzeral život prostého bulharského ľudu. Ivan Mrkvička a Jaroslav Věšín boli síce českej národnosti, no mentalita a život Bulharov im veľmi rýchlo vliezli pod kožu a ich diela nie sú dielami cudzincov, Bulharsko bolo ich súčasťou, prežívali s ním dobré aj zlé a to pôvodne prišli do krajiny, aby (predovšetkým) pomohli rozvíjať výučbu kresby na novovznikajúcich bulharských 6 školách. Všetci štyria sa tiež významnou mierou pričinili o vznik Národnej akadémie umení v Sofii, kde rovnako vyučovali a ich žiakmi boli mnohí výtvarníci, o ktorých sme písali v druhej a tretej kapitole. Nielen vzniku tejto školy, ale aj prvému výtvarnému časopisu a prvému spolku umelcov sme zasvätili tretiu podkapitolu kapitoly prvej. Po tomto úvode, ktorý bol o úplných začiatkoch vývoja bulharského umenia po roku 1878, sme sa už venovali len moderne a avantgarde. Tieto dva umelecké smery (resp. súbor umeleckých smerov v prípade avantgardy) sa voči sebe navzájom vymedzujú. Na tomto mieste sa musíme zastaviť a vysvetliť, že v bulharskom prostredí tomu tak nie je. Moderna a avantgarda tu predstavujú jedno, splývajú. Niekedy sa používa pojem jeden, inokedy druhý, no vždy predstavujú jedno a to isté. Bulharskí literárni vedci a kunsthistorici častejšie operujú s pojmom moderna. Avantgarda je často chápaná ako vrcholná fáza moderny, poprípade ako postsymbolistický jav.1 My sa v našej magisterskej diplomovej práci snažíme držať rozdelenia na modernu a avantgardu, o čom svedčí aj jej samotný názov. V druhej kapitole už popisujeme zmeny, ktoré sa udiali na poli umenia s príchodom nového storočia. Spoločnosť je v rozkvete, na scéne sa objavuje nová generácia umelcov, ktorej žánrová maľba nestačí a túžia sa posunúť ďalej. Umenie sa postupne stále viac a viac začína otvárať európskym vplyvom. So značným oneskorením tak v Bulharsku nastupuje secesia v kombinácii so symbolizmom, ako prvá etapa bulharskej moderny. Táto symbolisticko-secesná estetika bola akýmsi náznakom či predtuchou toho, že skutočná moderna (v našom ponímaní lepšie použiť výraz avantgarda) už stála za dverami. V tomto období tiež vznikajú nové umelecké 1 Viac o vnímaní pojmov moderna a avantgarda sme písali v našej bakalárkej diplomovej práci, kde naše postrehy podkladáme poznatkami a názormi literárnych vedcov Vladimíra Janeva, Svetlozara Igova či Tonča Žečeva. IVANOVOVÁ, Michaela: Manifesty expresionizmu Gea Mileva. Bakalárska diplomová práca 2017. Vedúci práce: doc. PhDr. Václav Štěpánek, Ph.D. Ústav slavistiky FF MU Brno. 7 spolky, ktoré tvorili nielen noví mladí umelci, ale aj tvorcovia, ktorí chceli skoncovať s už spomenutou žánrovou maľbou a vytlačiť umelecký spolok Mrkvičku a jeho kolegov,
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    Masarykova univerzita Filozofická fakulta Ústav hudební vědy Sdružená uměnovědná studia Sara Cočevová Národní akademie umění v Sofii − zásluha českých osobností na jejím vzniku a vývoji Bakalářská diplomová práce Vedoucí práce: PhDr. Pavel Zeman 2018 Prohlašuji, že jsem diplomovou práci vypracovala samostatně a s využitím uvedených pramenů a literatury. V Brně dne ………………………………………. Podpis autora práce Obsah 1. Předmluva ................................................................................................ 2 2. Úvod......................................................................................................... 3 3. První české stopy a „česká kulturní invaze“ .............................................. 6 3.1 Důvody migrace .......................................................................................................................... 7 3.2 Český dopad na bulharské malířství ........................................................................................... 9 4. Národní akademie umění v Sofii ............................................................. 10 5. Přehled českých učitelů, kteří působili na malířské škole ....................... 16 5.1 Jan Václav Mrkvička (1856−1938) ............................................................................................ 16 5.3 Jaroslav Věšín (1860–1915) ...................................................................................................... 21 5.2 Antonín Václav Šourek (1857−1926).......................................................................................