DOCSLIB.ORG

IVANOVOVA.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IVANOVOVA.Pdf 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,
Load more

Recommended publications
  • Bulgarian Realistic Painting
    CONTENTS page Acknowledgements 2 1. Personal introduction. 3 2. Purpose of the booklet. 4 3. What’s in a name – classifying paintings. 5 4. What do we need to know about a painter? 5 5. Getting to see the richness of Bulgarian art. 7 6. Getting paintings home. 8 7. Further References. 9 8. 140 of the best! 10 An annotated list. Annex Annex 1; Some notes on the municipal Galleries. 45 Annex 2; Private galleries in Sofia which concentrate 53 on “realistic” Bulgarian painters of the mid-20th Century. Annex 3; Contemporary Galleries – two of the best! 55 About the author 56 1 Acknowledgements I would not have been able to produce this booklet without the support and encouragement of Yassen Gollev of Konus Gallery – also painter and lecturer. It was he who suggested the initial names of painters I should know something about and who would produce, from time to time, works for me to consider. Latterly, he supplied me with the details of some of the painters of whom I was despairing of getting any more information than their date of birth! Evelina Handjieva, the Director of the Dobrich city gallery, was also very helpful in the provision of information. To Yovo Yovchev is due particular thanks for being the person who really introduced me to Bulgarian painting in 2008; who sold me my first Bulgarian painting; and subsequently helped me in my searches. Last but certainly not least I have to thank Vihra Pesheva – for her introductions to the canvasses of the younger generation and for her immensely helpful assistance in the final stages of the production of this booklet.
    [Show full text]
  • Bulgaria.Pdf
    A saudi man with his horse The Dormition of the Mother of God Cathedral in Varna. Flickr / Charles Roffey Wikimedia / Plamen Agov Bulgaria September 2020 Table of Contents Chapter 1 | Geography . 6 Introduction . 6 Geographical and Divisions . 7 Topography � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �7 Northern Bulgaria � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �7 Balkan Mountains � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �7 Southern Bulgaria � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �8 Black Sea Coast � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �8 Climate . 9 Bodies of Water . 9 Danube � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �9 Maritsa � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �9 Struma � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �9 Tundzha � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �10 Iskŭr � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �10 Major Cities . 10 Sofia � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �10 Plovdiv � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
    [Show full text]
  • Issue-46-February-2004.Pdf
    issue 46 february 2004 FinanceFinance inin FocusFocus TheThe EmbassiesEmbassies ofof MoneyMoney ChainChain ReactionReaction AreAre BulgarianBulgarian PoliticalPolitical PowersPowers Disintegrating?Disintegrating? LARBALARBA ActAct HelpsHelps BusinessesBusinesses new FendFend offoff GovernmentGovernment IntrusionIntrusion pages: EU Membership Sector Overview EU Membership AmCham Interview Balkans CardCard CostsCosts DearlyDearly Art American Chamber of Commerce in Bulgaria Business Park Sofia, Mladost 4 Area, Building 2, Floor 6, 1715 Sofia Tel.: (359 2) 9769 565 Fax: (359 2) 9769 569 homepage: www.amcham.bg e-mail: [email protected] editorial Dear Members and Friends, And the winner is... ...You, my dear reader. You are one of the select few in Bulgaria, and in the world, I am pleased that you have chosen to read AmCham Bulgaria Magazine. For the receiving a balanced, complete and good- first time in our 10-years history of the Chamber we are launching such a complete looking publication, chockfull of valuable and diversified publication. It is our aim to bring you the most interesting business- information – AmCham Bulgaria Magazine. related topics and coverage of issues in Bulgaria. It arrives at your desk for free, because its Our ambition is to transform the magazine into the preferred media for the English- mission is not to cash out on readers, but speaking audiences in Bulgaria. Businessmen, politicians and top-level decision instead help them make money. makers should find valuable information, a forum for discussions and opportunities to expand their knowledge on the business environment from our publication. In the world of print media what matters most is readers’ trust. Your trust. When it The success of the magazine will strongly depend on you, our members.
    [Show full text]
  • 276 Quo Vadis Bulgarian Studies
    DOI: 10.7546/PIBL.XXXII.19.09 БЪЛГАРСКА АКАДЕМИЯ НА НАУКИТЕ ИЗВЕСТИЯ НА ИНСТИТУТА ЗА БЪЛГАРСКИ ЕЗИК „ПРОФ. ЛЮБОМИР АНДРЕЙЧИН“ К н и г а ХХХII QUO VADIS BULGARIAN STUDIES: PROF. MACHIEL KIEL ON BULGARIA AND BULGARIANS. PART I Maxim Stamenov Institute for Bulgarian Language, Bulgarian Academy of Sciences QUO VADIS БЪЛГАРИСТИЧНИ ИЗСЛЕДВАНИЯ: ПРОФ. МАХИЕЛ КИЙЛ ЗА БЪЛГАРИЯ И БЪЛГАРИТЕ. ЧАСТ I Максим Стаменов Институт за български език, БАН Abstract. Why Bulgarian studies? Each professional in the field has a personal story to tell on the subject. For Bulgarians it is a matter of definite interest to find out why a foreigner may choose to dedicate their professional life to Bulgaria and Bulgarians instead of many other possible alternatives. In this discussion article I will look for clues of what may have motivated Prof. Machiel Kiel to undertake research in Bulgarian studies in the Balkan context and later move to Ottoman studies with the orientation toward ‘Bulgaria during the Ottoman period’. Part I of the article aims to identify the leitmotifs in the oeuvre of Kiel and the corresponding intentional stance in dealing with subjects related to Bulgarian studies. Part II will be dedicated to case studies (microanalyses) of his way of thinking and coding the products with linguistic means, as well as to general conclusions, including the challenge of Kiel’s professional identity. Keywords: Bulgarian studies, Ottoman studies, Balkan studies, intentional stance in scientific communication, truth-conditions in historical discourse, pragmatics of historical discourse, professional idiolect Резюме. Защо българистика? Всеки специалист от странство в областта може да разкаже различна лична история по въпроса.
    [Show full text]
  • Bulgarian Realists - Getting to Know the Bulgarians Through Their Art
    Bulgarian Realists - getting to know the Bulgarians through their art Ronald G Young MA MSc 1 October 2016 1 DEDICATION To my daughters - Hilary, Jan and Susanna To enter into the subjective life of another culture – its symbolic codes, its overt beliefs and implicit assumptions – requires, as any immigrant or nomad can tell you, a considerable effort of consciousness and imagination; a kind of stretching of self towards the other- and a gradual grasp of differences which are sometimes imperceptible and subtle. ….. Cultures are neither static nor monolithic organisms – they are complex, changeable and internally diverse. What is considered healthily assertive in one culture may be seen as aggressive or hostile in another; certain kinds of personal disclosure which may seem quite unproblematic in one society may be seen as embarrassing or entirely unacceptable elsewhere…… We live in a world in which various kinds of cross-national movement – migrations, travel, various kinds of both enforced and voluntary nomadism – are ever on the rise… If we are to meet with each other on the basis of trust rather than tension or insidious indifference, we need to have ways of getting acquainted with each other which are more than cursory, or purely instrumental. But how can this be accomplished? What kind of knowledge is needed to feed meaningful cross-cultural contacts? Inner Lives of Cultures (2011) ed Eva Hoffman 2 CONTENTS Part 1 – Introduction to a country 1. “This is not a guide” 2. Things you need to know 3. The Retro Charm of Sofia 4. Bulgaria - For those who want to know more PART II A Daunder through Bulgaria and Sofia Part III Bulgarian Realist Painting 5.
    [Show full text]
  • Bulgarian Banknotes, 1885-2003
    Balkanologie VIII (2), décembre 2004, p. 7-31 \ 7 CHANGE THE REGIME - CHANGE THE MONEY: BULGARIAN BANKNOTES, 1885-2003 Adrian ε. Tschoegl* This paper follows the changes in the images in Bulgaria's notes from the first issue in 1885 to the most recent in 2003. In that period, Bulgaria has gone from being a monarchy to a Communist Peoples' Republic then to a Parliamentary Republic, and the pictorial elements of its money have reflected those changes. Although it is an obvious point that changes in political re­ gimes lead to changes in the images on the emanations of the State, be they its banknotes, coins, flags, or postage stamps, still this point has not appeared in the literature on these emanations1. BANKNOTES AND THE IDEA OF NATIONAL MONEY We see money every day, but because of its familiarity we rarely observe it. Though often aesthetically beautiful, a banknote is an oblong piece of paper without intrinsic value2. However, the banknote is also a means of communi­ cation ; it has symbols and images on it that carry information. Banknotes re­ present a unique documentation because they combine in one medium com- * Adjunct Associate Professor of Management, The Wharton School of the University of Pennsylvania, Philadelphia, [email protected] 1 I would like to thank Stanley Brunn, John Dunn, Jeffrey Miller and Georgi Spiridonov who assisted in di­ verse ways and Anca Metiu who provided helpful comments on an earlier draft. I would like to thank as well Garry Saint Esq. of Numismondo who kindly made available excellent scans of the banknotes that I have used in this paper.
    [Show full text]
  • Modernization Processes in Bulgarian Theatre
    BULGARIAN 20TH CENTURY IN ARTS AND CULTURE БЪЛГАРСКИЯТ XX ВЕК В ИЗКУСТВАТА И КУЛТУРАТА Ingeborg Bratoeva-Darakchieva Irina Genova ИнгеборгClairе Братоева-Даракчиева Levy JoannaИрина Spassova-Dikova Генова Teodora Stoilova-DonchevaКлер Леви ЙоанаStela Спасова-Дикова Tasheva ТеодораElka Стоилова-Дончева Traykova Стела Ташева Елка Трайкова BULGARIANБЪЛГАРСК А АСАDЕMУАКАДЕМИЯ OFНА SCIENCES НАУКИТЕ ИНСТИТУТ INSTITUTEЗА ИЗСЛЕДВАНЕ OF ARTНА STUDIESИЗКУСТВАТА ИнститутInstitute за изследване of Art Studies на изкуствата 2019 2019 11 IN MEMORY THE EDITION IS SUPPORTED BY OF ALEXANDER YANAKIEV THE NATIONAL SCIENCE FUND, BULGARIA (CONTRACT NO. ДФНИ-КО2/9 DD. 12.12.2014) NATIONAL SCIENCE NATIONAL SCIENCE FUND – BULGARIA FUND – BULGARIA MINISTRY OF EDUCATION AND SCIENCE MINISTRY OF EDUCATION AND SCIENCE BULGARIAN 20th CENTURY IN ARTS AND CULTURE © TEAM, 2019 Scientific editing – Claire Levy, Joanna Spassova-Dikova, Elka Traykova © Editor – Marinelli Dimitrova © Cover – Todorka Draganinska, after the Anna Mihailova‘s painting Nestinarki (Fire Dancers) © Pre-press – Three-Dimensional Prototypes © Institute of Art Studies, Sofia, 2019 ISBN 978-954-8594-77-6 2 3 CONTENTS Introduction ............................................................................................11 PART ONE UNDER THE SIGN OF MODERN EUROPE (1878–1944) From Traditional Folk Music to the Music of Modernity .........................15 Realism in Bulgarian Literature on the Border of Two Centuries ......................................................................................24
    [Show full text]
  • Surveys Eap989 Survey 1: Data Collection Vidyu1
    SURVEYS EAP989 SURVEY 1: DATA COLLECTION VIDYU1 Ivan Enchev - Vidyu was a Bulgarian painter, art critic, illustrator, decorator, cartoonist, scenographer, archaeologist and folklorist. Born on 29 March 1882 in the town of Kazanluk , he obtained his primary education at the teacher training school in his hometown. It was there that he first developed his interests in painting, theater and antiquities. In 1901, he enrolled at the National Academy of Arts in Sofia, where he studied with Petko Klisurov and joined the local community of people from Kazanluk, known as “Rose Valley”, after an area near their hometown. During this time he also helped establish the “Department of Antiquities” at the “Iskra Town History Museum” and made his public début with cartoons and illustrations for the local newspapers. Impressed by Professor Anton Mitov's lectures on art history, he began to write art criticism for the newspaper Ден (Today). He became so involved with this new interest,that he failed to attend his final exams at the Academy. He remained in Sofia a bit longer, then went to Munich in 1906 where he specialized spending his days at the Alte Pinakothek, copying the Old Masters. In 1908, he returned home and donated fifteen of them to a new Art museum. For the next few years, he exhibited his landscapes at the “Society of Artists of Bulgaria” in Sofia, but was not very successful. Instead, he decided to devote his energy to art research and critiques, written for Мир (Peace), the official organ of the People's Party. Although this required living in Sofia, he continued to participate in the affairs of his hometown.
    [Show full text]
  • Sara Cočevová Národní Akademie Umění V Sofii
    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).......................................................................................
    [Show full text]