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Constructing a Czech National Art in the Prague Biennale Carrie Dedon Pomona College

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Constructing a Czech National Art in the Prague Biennale Carrie Dedon Pomona College Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2010 Visualizing the Nation: Constructing a Czech National Art in the Prague Biennale Carrie Dedon Pomona College Recommended Citation Dedon, Carrie, "Visualizing the Nation: Constructing a Czech National Art in the Prague Biennale" (2010). Pomona Senior Theses. Paper 39. http://scholarship.claremont.edu/pomona_theses/39 This Open Access Senior Thesis is brought to you for free and open access by the Pomona Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. VISUALIZING THE NATION: CONSTRUCTING A CZECH NATIONAL ART IN THE PRAGUE BIENNALE By Carrie Dedon Submitted to Pomona College in Partial Fulfillment of the Requirement for the Degree of Bachelor of Arts Thesis Readers: Frances Pohl Mary McNaughton April 23, 2010 Carrie Dedon Acknowledgements Many thanks to Frances Pohl and Mary McNaughton for their suggestions and advice in writing this thesis; to the Pomona College Art History faculty, particularly my advisor George Gorse, for their support and encouragement; to the Faculty Research Committee for the Summer Undergraduate Research Project Grant and the Art & Art History Department for the Flintridge Foundation/Louisa Moseley Fine Arts Special Project Grant, both of which funded my research in Prague; to Josef Bolf, Lucie Drdova, Edith Jeřábková, Miloš Šejn, Štĕpanká Šimlová, Pavel Šmíd, and Miloš Voytĕchovsky for their insightful interviews; to Katka Francová and her family for their generous hospitality and Czech-English translations; and to my family and friends who were the patient sounding boards for every idea in the following pages. Carrie Dedon Table of Contents List of Illustrations .............................................................................................................. 1 Introduction ......................................................................................................................... 5 Chapter I: Forging a Nation and a National Artist ............................................................ 11 Institutions..................................................................................................................... 15 Artists ............................................................................................................................ 17 Conclusion .................................................................................................................... 24 Chapter II: Communist Czechoslovakia and the Art of Dissent ....................................... 28 Institutions..................................................................................................................... 31 Artists ............................................................................................................................ 37 Conclusion .................................................................................................................... 46 Chapter III: Post-Communist Art and the Prague Biennale .............................................. 51 Institutions..................................................................................................................... 55 Artists ............................................................................................................................ 68 The International Perspective ....................................................................................... 77 Conclusion: A Czech Identity for the Czechs ................................................................... 89 Illustrations ....................................................................................................................... 93 Appendix A: Timeline of Events .................................................................................... 105 Appendix B: Maps .......................................................................................................... 108 Bibliography ................................................................................................................... 110 Carrie Dedon List of Illustrations List of Illustrations Fig. 1.1: National Theatre, Prague. 1868-1881. In Pictures from Prague. Updated October 31, 2009; cited April 10, 2010. Available at http://picturesfromprague.com/?s=photos. Fig. 1.2: National Museum, Prague. 1818-1891. In Pictures from Prague. Updated October 31, 2009; cited April 10, 2010. Available at http://picturesfromprague.com/?s=photos. Fig. 1.3: Alfons Mucha. Gismonda, Sarah Bernhardt (Théâtre de la Renaissance). 1894. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.4: Alfons Mucha. Introduction of the Slavonic Liturgy in the Great Moravian Empire, from the series Slav Epic. 1912. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.5: Alfons Mucha. The School of the Bohemian Brothers in Ivančice, from the series Slav Epic. 1914. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.6: Alfons Mucha. After the Battle of Grunwaldu, from the series Slav Epic. 1924. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.7: Alfons Mucha. Master Jan Hus Preaching at the Chapel of Bethlehem, from the series Slav Epic. 1916. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.8: Alfons Mucha. The Slavs in Their Original Homeland, from the series Slav Epic. 1911. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.9: Alfons Mucha. The Apotheosis of the Slavs, from the series Slav Epic. 1926. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.10: Josef Mánes. My Fatherland. ca. 1850. In Josef Mánes, 1820/1871, exh. cat. Miloslava Seydlova & Gabriela Kesnerová, ed. Prague: National Gallery in Prague, 1971. Fig. 1.11: Alfons Mucha. The Oath of Omladina under the Slavic Linden Tree, from the series Slav Epic. 1926. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.12: Alfons Mucha. 8th Sokol Festival poster. 1925. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. 1 Carrie Dedon List of Illustrations Fig. 1.13: Alfons Mucha. Design for the central part of a stained-glass window in St. Vitus Cathedral, Prague. 1931. In Alphonse Mucha. Agnes Husslein-Arco et. al., ed. Munich: Prestel, 2009. Fig. 1.14: Alfons Mucha. Hradčany variety A postage stamp. 1918. In The Alfons Mucha Stamps. Updated December 17, 2000; cited April 10, 2010. Available at http://www.batz- hausen.de/test.htm. Fig. 1.15: Alfons Mucha. Czechoslovak 10 crown bank note. 1918. In An Unknown Side of Alfons Mucha. Updated March 29, 2001; cited April 10, 2010. Available at http://www.batz-hausen.de/muceng.htm. Fig. 1.16: Oldřich Tyl & Josef Fuchs. Veletržní Palace, Prague. 1925-1929. In The Veletržní Palace. Updated 2009; cited April 10, 2010. Available at http://prague- stay.com/lifestyle/review/185-the-veletrzni-palace/. Fig. 2.1: Geli Korzhev. Picking Up the Banner, from the triptych Communists. 1957- 1960. In The Humanism of Art. Vadislav Zimenko. Moscow: Progress Publishers, 1976. Fig. 2.2: Arkady Plastov. Tractor Drivers at Supper. 1961. In The Humanism of Art. Vadislav Zimenko. Moscow: Progress Publishers, 1976. Fig. 2.3: Arkady Plastov. Portrait of Stalin. 1937. In The Humanism of Art. Vadislav Zimenko. Moscow: Progress Publishers, 1976. Fig. 2.4: Lev Šimák. Plowing Limits. 1950. In Lev Šimák, exh. cat. Jiří M. Boháč, ed. Prague: Odeon, 1987. Fig. 2.5: Lev Šimák. CPCz Congress. 1949. In Lev Šimák, exh. cat. Jiří M. Boháč, ed. Prague: Odeon, 1987. Fig. 2.6: Mikuláš Medek. Big Meal. 1951-1956. In Aspects/Positions: 50 Years of Art in Central Europe 1949-1999, exh. cat. Lóránd Hegyi, et. al., ed. Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 1999. Fig. 2.7: Jiří Beránek. Outcry. 1988. In Spirit of Time, Spirit of Place: Contemporary Czech Painting and Sculpture, exh. cat. Michael Nixon, ed. Powys: An Oriel 31 Touring Exhibition, 1991. Fig. 2.8: Jitka Válová. The Conflagration. 1962. In Jitka Válová. Updated 2010; cited April 10, 2010. Available at http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id =6455AAA1561612FD. Fig. 2.9: Jitka Válová. All Our Deeds are Being Recorded. 1989. In Spirit of Time, Spirit of Place: Contemporary Czech Painting and Sculpture, exh. cat. Michael Nixon, ed. Powys: An Oriel 31 Touring Exhibition, 1991. 2 Carrie Dedon List of Illustrations Fig. 2.10: Kvĕta Válová. Wonder and Surprise. 1969. In Czech Art 1940-1970. Updated February 6, 2008; cited April 10, 2010. Available at http://udu.ff.cuni.cz/soubory/galerie/01%20Cechy/Klimesova%20%20ceske%20umeni% 201940-1970/slides/Kveta%20Valova,%201969,%20Poznani%20a%20udiv.html. Fig. 2.11: Kvĕta Válová. Trapped Dog, 1966. In Hell I Do Not Want. Krystyna Wanatowiczová. Updated December 27, 2009; cited April 10, 2010. Available at http://www.tyden.cz/rubriky/kultura/rozhovory-z-kultury/do-pekla-nechci_1809.html. Fig. 2.12: Jaroslav Róna. Crucified. 1989. In Jaroslav Róna. Updated 2009; cited April 10, 2010. Available at http://www.jaroslav-rona.cz/cz/galerie/malby.html. Fig. 2.13: Jaroslav Róna. Watchmen. 1986. In Jaroslav Róna. Updated 2009; cited April 10, 2010. Available at http://www.jaroslav-rona.cz/cz/galerie/malby.html. Fig. 2.14: Kvĕta Válová. They Are
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