Czech

Not applicable.

None.

For passing the course there are the following conditions:

• Active presence (50% attendance)
• Individual presentation of a summary of a selected topic.

 

Teaching takes place in the classrooms of the FFA BUT in the hours determined by the schedule. Attendance is compulsory (2 unexcused absences allowed). Higher number of absences can be compensated by submitting an alternative assignment after agreement with the teacher.

 

The aim of the course is to familiarize students with the key concepts of the history and theory of art of the 20th century. Students will be able to critically harness concepts such as style, function, gesture, genius, institution. They will be capable of analysis from the positions of post-colonial studies, gender studies and critical race studies.

 

Completion of the course should help students strengthen the ability of analytical thinking, conduct interdisciplinary dialogue and articulate a critical view of the canon of art history and its practice in the present.

 

Not applicable.

Not applicable.

Alfred Gell, Art and Agency: An Anthropological Theory, Oxford University Press, 1998, on-line: https://monoskop.org/images/archive/4/4d/20150328075023%21Gell_Alfred_Art_and_Agency_An_Anthropological_Theory.pdf
Alois Riegl, Historical Grammar of the Visual Arts, Princeton University Press, 2021
Alois Riegl, Moderní památková péče, Praha: NPÚ, 2003
Arnold Hauser, Filosofie dějin umění, Praha: Odeon, 1975
Arnold Hauser, The Social History of Art, Routledge, 1999
Bruno Latour, Reassembling the Social: An Introduction to Actor-Network-Theory, Oxford: Oxford University Press, 2005
Clement Greenberg, Art and Culture, Beacon Press, 1961
Clement Greenberg, Homemade Esthetics: Observations on Art and Taste. Oxford University Press, 1999.
Ernst Gombrich, O renesanci 1: Norma a forma. Symbolické obrazy, Praha: Argo, 2021
Ernst Gombrich, Smysl pro řád: Studie o psychologii dekorativního umění, Praha: Argo, 2021
Ernst Gombrich, Umění a iluze: Studie o psychologii obrazového znázorňování, Praha: Argo 2019
Frederick Antal, Florentské malířství a jeho společenské pozadí, Praha: SNKLHU 1954.
George Kubler, Tvar času: Poznámky k dějinám věcí, Praha: PositiF 2018
Hans Belting, Konec dějin umění, Praha: Mladá fronta 2000
Hans Sedlmayr, Art in Crisis: The Lost Center, Londýn: Hollis & Carter, 1957
Hans Sedlmayr, Demolovaná krása, Praha: Státní ústav památkové péče, H+H, 1992
Heinrich Wölfflin, Prolegomena zu einer Psychologie der Architektur, Mnichov 1886, on-line: https://www.cloud-cuckoo.net/openarchive/Autoren/Woelfflin/Woelfflin1886.htm
Heinrich Wölfflin, Renaissance and Baroque, Cornell University Press, 1967
Heinrich Wölfflin, Základní pojmy dějin umění: Problém vývoje stylu v novověkém umění, Praha: Academia 2020
Horst Bredekamp, Image Acts. A Systematic Approach to Visual Agency, Berlin, Boston: de Gryuter, 2017
Josef Strzygowski, Die Altslavische Kunst: Ein Versuch ihres Nachweises, ‎ Augsburg: Benno Filser, 1929
Ladislav Kesner, Vizuální teorie: Současné anglo-americké myšlení o výtvarných dílech, Praha, H+H 2005
Martina Pachmanová (ed.), Neviditelná žena: antologie současného amerického myšlení o feminismu, dějinách a vizualitě, Praha: One Woman Press, 2002
Max Dvořák, History of Art as The History of Ideas, Routledge & Kegan Paul 1984
Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures, Yale University Press 1985
Michel Foucault, What Is An Author?, 1969, on-line: https://www.open.edu/openlearn/pluginfile.php/624849/mod_resource/content/1/a840_1_michel_foucault.pdf
Milena Bartlová (ed.), Michael Baxandall, Inteligence obrazu a jazyk dějin umění: Výbor z textů, Praha: UMPRUM 2019
Roland Barthes, Smrt autora, 1962, on-line: https://monoskop.org/images/d/de/Barthes_Roland_1968_2006_Smrt_autora.pdf
Rosalind Krauss, Passages in Modern Sculpture. Cambridge Mass: The MIT Press, 1977
Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Massachusetts: MIT Press, 1985
Timothy J. Clark, Farewell to an idea: Episodes from a History of Modernism, Yale University Press 1999

Not applicable.