AUC Philosophica et Historica je víceoborový akademický časopis zaměřený na humanitní a společenskovědné obory (filozofie, psychologie, pedagogika, sociologie, obecné, české a hospodářské dějiny, pomocné vědy historické a archivnictví, etnologie).
Časopis je indexován v databázích CEEOL, DOAJ a EBSCO.
AUC PHILOSOPHICA ET HISTORICA, Vol 2021 No 2 (2021), 107–114
Traktoristky a Jedlíci ptáků
[Tractor Girls and Bird Eaters]
Marie Klimešová
DOI: https://doi.org/10.14712/24647055.2024.14
zveřejněno: 01. 10. 2024
Abstract
At the end of 1947, a small book was published, taking stock of the controversial reception of the exhibition of national artists of the Soviet Union, which in May of that year introduced Soviet socialist realism to Czechoslovakia for the first time. Zbyněk Sekal, a young student of the Academy of Arts and Crafts in Prague, also purchased the book. From a school trip to Paris in September 1947, he brought back Jean Dubuffet’s rare lithograph Mangeurs d’oiseaux [Bird Eaters] from 1944. The sheet was created as part of the album Matiere et Mémoire ou Les Lithographies a l’école [Matter and Memory or Lithographers at School] with text by Francis Ponge, and was published by Fernand Mourlot in January 1945. The album has been hailed as a turning point in Jean Dubuffet’s work, both because he was working on it to familiarize himself with the technique of lithography and because of the fundamentally new concept of the figure. Zbyněk Sekal then created a drawing and exceptional painting The Supper – loosely based on Dubuffet, cheerfully and confidently poking fun at Dubuffet’s Bird Eaters. My text will seek to answer the question, how does Sekal’s Czech paraphrase, a promising individual free artistic act, differ from Dubuffet’s program?
klíčová slova: Second half of the 1940’s; Paris; Zbyněk Sekal; Jean Dubuffet; Matiere et mémoire ou les lithographes a l’école; Clement Greenberg; subversivity; humor; national specifics
reference (8)
1. Ashton Dore, News from the castle behind the iron curtain. Report on museums and artists - a few of them avant-garde - in the Kafkaesque capital of Czechoslovakia, Art News 59, č. 7, November 1960.
2. Baumeister Willi, Wie steht die "gegenstandslose" Kunst zum Menschenbild?, in: Das Menschenbild in unserer Zeit, Erstes Darmstädter Gespräch, Herausgegeben im Auftrag des Magistrats der Stadt Darmstadt und des Komitees Darmstädter Gespräch 1950 von Hans Gerhard Evers, Darmstadt 1950.
3. Dubuffet Jean - Ponge Francis, Matiere et mémoire ou les lithographes a l'école, Fernand Mourlot (ed.), Paris 1945, https://1url.cz/cuJoV, vyhledáno 25. 11. 2018.
4. Greenberg Clement, Review of Exhibitions of Jean Dubuffet and Jackson Pollock, původně týž, The Nation (February 1, 1947), reprint John O'Brian, The Collected Essays and Criticism. Volume 2. Arrogant Purpose, 1945-1949, Chicago - London 1988, s. 122-225. CrossRef
5. Guilbaut Serge - Borja-Ville Manuel J., B-Bomb. The Transatlantic War of Images and all that Jazz. 1946-1956 (kat. výst.), Museu d'Art Contemporani de Barcelona a Museo Nacional Centro de Arte Reina Sofía, Madrid 2007.
6. Klimešová Marie, Zbyněk Sekal. A věci se berou před se (kat. výst.), Muzeum umění Olomouc a AJG na Hluboké 2015.
7. Kodera Tsukasa, Art - Nations - World. The 1960 International Congress of the AICA in Poland and Discussions on the International Character of Art, Pamiętnik sztuk pięknych 9, Toruň 2015, https://1url.cz/nrdYj, vyhledáno 23. 8. 2021.
8. Wye Deborah, Artists and Prints: Masterworks from The Museum of Modern Art (kat. výst.), The Museum of Modern Art New York 2004.
Traktoristky a Jedlíci ptáků is licensed under a Creative Commons Attribution 4.0 International License.
