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Masaryked. McGill-Queen’s University Press, How did s surrealist ideas relating to women and sexuality relate to Czech surrealist ideas?

And then there are the anonymous faculty members who voted with remarkable frequency to give me money! Co-author Bozena Hornekova textile designer, teacher, graduate of the Academy of Applied Artswho believed that even plump and pregnant women looked better in pants, based her “new conception of women’s garments” on wide over-the-knee pants similar to skirts. Krasny byl jeden populnocni rozhovor na prazske ulici.

The recent Jan Nemec film Toyen portrays the artist as obsessed with Jindfich Heisler and implies that he was involved in the creation of heterosexual erotica made when he was in fact barely adult.

Devetsil and Czech Culture, ” Ph. Certainly, Toyen and Styrsky formed one of those close partnerships often seen among twentieth-century artists: HarperCollins, ; 18 between Toyen and Jindfich Heisler, and Derek Sayer has included the avant-garde in his study of Czech nationalist fantasies and their formation.

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It compares the Czech and French relationships to shared 7 surrealist literary precursors, as well as considering hoduna Czech precursors Macha and Demi, then discusses the Czech avant-garde’s increasing interest in French surrealist ideas, particularly in light of a shared desire to align artistic goals with Communism. The writer Zuzana Krupickova, who visited the French surrealist haunt Hdina Lapopie, found that villagers today still describe Toyen as favoring rough, masculine attire.


University of Minnesota Press, Devetsil’s emphasis on interaction with avant-gardists from all over Europe provided a rich and stimulating intellectual and personal matrix for Toy en’s early development, including for her exploration of erotic themes. Descriptions of the artist as androgynous or of mutable gender identity wolke emphasize four general characteristics: Though the artist Zdenka Braunerova had been a well-respected personality among fin-de-siecle writers and intellectuals, mentions of female artists in First Republic journalism are relatively scarce.

Jiří Karel Wolker by Veronika Šťastná on Prezi

Seifert takes great care to detail her working garb and demeanor: Actually, the photographic evidence does not suggest that Toyen routinely engaged in the classic sort of cross-dressing. Tomes noted wistfully, at the end of a lecture on Czech surrealist painting, that Czech surrealists were mentioned only sporadically in Western European histories of the movement, but he stressed, with a certain pathetic optimism, that “we suspect, we know” that several personalities definitively linked Czech art to European and world art.

As one activist stated, “The Czech man, feeling how the denial of national and political equality hurts, angers, and inflames a thinking person, certainly will not prepare the same fate for the women of his nation: Michl also discusses this and Toyen’s book illustrations, especially for children’s books Michl, “Setkani s Jindfichem Styrskym,” In my student years women didn’t yet ordinarily wear trousers as they do today.

The couple’s connection to surrealism began jrii the s Vojtech Lahoda, “Libor Fara a surrealismus,” Atelier, no. First, she is the strangely attractive factory worker. We came up with about a dozen names, but none of them pleased her.


Indeed, fin-de-siecle feminist rhetoric had often proposed that Czech men must sympathize with the cause because Czech men, too, were oppressed. Unless Toyen was photographed in a disproportionate number of skirts, rather than, for example, the coveralls she wore to pack paintings to ship to Paris init appears that writers such as Seifert and Honzik may have exaggerated tezia extent and character of her “mannish” dress.

These publications and the retrospective exhibition need to be understood as occurring within the context of the easing of political pressure during the extended Prague Spring; almost 18 The situation was less dire for Czechoslovak interwar avant-garde literature as many of these writers embraced postwar Communism.

In the two were domiciled at Komenskeho 17 in Smichov. Evans points out that Mill’s essay “was the feminist bible” and was almost immediately translated into several languages, coinciding with the appearance of feminist movements in France, Germany, Finland, and possibly elsewhere.

One unusually gendered assessment of their work did, however, appear in Jifi Jelinek,” Kvart 4, no. Josef Kroutvor, for instance, mentions Prague surrealism primarily in terms of something that developed under the Protectorate, under circumstances of great danger, with the youngest generation inspired by Breton and the first- generation surrealists.

Urban, In Morbid Colours: Styrsky a Toyen Prague: A typical later assessment by Nezval was: To the extent that Westerners knew the work, it represented an interesting mystery by an exotic lesser-known surrealist.