Sochařské dílo Jiřího Seiferta

Abstract

resivniho umeIce, jak je chapan ve druhe polovine dvacateho stoled. Jeho tvorba neni zaloiena ani na experimentu, ani na konfrontaci se spoleeenskou Ci kulturni situad. Naopak, od ukoneeni ranneho obdobi hledani vlastniho zpusobu vyjadreni, se jeho tvorba vyznaeuje velkou kompaktnosti z hlediska vnitrnich i vnejsich forem a elSi z ni usilovna snaha 0 nalezeni souzneni s dobou a prostredim, v nii se jako individualita sve doby nachazi, a predevSim o nalezeni vnitrni harmonie. Neznamena to vsak, ie pfitom nereaguje na prostredi, v nemi se ocid nebo ze dokonce ztrad kontakt s realitou sve doby. Pokusime se nastinit, jakymi prostredky se Seifert s realitou vyrovnaval a jakymi pohnutkami se pH tom nechaval vest. Sochar Jifi Seifert nastoupil svou umeleckou drahu v dobe, ktera pro evropsky orientovany svet znamenala historicky predel. Britsky historik Geoffrey Barraclough tento kulturni zlom pocatku 60. let 20. stoleti srovnava s prechodem stredoveku a novoveku. [1] Mnozi umeIci tento zlom vytusili uz dfive a nektefi z nich se snaiili uporne patrat v neprobadane krajine a pfibliiit a odhalit nektere cesty a objekty, jei tuto novou krajinu napliiuji. Seifert se rozhodl nejit touto cestou odhalovani obecneho neznameho, nikoliv vsak proto, ie by si jeho pfitomnost neuvedomoval. eim dale se na sve ceste dostaval, tim...

The present thesis focuses on sculptural work of Jiti Seifert and its evolution within the context of Czech and European art of the 2nd half of 20th century. It contains a detailed study on sources of inspiration and circumstances of Seifert's work as well as sculptor's artistic curriculum. The latter is divided into three main periods following the evolution of his artistic activity. Due to sculptor's personal engagement, these periods match closely with the recent political history of Czechoslovakia. The 1st period, that comprehends the author's seek for own artistic expression, dates since the beginning of his studies at the Academy of Applied Arts in Prague and culminates in the abstract artworks inspired by Jean Arp and Henry Moor. Its final point is marked by the execution of the Belfry for Jan Palach (1969) sculpted during the symposium in St. Margarethen, Austria. It is also during this event when Seifert meets Karl Prantl, an Austrian sculptor who influences him in his work forever since. The 2nd period that is marked by the limited possibility of realization extends between the years 1970 and 1989. On one hand Seifert turns back to the private world and looks for inspiration emerging out of personal life and feelings while, on the other hand, he also gets new impulses from pre-historic art and...