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ERNST HANS GOMBRICH: JEHO KONCEPCIA DEJÍN UMENIA, METODOLOGICKÉ VÝCHODISKÁ A PRÍSPEVOK K CHÁPANIU MODERNÉHO VÝTVARNÉHO UMENIA

100%

Migašová J.

tom 6

nr 1

29 – 39

The paper is the contribution approach to interpretations of Ernst Gombrich’s contribution to the understanding of modern fine art. The basis of the paper stems out from knowledge of domestic and foreign interpretations of Gombrich’s art history concept (Bakoš, Mikš, Kesner, Hříbek, Elkins etc.). The main hypothesis of the paper is idea that Gombrich’s posthumously published work The Preference for the Primitive (2002) is, in spite of legitimate critiques on the part of contemporary art historians, not solely contribution to the primitivism phenomenon, but also to the understanding of modern art by its own historical perspective.

TRI VERZIE A TRI NOSNÉ DOMÉNY MODERNISTICKÉHO UMENIA

72%

Kuzmíková J.

tom 59

nr 3

230 – 245

The goal of the article is to contribute the research into the European art paradigm of modernism and postmodernism. The author uses several examples to remind us of how contradictory the conditions, in which modernism in the arts were formed, were not only in relation to the production of that time and art history but also within itself. One of the consequences of the cognitively initial situation is also non-systematic terminology. Therefore the author defines the difference between the notions modernism, modern art and modernity, modern, modernist. She argues that it is linguistically and literary-historically more appropriate for the Slovak environment to use the term modernism being systematically in line with classicism, romanticism, realism as well as the forerunner of postmodernism. The three vertically formed figures, of modernity, which are subject, truth and power, are projected in three versions of modernism in the arts: 1. in the narrowest sense it is a specific national form (Catalan, French modernism), 2. in the more narrow sense it is a poetological and literary-historical connection of impressionism, symbolism and decadence (secession, or modern style, art nouveau, i.e. modern art), 3. in a broad sense it is a period of civilization and culture whose art style can be defined by the publishing of Baudelaire´s collections The Flowers of Evil (1857) at its beginning and the rise of computer revolution, virtual reality in the 1960s at its end. In order to illustrate the difference between modernism and postmodernism in the arts Pavel Vilikovský´s prose Dog on the road (2010) is used as an example.