Academic literature on the topic 'Skupina Ra (Group of artists)'

Among those who interest themselves in modernism in the context of the Austro-Hungarian Empire, Prague is sometimes referred to as the “second city of cubism.” In 1911, at a time when the style was still largely unknown in Europe, an artists’ group devoted to the defense and promotion of the new art was founded in Prague. The members of the Skupina výtvarných umělců, or Visual Artists Group, wrote extensively about cubism in their journal Umělecký mesičník [Art Monthly] as well as in other publications. They sponsored numerous exhibits of the art at home and participated in shows of Czech cubist art abroad. In February 1914, Prague was the site of the largest show of cubist art anywhere in the world up to that time.

In this case study, we explore how a group of mature fibre artists, known as Fibres and Beyond (FaB), have made an ongoing contribution to their rural communities through art practice, both within the circle of group members and among the wider community. For nearly twenty years, FaB has successfully maintained their artist collective, generating pedagogic affects in bi-annual exhibits as venues that raise awareness of creative expression and stimulate reciprocal dialogue with the general public about ways of making, sharing and producing art. In this way, art events are arguably a form of knowledge creation that attend to lifelong learning and rural art education by building upon informal exchanges that demonstrate an ongoing and vital commitment to nurturing and sustaining local social and cultural engagement.Key words: artist collectives; informal learning; pedagogical events; rural art education, social art practice. --- U ovoj studiji slučaja istražujemo kako je skupina zrelih tekstilnih umjetnica, znana kao Vlakna i više (ViV), trajno doprinijela svojim ruralnim zajednicama kroz umjetničko djelovanje, oboje unutar kruga ili grupe članova i u široj zajednici. Tijekom gotovo dvadeset godina, ViV je uspješno održavao svoj umjetnički kolektiv stvarajući pedagoške afekte na dvogodišnjim izložbama, kao mjestima razvijanja svijesti o kreativnom izričaju te poticao recipročni dijalog s općom javnosti o načinima izrade, dijeljenja i stvaranja umjetnosti. Na taj način umjetnički događaji nedvojbeno su postali oblik stvaranja znanja te služili cjeloživotnom učenju i ruralnom umjetničkom obrazovanju, nadograđujući neformalne razmjene koje demonstriraju kontinuiranu i vitalnu predanost njegovanju i održavanju lokalnoga društveno-kulturološkog angažmana.Ključne riječi: neformalno učenje; pedagoška događanja; praksa socijalne umjetnosti; seosko umjetničko obrazovanje; umjetnički kolektivi.

This thesis describes the artwork of Max Bucaille (1906-1996), an obscure French artist who, as a professor of mathematics, had become famous mainly for his surrealistic collages. I am aiming to clarify the relationship of Bucaille to the Czech environment and the Czech artists. I am also focusing mainly on his imprisonment during WWII in prison camp Stalag IV C located in current Czech Republic; his activity in a group of Revolutionary Surrealists between 1947 and 1948, which also included members of Czech Group Ra; and his exhibitions in Czechoslovakia in the 1960's. His work had been introduced to our country thanks to the affiliation of Brno based surrealist group Lacoste along with the international group C.I.A.F.M.A. (Centre international d'actualité fantastique et magique) which was founded in 1958 in Brussels, Bucaille was also among the founders of this group. Considering the focus of this work it is also necessary to mention and to outline the situation of post war surrealism in the Czech countries. There are also comments regarding post war searches for Czech artists which were halted by the political event of February 1948, which completely ended free artwork as well as foreign connections. Then there is a description of the liberalization that happened toward the end of the 1950's...

The first part of the diploma thesis is focused on the history and activity of the literary and visually artistic Group Ra, especially in the years 19361948. The artistic output of Ra comes out of Surrealism and is notably influenced by it; however, later Ra creates its own style following Surrealism and at the same time going beyond it. This part devotes to the signs of Surrealism, similarities and differences between Ra and the previous generation, contacts of the Younger Surrealists and also displays the poetics of the group members and their works. The second half of the thesis is concentrated on one of the Younger Surrealists, on Ludvík Kundera and his various works and specific expression with which enriches the way how Ra reflects and depicts the world. The dissertation thus presents not only a group creating art during the German occupation and war, but also exposes the contribution of the Group Ra and Ludvík Kundera to the artistic avant-garde.

Skupina výtvarných umělců (The Group of Fine Artists) was an avant-garde artist group active in Prague in the years 1911–17. Skupina consisted of Czech painters, sculptors, architects, designers, illustrators, art historians, and art critics. Many of Skupina’s members seceded from the Mánes Union, Prague’s dominant association for modern art, to form the new group. The foundational meeting in May 1911 was attended by Emil Filla, Josef Gočár, Otto Gutfreund, Pavel Janák, Vlastislav Hofman, František Kysela, Zdeněk Kratochvíl, Ladislav Šíma, and Václav Špála. These founders were joined by Vratislav Brunner, Josef Chochol, Vilém Dvořák, František Langer, Jan Thon, Vincenc Beneš, Josef Čapek, and his art critic brother Karl Čapek, with the later additions of Antonín Procházka and art historians Vincenc Kramář and V. V. Štech.