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Publish yr be aware: First released 1992
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Additional info for Art and Life in Modernist Prague: Karel Čapek and His Generation, 1911–1938
Moreover, it was the rising Czech-speaking middle class that identified most militantly with national aspirations. 46 Art and Life in Modernist Prague In the plainest possible terms, then, one of the principal social differences between Prague, Vienna, and Budapest was that in Prague there was a large Czech-speaking middle class that identified itself with the Czech nation and defined itself in direct opposition to Germans and, oftentimes, to Jews. Unlike in Vienna where Austrian nationalism was for the intellectual bourgeoisie hardly a conceivable response to the breakdown of liberal culture, and unlike in Budapest where nationalism lost its appeal for an intellectual class composed largely of marginal groups increasingly defined outside the boundaries of the Hungarian nation, in Prague the Czech-speaking bourgeoisie, including its intellectual and artistic elites, found in nationalism an appropriate vehicle for its political aspirations as well as a usable source of new, integrative social values.
Imaginative new design tradition. In the years after the war, a style derivative of prewar cubism, rondo-cubism, became something like the national architectural style. There can be no doubt, then, that in the years prior to the First World War, Prague was an important center of cubist art. Although art and architectural historians have done an excellent job tracing the formal basis of the cubist explosion in the Czech context, they have left more or less untouched the question of principal importance to the historian of culture: Why Prague?
It was not well received. Given that impressionism was the style of painting most favored by Volné směry, Filla’s essay was sure to cause a stir, but it was the reproductions it featured, with their unfamiliar distortions of the human form, that raised the greatest storm. The outcry was immediate and almost deafening. 7). ”11 The “young generation” that resigned from Mánes included Vincenc Beneš, Vratislav Brunner, Josef Chochol, Emil Filla, Josef Gočár, Vlastislav Hofman, Pavel Janák, Zdeněk Kratochvíl, Otakar Kubín, Bohumil Kubišta, František Kysela, Antonín Matějček, Antonín Procházka, Ladislav Šíma, and Václav Špála.
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