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Nationalism and cosmopolitanism in the avant-garde and modernism. The impact of the First World War
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SYSNO ASEP 0561583 Document Type M - Monograph Chapter R&D Document Type Monograph Chapter Title Transnational of National Cubism?. Vincenc Kramář on Cubism Author(s) Lahoda, Vojtěch (UDU-I) RID Number of authors 1 Source Title Nationalism and cosmopolitanism in the avant-garde and modernism. The impact of the First World War. - Prague : Artefactum, 2022 / Gluchowska L. ; Lahoda V. - ISBN 978-80-88283-69-0 Pages s. 174-190 Number of pages 17 s. Number of pages 631 Publication form Print - P Language eng - English Country CZ - Czech Republic Keywords nationalization of Cubism ; national romantic movement ; new state ; aristocratic cosmopolitanism ; democratic internationalism ; emulation ; national style ; Legiobanka style ; Czechoslovakia ; Mitteleuropa ; New Europa Subject RIV AL - Art, Architecture, Cultural Heritage OECD category Arts, Art history Institutional support UDU-I - RVO:68378033 Annotation In 1918 the first President of Czechoslovakia, the philosopher and university pedagogue Tomáš Garrigue Masaryk, wrote a short treatise, first in English and French in 1918, then in Czech and in German, entitled New Europe: A Slav Standpoint, in which he raised the question of the standing of the Czechoslovak nation in Europe. According to Masaryk, between nationality and internationality there is not conflict, but agreement, nations are the natural organs of humanity. Three years after the aforementioned publications of Masaryk's New Europe, the Prague art historian Vincenc Kramář who studied art history in Vienna, published a book entitled Kubismus [Cubism], in which he extensively explained the epochal significance of the works of Picasso and Braque. Kramář declared that „national art” would not be just the „pure fruit of domestic soil”, but must also be „comprehensible abroad” and „panhuman”. Kramář wrote these words in 1921, at a time when the young state had only three years of independent existence behind it and its dramatic problems barely resolved, these were daring ideas, and decidedly did not convey what enthusiastic nationalists (patriots) wished to hear. The author shows that Kramář's defence of Cubism as a synthesis of national and transnational significance was both a gesture and a manifestation. Workplace Institute of Art History Contact Veronika Jungmannová, jungmannova@udu.cas.cz, Tel.: 221 183 506 ; Markéta Kratochvílová, kratochvilova@udu.cas.cz, Tel.: 220 303 939 Year of Publishing 2023
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