Kritika a autonomie českého umění (1859-1892)
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Praha
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The understanding of artistic creation as an autonomous activity with its own rules and criteria for evaluating success seems almost natural nowadays, and we are perhaps most often aware of its lack of self-evidence in lawsuits against authors of works with controversial content. There was a time, however, when even the art world was not united in its view of the autonomy of its production - the primacy of the aesthetic in evaluation had to assert itself in complex debates over specific works. The authors of the book find the centre of these negotiations in the period of the beginnings of parliamentarism in our country, when the growing self-confidence of the artistic sphere was expressed not only in the production itself, but also, for example, in the construction of representative public spaces (the National Theatre in Prague, the Rudolfinum). The interdisciplinary research, inspired by sociological and literary-historical studies of the autonomization of French art (P. Bourdieu, M. Einfalt), focuses on the critical response to literary, artistic and musical production, which between 1859 and 1892 raised questions related to the commitment of artists to society. At the same time, it traces the transformations of criticism itself, which reflected the increasing degree of autonomy while clarifying its own relations to audiences and creators. The collective monograph presents the results of an examination of contemporary periodicals and other sources, including archival ones, which make it possible to capture contemporary critical practice in its entirety. The interpretation is supplemented by a pictorial appendix presenting, in addition to the artworks discussed, also typical forms of promotion of artistic production at the time.
