{"id":42165,"date":"2018-10-30T13:46:44","date_gmt":"2018-10-30T12:46:44","guid":{"rendered":"https:\/\/www.drawplanet.cz\/drawstudy\/od-jeskynich-kreseb-az-po-politicke-graffiti-11-obrazu-ktere-zmenily-svet\/"},"modified":"2018-10-30T13:47:21","modified_gmt":"2018-10-30T12:47:21","slug":"od-jeskynich-kreseb-az-po-politicke-graffiti-11-obrazu-ktere-zmenily-svet","status":"publish","type":"post","link":"https:\/\/drawstudy.eu\/en\/od-jeskynich-kreseb-az-po-politicke-graffiti-11-obrazu-ktere-zmenily-svet\/","title":{"rendered":"Od jeskyn\u00edch kreseb a\u017e po politick\u00e9 graffiti: 11 obraz\u016f, kter\u00e9 zm\u011bnily sv\u011bt"},"content":{"rendered":"

Obvykle lid\u00e9 pohl\u00ed\u017e\u00ed na um\u011bleck\u00e9 p\u0159edm\u011bty jako na sou\u010d\u00e1st z\u00e1bavy – pot\u011b\u0161\u00ed oko, m\u016f\u017ee zvednout n\u00e1ladu nebo pobavit. Um\u011bn\u00ed m\u016f\u017ee ale tak\u00e9 skute\u010dn\u011b zm\u011bnit sv\u011bt nebo \u017eivoty n\u011bkter\u00fdch jedinc\u016f. Pablo Picasso kdysi dokonce prohl\u00e1sil: “Ne, obrazy nevznikaj\u00ed, aby zdobily domov. Jsou v\u00e1le\u010dnou zbran\u00ed p\u0159i \u00fatoku i v\u00edt\u011bzstv\u00edm nad nep\u0159\u00edtelem! ” A zd\u00e1 se, \u017ee m\u011bl pravdu. N\u011bkter\u00e1 pl\u00e1tna zcela zm\u011bnila zp\u016fsob, jak\u00fdm lid\u00e9 vn\u00edmaj\u00ed soci\u00e1ln\u00ed probl\u00e9my, politiku a n\u011bkdy i samotn\u00e9 um\u011bn\u00ed.<\/p>\n

 <\/p>\n

    \n
  1. “Jeskyn\u011b Lascaux”<\/li>\n<\/ol>\n

    Skaln\u00ed malby v\u00a0jeskyn\u00edm komplexu Lascaux. P\u0159ed cca 17 000 lety<\/p>\n

    Jedny z nejstar\u0161\u00edch maleb na sv\u011bt\u011b vyvolaly skute\u010dnou senzaci. Stalo se to ale a\u017e 17 000 let po jejich namalov\u00e1n\u00ed. V roce 1940 podnikla skupina d\u011bt\u00ed v\u00fdlet do p\u0159\u00edrody za jednou malou francouzskou vesni\u010dkou. N\u00e1hodou objevili jeskyni a v\u00a0n\u00ed jeden z\u00a0nejneobvyklej\u0161\u00edch n\u00e1lez\u016f prehistorick\u00e9ho um\u011bn\u00ed na sv\u011bt\u011b. A\u010dkoli se nejedn\u00e1 o nejstar\u0161\u00ed n\u00e1st\u011bnn\u00e9 malby, jde o nejkr\u00e1sn\u011bj\u0161\u00ed a nejprecizn\u011bj\u0161\u00ed prehistorick\u00e9 malby, kter\u00fd dokazuj\u00ed, \u017ee se lid\u00e9 v\u017edy pokou\u0161eli o um\u011bn\u00ed.<\/p>\n

    \"\"<\/p>\n

      \n
    1. “Studie plodu v d\u011bloze”<\/li>\n<\/ol>\n

      \u00a0“Studie plodu v d\u011bloze”, p\u0159ibli\u017en\u011b 1510, Leonardo da Vinci<\/p>\n

      Leonardo da Vinci je d\u00edky sv\u00fdm d\u00edl\u016fm pova\u017eov\u00e1n za opravdov\u00e9ho genia. Ale “Studie plodu v d\u011bloze” m\u011bla na sv\u011bt v\u011bt\u0161\u00ed dopad ne\u017e “Mona Lisa” nebo “Posledn\u00ed ve\u010de\u0159e”. Leonardo se sv\u00fdmi anatomick\u00fdmi kresbami, vytvo\u0159en\u00fdmi na z\u00e1klad\u011b autopsi\u00ed, napadal mor\u00e1ln\u00ed a um\u011bleck\u00e9 normy. Leonardovy objevy a metody zm\u011bnily zp\u016fsob, jak\u00fdm um\u011blci a v\u011bdci studovali lidsk\u00e9 t\u011blo.<\/p>\n

      \"\"<\/p>\n

        \n
      1. “Dvorn\u00ed d\u00e1my”<\/li>\n<\/ol>\n

        “Dvorn\u00ed d\u00e1my (Las Meninas) 1656, Diego Vel\u00e1squez.<\/p>\n

        Tohle nen\u00ed \u017e\u00e1dn\u00fd oby\u010dejn\u00fd obraz. Na obrazu vid\u00edme princeznu Margaret \u2013 Mark\u00e9tu Habsburskou a jej\u00ed “meniny” (dvorn\u00ed d\u00e1my). \u0160pan\u011blsk\u00fd um\u011blec Diego Vel\u00e1zquez ka\u017ed\u00e9ho zm\u00e1tl. Co je iluze a co skute\u010dnost? Jak\u00e9 je spojen\u00ed mezi div\u00e1kem a postavami? Obraz nap\u0159\u00edklad ukazuje nejen p\u011btiletou Infantu Margheritu s\u00a0dvorn\u00edmi damami, ale i jej\u00ed rodi\u010de – kr\u00e1le \u0160pan\u011blska Philipem IV a Mariannu Rakouskou- v\u00a0odrazu zrcadla na zadn\u00ed st\u011bn\u011b. Na pl\u00e1tn\u011b je tak\u00e9 um\u011blec s\u00e1m (z na\u0161eho pohledu vlevo). Co vlastn\u011b um\u011blec maloval? Vliv obraz\u016f Vel\u00e1zqueze na d\u011bjiny um\u011bn\u00ed byl obrovsk\u00fd. I o 250 let pozd\u011bji m\u011blo toto d\u00edlo obrovsk\u00fd vliv a to p\u0159edev\u0161\u00edm na kubismus. Picasso byl tak fascinov\u00e1n \u201edvorn\u00edmi d\u00e1mami\u201c, \u017ee namaloval 58 verz\u00ed tohoto obr\u00e1zku.<\/p>\n

        \"\"<\/p>\n

          \n
        1. Maratova smrt<\/li>\n<\/ol>\n

          Tento obraz francouzsk\u00e9ho um\u011blce Jacquese-Louis Davida m\u016f\u017ee b\u00fdt pova\u017eov\u00e1n za prvn\u00ed skute\u010dn\u011b politick\u00e9 pl\u00e1tno. Popisuje d\u016fsledky atent\u00e1tu na revolucion\u00e1\u0159e Jean-Paula Marata, kter\u00fd byl ve sv\u00e9 koupeln\u011b ubod\u00e1n. David se v podstat\u011b rozhodl, \u017ee ze zavra\u017ed\u011bn\u00e9ho revolucion\u00e1\u0159e ud\u011bl\u00e1 ikonu politick\u00e9 propagandy. A poda\u0159ilo se mu to docela dob\u0159e. Mezi ve\u0159ejnost se toti\u017e z\u00e1hy roz\u0161\u00ed\u0159ily vytisknut\u00e9 rytiny.<\/p>\n

          \"\"<\/p>\n

            \n
          1. Olympia<\/li>\n<\/ol>\n

            Olympia, 1863, \u00c9douard Manet.<\/p>\n

            Tento obraz se \u010dasto pova\u017euje za odm\u00edtnut\u00ed patriarch\u00e1ln\u00edch um\u011bleck\u00fdch n\u00e1zor\u016f. Ve skute\u010dnosti je obraz Edwarda Maneta zalo\u017een na d\u00edle “Urbinsk\u00e1 Venu\u0161e” renesan\u010dn\u00edho um\u011blce Titiana, kter\u00fd se proslavil svou \u0161okuj\u00edc\u00ed sexualitou. Ale existuj\u00ed v\u00fdznamn\u00e9 rozd\u00edly. Za prv\u00e9 se Olympia, na rozd\u00edl od Venu\u0161e, d\u00edv\u00e1 p\u0159\u00edmo do o\u010d\u00ed div\u00e1ka, co\u017e mnoz\u00ed pova\u017euj\u00ed za nesm\u00edrn\u011b provokativn\u00ed. A za druh\u00e9, jej\u00ed ruka zakr\u00fdv\u00e1 genit\u00e1lie<\/p>\n

            \"\"<\/p>\n

              \n
            1. “\u010cern\u00fd \u010dtverec”<\/li>\n<\/ol>\n

              \u00a0“\u010cern\u00fd \u010dtverec\u00a0“, 1915, Kazim\u00edr Malevi\u010d<\/p>\n

              Mnoz\u00ed pova\u017euj\u00ed humbuk kolem tohoto obrazu za hloup\u00fd a absolutn\u011b zbyte\u010dn\u00fd. V n\u011bkter\u00fdch ohledech maj\u00ed pravdu, proto\u017ee to je opravdu jen \u010dern\u00fd \u010dtverec. Pr\u00e1ce Kazim\u00edra Malevi\u010de je v\u0161ak pova\u017eov\u00e1na za prvn\u00ed obraz, ve kter\u00e9m nen\u00ed zn\u00e1zorn\u011bno v\u016fbec nic. Um\u011blec cht\u011bl zcela opustit my\u0161lenku, \u017ee by um\u011bn\u00ed m\u011blo zobrazovat realitu nebo fantazii. Malevi\u010dovy malby a p\u0159edstavy d\u00e1le inspirovali nespo\u010det um\u011blc\u016f ve dvac\u00e1t\u00e9m stolet\u00ed a byly tak\u00e9 z\u00e1kladem, na n\u011bm\u017e se vybudovaly mnoh\u00e9 abstraktn\u00ed a konceptu\u00e1ln\u00ed pohyby um\u011bn\u00ed. Samoz\u0159ejm\u011b nezm\u011bnili sv\u011bt, ale dok\u00e1zali zm\u011bnit um\u011bn\u00ed nav\u017edy.<\/p>\n

              \"\"<\/p>\n

                \n
              1. “Campbellova pol\u00e9vka”<\/li>\n<\/ol>\n

                “Campbell’s soup cans”, 1962, Andy Warhol<\/p>\n

                Na rozd\u00edl od p\u0159edchoz\u00edho obr\u00e1zku vytvo\u0159il Andy Warhol toto d\u00edlo na po\u010dest velmi specifick\u00e9ho v\u00fdrobku. Takov\u00e9ho, kter\u00e9 byste v\u00a0um\u011bleck\u00e9m proveden\u00ed \u010dekali nejm\u00e9n\u011b. Andy Warhol se rozhodl obr\u00e1tit to, co Ameri\u010dan\u00e9 v\u00eddali ka\u017ed\u00fd den do um\u011bleck\u00e9ho d\u00edla hodn\u00e9ho galerie. Sou\u010dasn\u011b se um\u011blcovi tak\u00e9 poda\u0159ilo zpochybnit mnoho my\u0161lenek t\u00fdkaj\u00edc\u00edch se um\u011bn\u00ed.<\/p>\n

                \"\"<\/p>\n

                  \n
                1. “Guernica”<\/li>\n<\/ol>\n

                  “Guernica”, 1937, Pablo Picasso<\/p>\n

                  \u017d\u00e1dn\u00e1 pr\u00e1ce se nestala tak d\u016fle\u017eit\u00fdm symbolem protiv\u00e1le\u010dn\u00fdch hnut\u00ed, jako tenhle srdce dr\u00e1saj\u00edc\u00ed obraz Pabla Picassa. Um\u011blec zobrazil ve sv\u00e9 pr\u00e1ci no\u010dn\u00ed bombardov\u00e1n\u00ed \u0161pan\u011blsk\u00e9ho m\u011bsta Guernica v roce 1937 b\u011bhem \u0161pan\u011blsk\u00e9 ob\u010dansk\u00e9 v\u00e1lky. Vl\u00e1da \u0160pan\u011blsk\u00e9 republiky na\u0159\u00eddila Picassovi, aby vytvo\u0159il um\u011bleck\u00e9 d\u00edlo o t\u00e9to hrozn\u00e9 ud\u00e1losti na Sv\u011btov\u00e9 v\u00fdstav\u011b v Pa\u0159\u00ed\u017ei. Dnes, v s\u00eddle Organizace spojen\u00fdch n\u00e1rod\u016f v New Yorku, vis\u00ed replika t\u00e9to malby o rozm\u011brech tapis\u00e9rie.<\/p>\n

                  \"\"<\/p>\n

                    \n
                  1. “Probl\u00e9m, se kter\u00fdm v\u0161ichni \u017eijeme”<\/li>\n<\/ol>\n

                    ”\u00a0The Problem We All Live With”, 1964, Norman Rockwell<\/p>\n

                    Ilustr\u00e1tor Norman Rockwell po celou svou kari\u00e9ru zobrazoval oby\u010dejn\u00fd americk\u00fd \u017eivot v polovin\u011b 20. stolet\u00ed – a to jak v\u0161e dobr\u00e9, tak \u0161patn\u00e9. Obraz, namalovan\u00fd v roce 1964, zobrazuje afroamerickou d\u00edvku Ruby Bridges na cest\u011b do \u0161koly, kde studuj\u00ed pouze “b\u00edl\u00ed” lid\u00e9. D\u00edvka je doprov\u00e1zena policisty kv\u016fli rasov\u00e9 nen\u00e1visti, kter\u00e1 byla zp\u016fsobena t\u00edm, \u017ee j\u00ed bylo dovoleno studovat v takov\u00e9 \u0161kole. Proch\u00e1z\u00ed kolem rasov\u00fdch ur\u00e1\u017eek napsan\u00fdch na st\u011bn\u011b. Obraz se stal skute\u010dn\u00fdm ikonick\u00fdm symbolem hnut\u00ed za ob\u010dansk\u00e1 pr\u00e1va. Barak Obama jej pov\u011bsil na ze\u010f, kdy\u017e pozval Bridges, aby se s n\u00edm setkala v B\u00edl\u00e9m dom\u011b v roce 2011.<\/p>\n

                    \"\"<\/p>\n

                      \n
                    1. “Mus\u00ed b\u00fdt \u017eeny nah\u00e9, aby se dostaly do Metropolitn\u00edho muzea um\u011bn\u00ed”<\/li>\n<\/ol>\n

                      “Do women have to be naked to get into the Met. Museum? “, 1989, Guerilla Girls.<\/p>\n

                      Guerilla Girls je anonymn\u00ed skupina um\u011blc\u016f, kte\u0159\u00ed pracuj\u00ed pro velmi specifick\u00fd \u00fa\u010del. Posledn\u00edch t\u0159icet let bojuj\u00ed s pomoc\u00ed sv\u00fdch d\u011bl proti rasismu a sexismu ve sv\u011bt\u011b um\u011bn\u00ed. D\u011blaj\u00ed to prost\u00fdm uveden\u00edm skute\u010dnost\u00ed. V tomto p\u0159\u00edpad\u011b je skute\u010dnost, \u017ee “m\u00e9n\u011b ne\u017e 5% um\u011blc\u016f v\u00a0sekci “Modern\u00ed um\u011bn\u00ed”v Metropolitn\u00edm muzeu v New Yorku jsou \u017eeny, zat\u00edmco 85% nah\u00fdch lid\u00ed na obrazech jsou \u017eeny.” Tento plak\u00e1t se stal symbolem postupu \u017een v um\u011bleck\u00fdch instituc\u00edch.<\/p>\n

                      \"\"<\/p>\n

                        \n
                      1. “Pane, pomoz mi p\u0159e\u017e\u00edt tuto smrt\u00edc\u00ed l\u00e1sku”<\/li>\n<\/ol>\n

                        ” My God, Help Me to Survive This Deadly Love, 1990, Dmitrij Vrubel<\/p>\n

                        V roce 1979 byla po\u0159\u00edzena slavn\u00e1 fotografie gener\u00e1ln\u00edho tajemn\u00edka Sov\u011btsk\u00e9ho svazu Leonida Bre\u017en\u011bva a v\u016fdce NDR Ericha Honeckera, kter\u00fd se spojil v “socialistick\u00e9m bratrsk\u00e9m polibku”. Um\u011blec Dmitrij Vrubel se rozhodl namalovat tento obraz na berl\u00ednskou ze\u010f, doprov\u00e1zenou kontroverzn\u00edm epitelem. Tento obraz je symbolem toho, jak um\u011bn\u00ed m\u016f\u017ee b\u00fdt v\u00fdrazem moci lid\u00ed, kte\u0159\u00ed mohou zm\u011bnit sm\u011br politiky.<\/p>\n

                        \"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

                        Obvykle lid\u00e9 pohl\u00ed\u017e\u00ed na um\u011bleck\u00e9 p\u0159edm\u011bty jako na sou\u010d\u00e1st z\u00e1bavy – pot\u011b\u0161\u00ed oko, m\u016f\u017ee zvednout n\u00e1ladu nebo pobavit. Um\u011bn\u00ed m\u016f\u017ee ale tak\u00e9 skute\u010dn\u011b zm\u011bnit sv\u011bt nebo \u017eivoty n\u011bkter\u00fdch jedinc\u016f. Pablo Picasso kdysi dokonce prohl\u00e1sil: “Ne, obrazy nevznikaj\u00ed, aby zdobily domov. Jsou v\u00e1le\u010dnou zbran\u00ed p\u0159i \u00fatoku i v\u00edt\u011bzstv\u00edm nad nep\u0159\u00edtelem! ” A zd\u00e1 se, \u017ee m\u011bl […]<\/p>\n","protected":false},"author":8,"featured_media":42161,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-42165","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-en"],"acf":[],"yoast_head":"\nOd jeskyn\u00edch kreseb a\u017e po politick\u00e9 graffiti: 11 obraz\u016f, kter\u00e9 zm\u011bnily sv\u011bt - Draw Study<\/title>\n<meta name=\"robots\" content=\"noindex, follow\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Od jeskyn\u00edch kreseb a\u017e po politick\u00e9 graffiti: 11 obraz\u016f, kter\u00e9 zm\u011bnily sv\u011bt\" \/>\n<meta property=\"og:description\" content=\"Obvykle lid\u00e9 pohl\u00ed\u017e\u00ed na um\u011bleck\u00e9 p\u0159edm\u011bty jako na sou\u010d\u00e1st z\u00e1bavy – pot\u011b\u0161\u00ed oko, m\u016f\u017ee zvednout n\u00e1ladu nebo pobavit. 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