Difference between revisions of "Jaromír Funke"

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<onlyinclude>Czech photographer. In 1922, he set out on the road to abstraction, ultimately developing a school of his own: [[Photogenism]]. He responded to the inspiration of Cubism and also made exemplary works in the styles of New Objectivity and Constructivism. In the 1920s, he became one of the first photographers to accept Poetism and Surrealism. With the exception of [[Jaroslav Rössler]], Funke was the only important Czechoslovak photographer to grasp the international context of avant-garde photography, painting, and sculpture. Not only with his photographs but also with his extensive work as a theorist, critic, organizer, editor, and, in particular, as a teacher, he considerably influenced the photography of his day. At art schools in Bratislava (head of photography department at the [[School of Arts and Crafts, Bratislava|School of Arts and Crafts]] since 1931; he considered studying at the [[Bauhaus]], but in the end gave priority to teaching in Bratislava) and Prague he had a unique opportunity to disseminate his knowledge at a time when this was impossible in the neighbouring countries, particularly Nazi Germany. Editor of the ''Fotografický obzor'' [Photographic Horizons] journal.</onlyinclude>
 
<onlyinclude>Czech photographer. In 1922, he set out on the road to abstraction, ultimately developing a school of his own: [[Photogenism]]. He responded to the inspiration of Cubism and also made exemplary works in the styles of New Objectivity and Constructivism. In the 1920s, he became one of the first photographers to accept Poetism and Surrealism. With the exception of [[Jaroslav Rössler]], Funke was the only important Czechoslovak photographer to grasp the international context of avant-garde photography, painting, and sculpture. Not only with his photographs but also with his extensive work as a theorist, critic, organizer, editor, and, in particular, as a teacher, he considerably influenced the photography of his day. At art schools in Bratislava (head of photography department at the [[School of Arts and Crafts, Bratislava|School of Arts and Crafts]] since 1931; he considered studying at the [[Bauhaus]], but in the end gave priority to teaching in Bratislava) and Prague he had a unique opportunity to disseminate his knowledge at a time when this was impossible in the neighbouring countries, particularly Nazi Germany. Editor of the ''Fotografický obzor'' [Photographic Horizons] journal.</onlyinclude>
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==Literature==
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* Antonín Dufek, ''Jaromír Funke'', Prague: Torst, 152 pp. {{cz}}
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* Antonín Dufek, [http://www.moma.org/interactives/objectphoto/assets/essays/Dufek.pdf "Jaromir Funke and Czech Photography, 1920-39"], New York: Museum of Modern Art, 2014.
  
 
==See also==
 
==See also==
 
* [[Czech_Republic#Avant-garde]]
 
* [[Czech_Republic#Avant-garde]]
 
* [[Media_art_in_Central_and_Eastern_Europe#Photography|Media art in Central and Eastern Europe#Photography]]
 
* [[Media_art_in_Central_and_Eastern_Europe#Photography|Media art in Central and Eastern Europe#Photography]]
 
==Literature==
 
* Antonín Dufek, ''Jaromír Funke'', Prague: Torst, 152 pp. (in Czech)
 
  
 
==Links==
 
==Links==

Revision as of 13:59, 27 July 2015

Czech photographer. In 1922, he set out on the road to abstraction, ultimately developing a school of his own: Photogenism. He responded to the inspiration of Cubism and also made exemplary works in the styles of New Objectivity and Constructivism. In the 1920s, he became one of the first photographers to accept Poetism and Surrealism. With the exception of Jaroslav Rössler, Funke was the only important Czechoslovak photographer to grasp the international context of avant-garde photography, painting, and sculpture. Not only with his photographs but also with his extensive work as a theorist, critic, organizer, editor, and, in particular, as a teacher, he considerably influenced the photography of his day. At art schools in Bratislava (head of photography department at the School of Arts and Crafts since 1931; he considered studying at the Bauhaus, but in the end gave priority to teaching in Bratislava) and Prague he had a unique opportunity to disseminate his knowledge at a time when this was impossible in the neighbouring countries, particularly Nazi Germany. Editor of the Fotografický obzor [Photographic Horizons] journal.

Literature

See also

Links