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Druhý život barokních soch v moderním městě
The second life of Baroque statues in a modern city
Event by: Juditina věž, Klub Za starou Prahu
Location: Mostecká 56/1, Mostecká 1, Praha 1
Talks & discussions
About event
Mgr. Pavel Savická
At the beginning of the 20th century, several well -known cases became the works of Baroque sculpture. Even before the destroying the Marian Column on the Old Town Square, the return of the Jesuit sculptures of the torn floods from Charles Bridge was discussed. A wave of attacks hit a number of statues of St. John of Nepomuk. Another position of the relationship to Baroque sculpture is cases where works from demolished buildings or sculptures moved because of the growing development have gained a new place in modern architecture. The contribution will focus on the contradictory approach to the Baroque statues in the public space considered to be a symbol of the Habsburg oppression, but also a natural monument belonging to the identity of cities. Equally interesting in this respect is the development after 1948, when the works of Catholic Baroque were first rejected for ideological reasons, but later some became part of the cultural policy of the state, presented, for example, at world exhibitions EXPO and as part of such an important and monitored building as the Prague metro. The new context could contribute to the attractiveness of old sculptures, but at the same time deliberately led to detachment from their original importance and adaptation of contemporary aesthetics.
At the beginning of the 20th century, several well -known cases became the works of Baroque sculpture. Even before the destroying the Marian Column on the Old Town Square, the return of the Jesuit sculptures of the torn floods from Charles Bridge was discussed. A wave of attacks hit a number of statues of St. John of Nepomuk. Another position of the relationship to Baroque sculpture is cases where works from demolished buildings or sculptures moved because of the growing development have gained a new place in modern architecture. The contribution will focus on the contradictory approach to the Baroque statues in the public space considered to be a symbol of the Habsburg oppression, but also a natural monument belonging to the identity of cities. Equally interesting in this respect is the development after 1948, when the works of Catholic Baroque were first rejected for ideological reasons, but later some became part of the cultural policy of the state, presented, for example, at world exhibitions EXPO and as part of such an important and monitored building as the Prague metro. The new context could contribute to the attractiveness of old sculptures, but at the same time deliberately led to detachment from their original importance and adaptation of contemporary aesthetics.