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Materialita v tvorbě Ferdinanda Maxmiliána Brokoffa
Materiality in the work of Ferdinand Maxmilian Brokoff
Event by: Ústav dějin umění Akademie věd ČR, v. v. i.
Location: Ústav dějin umění AV ČR, v. v. i. | Institue of Art History, Czech Academy of Sciences, Husova 4, Praha 1
About event
We cordially invite you to the next lecture from the Collegium historiae artium series, which will be presented by Kateřina Adamcová (Institute for Art History of the Faculty of Arts, UK) on the topic of Materiality in the work of Ferdinand Maxmilián Brokoff.
The lecture will take place on Wednesday, May 13, 2026 at 4:30 p.m. in the meeting room (hall 117) of the Institute of Art History of the Academy of Sciences of the Czech Republic, Husova 4, Prague 1.
The problem of the materiality of Ferdinand Maxmilián Brokoff's sculptural works has not yet been thematized or investigated in any significant way. At the same time, materiality defines Brokoff's work to a similar extent as, for example, the sculptural expression of Gianlorenzo Bernini. Even Brokoff tries to convince us with a similar urgency and similarly successfully to Bernini that we are not looking at a harsh cold stone, but at a soft warm girl's skin, a shaggy fur of an animal or an embroidered brocade. However, this is not the only point of view that I would like to address in my lecture.
Materiality manifests itself in Brokoff's work in another no less significant way. The impressiveness of his works is already based in the very process of creating his sculptures, starting with the careful selection of a specific material to the final processing of its surface, including the final surface treatment. In Brokoff's works, both of the mentioned levels of materiality intertwine to such an extent that it is difficult to separate one from the other.
The lecture will take place on Wednesday, May 13, 2026 at 4:30 p.m. in the meeting room (hall 117) of the Institute of Art History of the Academy of Sciences of the Czech Republic, Husova 4, Prague 1.
The problem of the materiality of Ferdinand Maxmilián Brokoff's sculptural works has not yet been thematized or investigated in any significant way. At the same time, materiality defines Brokoff's work to a similar extent as, for example, the sculptural expression of Gianlorenzo Bernini. Even Brokoff tries to convince us with a similar urgency and similarly successfully to Bernini that we are not looking at a harsh cold stone, but at a soft warm girl's skin, a shaggy fur of an animal or an embroidered brocade. However, this is not the only point of view that I would like to address in my lecture.
Materiality manifests itself in Brokoff's work in another no less significant way. The impressiveness of his works is already based in the very process of creating his sculptures, starting with the careful selection of a specific material to the final processing of its surface, including the final surface treatment. In Brokoff's works, both of the mentioned levels of materiality intertwine to such an extent that it is difficult to separate one from the other.