Professional Documents
Culture Documents
Miesto ŠUR
v kultúrnych dejinách Slovenska
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1
Horová-Kováčiková, Júlia: O keramic-
kém oddělení ŠUR.
In Ars, umeleckohistorická revue Slovenskej
akadémie vied, č. 2, 1969, s. 73 – 75.
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● ● ● Úžitkovo-grafickému dielu
Mikuláša Galandu som venoval
medailón v druhom diele, v tejto
časti poukážem na jeho pedagogic-
kú prácu. Galanda učil na viacerých
oddeleniach kresbu. Aj keď nevie-
dol žiadne oddelenie, patril medzi
najvplyvnejších učiteľov ŠUR a stal
sa ústrednou postavou popularizácie
moderného umenia na Slovensku.
Jeden z Galandových žiakov – Július
Kálmán – o ňom napísal: „Len málokto
vedel o ňom, ako ho bolelo zneužívanie pojmu
umenia, keď vo výkladných skriniach videl
heslá: ,Umelecké strihanie vlasov‘, ,Predávať
je umenie‘. ,Nechcem byť umelcom, priatelia,
hovorieval vtedy, ,chcem byť len slovenským
výtvarníkom ‘.“1
Časopis Výtvarná výchova z roku
1935 venoval téme ŠUR jedno celé čís-
lo. Viacerí učitelia školy v ňom vtedy 10 • Ukážka z predmetu módne kreslenie • sample 11 • M. Hejzlarová: módna kresba • fashion
uverejnili články, ktoré mali vzťah from fashion drawing course, 1935 sketch, 1934 – 1935
k ich pedagogickej práci. Galanda Učiteľ • teacher Mikuláš Galanda Učiteľ • teacher Mikuláš Galanda
1
Kálmán, Július: Odišiel človek.
In Umelecký odkaz Mikuláša Galandu, Brati-
slava : Výtvarný odbor Umeleckej besedy
slovenskej, 1939, nestr.
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1
Tröster, František: Chvála kovu.
In Výročná zpráva učňovských škôl
a školy umeleckých remesiel v Bratislave
1934 – 35. Bratislava, 1935, s. 15 – 17.
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15 • Anonym: pohľad na výstavu ŠUR, práce predmetu všeobecné kreslenie • view of the ŠUR exhibition, 16 • Irena Német: kresba • drawing, 1931 – 1932
student drawings, 1937. Umeleckopriemyselné múzeum Praha • Museum of Decorative Arts in Prague Učiteľ • teacher Mikuláš Galanda
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● ● ● „Výchovou žactva k praktickému umění a vytváření ● Jest to nový pokus, nikoliv jen kopie známého Bauhausu
a bezprostředním přidržováním všech talentů k praktickému v Dessavě, který byl ve své organisaci roztříštěn na dvě školy sa-
zaměstnávání zabraňuje vychovávati a rozmnožovati umělecký mostatné — uměleckou i učňovskou — a které si vinou politických
proletariát papírově vychovaný, který nemá možnosti praktické poměrů ničím vzájemně nepřispěly.
i umělecké zaměstnání současně nalézti i v menších podnicích. ● Škola uměleckých řemesel v tak mezinárodním městě jako
● Upozorniti třeba ještě na zvláštní, rychlé metody školy je Bratislava může jíti jen jedinou vytčenou cestou, má-li všech-
v oboru výtvarném, na metody mechanisovaného výtvarného ny národnosti k sobě připoutati, cestou nejmodernějších směrů
projevu, t. j. výtvarnictví a navrhování, provozované mechanic- a pokroků v každém ohledu! Nebát se jich, kriticky z nich vybírati
kými prostředky. Tak jako usnadňujeme v praksi počítání a účet- a zkoušeti vše nejnovější a vyzkoušené přenášeti do živností
nictví stroji, tak jako usnadňujeme psaní stroji a ulehčujeme tuto a průmyslu a udržeti menším podnikům stejný krok se všemi vy-
práci těžké ruce živnostníkově, tak se dá i kreslení a navrhování moženostmi umění i techniky současné Evropy.“
mechanisovati různými nástroji a mechanickými prostředky, ne-
boť není v řemesle a praksi ani na večerní škole času cvičiti zhrub- Výstava bratislavské školy uměleckých řemesel.
In Pestrý týden, autor a číslo nezistené, 1937, s. 7.
lé ruce živnostenského dorostu kresebným projevům vlastnoruč-
ním, tak jako na akademiích umění a jiných vyšších uměleckých
školách.
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● The introduction to the third volume does not contain a wider description of
the cultural-political context as it was described in the first two books and the
same applies to this one.
● However, considering many external and domestic circumstances, the slow
recovery of the Slovak economy from the war, post-war recession and crises, it is
remarkable that the professionalisation of culture grew in the 1930s. More Slo-
vak actors were established in the Slovak National Theatre in Bratislava, more
attention was paid to the publication of books on a higher artistic level, and
magazines acquired an up-to-date form.
● Progress was also achieved in Slovak graphic design, though not without
complications. During the interwar period, Slovakia could not find the courage
20 • Jaromír Funke: Ferdinand Hrozinka, 1934 to publish a journal dedicated to fine art. Although several cultural revues car-
ried articles about art, only two typography journals were published, namely
Slovenská grafika (1921 – 1927) and Slovenská Grafia (1929 – 1934). Professi-
onal associations were founded as part of printing offices and more attention
was paid to typography in the cultural columns of daily newspapers.
● At the end of the 1920s, active young typographers František Robert Blažko,
Juraj Stanko and Jozef Kinkor graduated from the School of Arts and Crafts and
started to work as master teachers.
● The School of Arts and Crafts, which gradually gained a good reputation, tur-
ned into a day school. In its eleven-year existence, the school proved its compe-
tence. The first graduates were beginning to establish themselves in business
when they were still students.
● The School of Arts and Crafts was at the centre of the modernisation efforts in
Slovakia since its beginnings when it only ran courses attended by apprentices,
trained craftsmen and experts. Alexander Richter, a lawyer, art journalist,
cartoonist and graphic designer, recollects it as follows:
● “I attended the vocational school on Vazovova Street in Bratislava. Far from it, I will tell the
truth: I did not go to school. How? Why? My former grammar school classmate and friend Tibor
Honty, also a bit of a dawdler and a fantasist with artistic ambitions, later a famous art photo-
grapher of artworks and architectural monuments, once caught me on the street and shouted:
Ferdinad Hrozinka (1898 – 1969) – Eureka! I‘ve found a fabulous evening amusement for fun and instruction. It was the School of
Absolvent Štátnej odbornej školy na Arts and Crafts, ŠUR, which was located in a vocational school building.”1
spracovanie dreva vo Valašskom Me- ● Iva Mojžišová, the most important historian of the School of Arts and Crafts,
ziříčí a Umeleckopriemyselnej školy notes that it was fashionable to attend ŠUR. “At the very beginning, the composition of
v Prahe, kde študoval architektúru the male and female trainees of the future ŠUR was also determined by this factor: Actress Ljuba
u Jana Koteru a Pavla Janáka. V ro- Hermanová; Aša Kostlivá, daughter of a famous surgeon; Oľga Šándor, wife of writer Elo Šándor;
koch 1931 až 1938 viedol na ŠUR Zuzana Zemanová (Seemannová), sister of Janko Alexy; Júlia Fullová, sister of Ľudovít Fulla. La-
drevorobné oddelenie a na viacerých ter on, aspiring and future actress Dana Medřická, performing at the Brno theatre at that time,
oddeleniach učil aj perspektívu. enrolled in the film school.”2
Patrí však k menej známym učite- ● JUDr. Vladimír Clementis, Ján Ladvenica, the director of scenery design of the
ľom ŠUR. Slovak National Theatre, and later Dr. Ovidius Faust, the city archivist, atten-
Navrhol drevené chatové vily v tat- ded the Department of Photography courses run by Jaromír Funke. Future art
ranskej Štôle a detskú ozdravovňu critic JUDr. Július Kálmán regularly went to the studio of Mikuláš Galanda.
Zdravá generácia. V rokoch 1949 They did not indulge in a snobbish pastime, but attended for practical reasons:
a 1950 učil v Ústave výtvarnej výcho- they understood the importance of photography for their work.
vy (Pedagogická fakulta Univerzity ● A few painters or future students of art schools – Ľudo Procházka, Ľudovít
Palackého v Olomouci). Kudlák, Ján Želibský and Ester Fridriková (Šimerová) – attended courses for a
Zábery z výstavy ŠUR v pražskom short period. The ceramicist Dagmar Kubíková-Rosůlková was one of those who
Umeleckopriemyselnom múzeu never forgot this school at the time when it was overlooked during the totalita-
s prácami žiakov drevorobného rian periods. Martin Brezina, one of the first elite graduates, pursued his stu-
oddelenia nám ukazujú ich pre- dies in Prague and, after returning to Slovakia, taught there for years. Fulla’s
kvapujúco vysokú úroveň. Treba student, Fridrich Moravčík, taught typography at the School of Applied Arts
zdôrazniť, že aj Ferdinand Hrozinka in Bratislava for a long time and published two books on typography. Ladislav
patrí medzi tých, čo podnietili vznik Guderna and Viliam Chmel, students of the last years of the school’s existen-
moderného slovenského priemysel- ce, received the first lessons in modern art at ŠUR, and later resisted socialist
ného dizajnu. realism, even though Guderna was a high-ranking official in his youth. Ervín
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Semian and Jarmila Čihánková, among others, attended the children’s de-
partment courses. They also left behind remarkable graphic design, which
I intend to present in the fifth volume of this series.
● The above-mentioned Tibor Honty mainly devoted himself to ceramics at
school, but he made a career as a professional photographer in Prague. Alexan-
der Richter did not work as a lawyer, but produced cartoons and graphic design.
Typographer Vladimír Bahna was not satisfied with typography because he had
wider interests and high ambitions, working his way from journalism and li-
terature to film. The filmmaker, editor and typographer Ivan J. Kovačevič also
avowed his commitment to ŠUR. The famous Oscar-winning filmmaker Ján Ka-
dár, cinematographer Karol Krška and cartoonist Viktor Kubal also started at
ŠUR. The people from the ŠUR circle were at the birth of Slovak film.
● However, many trained typographers seized the opportunity and occupied
important positions at printing offices, working as foremen, a prominent posi- 21 – 23 • Martin Brezina: návrhy sústruhova-
ných hračiek • designs for toys made on a lathe, 1931
tion, in typesetting workshops. The most competent ones became co-owners of Učiteľ • teacher Ferdinand Hrozinka
printing offices, as was the case with Juraj Stanko, the most dynamic of them
all, who disappeared from the field after 1948 (or was lost – it is not known
exactly though it is a very likely presumption).
● All of Slovak culture benefited from the activities of this school and many ex-
hibitions and lectures took place there. Modern surreal humour was cultivated
at the carnivals organised by the Association of ŠUR Graduates and popularised
by Lasica and Satinský in Slovakia in the 1960s. However, very few photographs
and student works have been preserved, and continuity was drastically broken.
1
Richter, Alexander: Pamäti od nepamäti / Memories from Time Immemorial.
Bratislava : Slovenský spisovateľ, 1986, p. 43.
2
Mojžišová, Iva: Škola moderného videnia / Bratislavská ŠUR 1928 – 1939 / The School of Modern Vision
/ Bratislava ŠUR 1928 – 1939.
Bratislava : Artforum, Slovenské centrum dizajnu, 2013, p. 106.
22
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25 • Martin Brezina: priestorová kompozícia • 26 • Anonym: Z výstavy ŠUR, práce z predmetov perspektíva a písmo, 1937
spatial composition • view of the ŠUR exhibition, student works from the course on perspective and typeface
akvarel • watercolour, 1931 Učitelia • teachers Ferdinand Hrozinka, Zdeněk Rossmann
Učiteľ • teacher Ferdinand Hrozinka Umeleckopriemyselné múzeum Praha • Museum of Decorative Arts in Prague
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30 31
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