70-573-Csharp 70-461 0B0-101 70-528 C4070-SS1 C90-06A 000-569 642-342 1Z0-807 EE0-600 77-882 1Z0-630 1Z0-554 HP0-500 070-689 A2040-923 000-SS1 70-523-Csharp 1Y0-310 000-619 642-145 RDCR08301 3X0-104 1Z0-860 C2170-051 MB3-530 9A0-034 FCGIT 920-165 250-924 642-566 CA1-001 642-444 70-238 310-110 000-422 70-467 310-610BIG5 50-695 70-599 650-026 77-601 E20-825 QQ0-200 510-022 000-257 C2040-442 COG-200 000-M196 9A0-095 3X0-101 1Z0-055 650-177 HC-832-CHS 9A0-079 70-502-Csharp HP0-M47 ICDL-NET 1Z1-213 000-379 HP0-345 220-302 000-736 000-169 HP0-P13 HP0-S36 000-748 644-337 310-878 E20-405 090-055 70-685J 50-692 Museum of Decorative Arts in Prague
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Vojtěch Preissig: For the Republic!) Vojtěch Preissig, a prominent Czech artist of the early 20th century, devoted his art and craftsmanship in graphic design to courageous service to his nation. He designed number of posters, brochures, leaflets, prints, designs and printing plates during the first and second resistance. The core of the collection consists of a number of legionary recruitment posters, exceptional in the world in terms of their artistic qualities, impressiveness and sophisticated expression. Preissig made in his workplace at Wentworth Institute in Boston also posters for the American army and other printed materials as well as designs of the Czechoslovak flag.
The Language of Fibers – The Moravian Tapestry Manufactory in Valašské Meziříčí 1898–1938) The publication offers a new look at the beginnings of production in the Moravian Tapestry Manufactory, one that contextualizes the age, artistic trends and cultural relations of the early twentieth century. The names of the architects and designers discussed in the book (Jan Kotěra, Dušan Jurkovič, Hanuš Schweiger, among others) suggest that this is not merely a historical account of and isolated tapestry establishment, but rather an enriching insight into Czech textile art created between 1898 and 1938.
Biedermeier: Art and Culture in the Bohemian Lands 1814–1848. Exhibition Guide) Biedermeier – the lifestyle as well as artistic style of the first half of the nineteenth century – was created by aristocracy and wealthy bourgeoisie, and gradually affected all strata of society. In the spirit of emerging civil society it was professing the ideals of practicality and simplicity, discovering the charm of everyday objects and pleasures as well as the beauty of nature and natural materials. Characteristic features of Biedermeier – the restrained elegance and straightforwardness – echoed the general modernisation of society and had come to embody the foreshadowing of modern design.