Tomáš Murár


    As part of his teaching activities, Tomáš Murár deals with the historiography, theory and methodology of art history from antiquity to the present day, and he conducts special exercises and seminars dealing with questions of how to approach the interpretation of works of painting from the 15th to the 20th century, with particular reference to the history of Italian painting. As part of his professional research, which he also carries out at the Institute of Art History of the CAS, he deals with Central European art history of the 19th and 20th centuries, focusing mainly on the influence of art history theories of the so-called Vienna School of Art History. He has organized three international conferences on this topic (2019 The Influence of the Vienna School before and after 1918; 2021 The 100th Anniversary of Max Dvořák’s Death; 2023 Origins, Modifications, and Influences of Its Theoretical Concepts) and collaborates with the English Journal of Art Historiography on the preparation of the proceedings of these conferences. He is also involved in the preparation of a series of translations in philosophy, theory, and aesthetics of art for Academia Publishing called Ars – Philosophia/Aesthetica/Theoria (2021 A. C. Danto, After the End of Art; 2023 R. Barilli The Science of Culture and the Phenomenology of Styles) and regularly publishes articles on the theory, historiography, and methodology of art history in domestic and international journals.

    Choosed publications:

    • Tomáš Murár, Za obrazem. Teorie obrazu Romana Ingardena a význam abstraktního umění,Filosofický časopis 71, 2023/2, s. 215–228.
    • Tomáš Murár, Die Tragik in der Kunst Michelangelos als Max Dvořáks Vermächtnis in der Kunstgeschichte Hans Sedlmayrs, Folia Historiae Artium 20, 2022.
    • Tomáš Murár, The Dark Side of the End of Art. In: Vojtěch Kolman – Tomáš Murár (eds.), Devouring One’s Own Tail. Autopoiesis in Perspective. Praha: Karolinum 2022, s. 135–151.
    • Tomáš Murár, Nighthawks in The Age of Anxiety. Interpretation of the painting by Edward Hopper by means of the „Baroque Eclogue“ of Wystan Hugh Auden, Umění /Art 3, LXV, 2017, s. 244–261.
    • Tomáš Murár, Umění jako princip a zákonitost. K dějinám a metodologii umění Vojtěcha Birnbauma / Art as Principle and Pattern. Vojtěch Birnbaum’s Concept and Method of Art History, Kostelec nad Černými lesy: Archiv výtvarného umění, z.s. 2017.