Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied — 1988

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On the Problems of Czech and Slovák Relations in Sculpture in Slovakia
in the Period between the Two World Wars

Slovák sculpture began to develop on a more in-
tensive scale only after the constitution of an inde-
pendent Czechoslovak State in 1918. However, it could
not take support in so strong a home tradition as
the more advanced Czech sculpture and lagged con-
siderably behind in painting. After 1918, Slovakia en-
joyed a boom in public Orders for monuments, which
for long proved to hâve been a brake on chamber
sculpture. Initially, Slovák sculpture bore traces of
a certain naiveness and its technical standard was
not particularly high. The only sculptural personality

in Slovakia after World War I was Ján Koniiarek, who
had previously been active in Serbia. Initially Franti-
šek Üprka enjoyed a somewhat privileged position,
although his work, as regards content and the formal
aspect, was already an anachronism, some sort of a
pendent of the descriptive-folkloristic idealizing work
of his elder brother, the painter Joža Üprka.
Czech sculptors, too, profited by the monument in-
flation in Slovakia. The most important task of this
type was the gigantic monument to M. R. Štefánik an
the Danube Quay in Bratislava. The realization was
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