Detailed Information on Publication Record
2009
New Patrons of Art: A Presentation of the Support for the Arts by the Businessmen in Brno and Vilnius Press in the First Half of the 19th Century.
BERESNĚVIČIÚTÉ NOSÁLOVÁ, HalinaBasic information
Original name
New Patrons of Art: A Presentation of the Support for the Arts by the Businessmen in Brno and Vilnius Press in the First Half of the 19th Century.
Name in Czech
Nove mecenašstvi: prezentace podnikatelske podpory uměni ve Vilniuskem a Brněnskem tisku 19. stoleti.
Authors
Edition
Ostrava, The Involvement of Businessmen in Local and Regional Public Life in Central Europe 1800-1914 : contributions for the XVth World Economic History Congress in Utrecht, the Netherlands, from 3 to 7 August 2009, p. 73-92, 19 pp. 2009
Publisher
Ostravská univerzita v Ostravě
Other information
Language
English
Type of outcome
Stať ve sborníku
Field of Study
60101 History
Country of publisher
Czech Republic
Confidentiality degree
není předmětem státního či obchodního tajemství
Organization unit
Faculty of Arts
ISBN
978-80-7368-683-3
Keywords (in Czech)
socializace elit, podnikatele, charita, mecenášství
Keywords in English
elite socialisation, businessmen, charity, art patronage
Tags
Tags
International impact, Reviewed
Změněno: 29/5/2014 11:30, Halina Beresnevičiúte Nosalova, Ph.D., M.A.
Abstract
V originále
The paper analyses the reports on cultural events in Vilnius and Brno press as the field of elite socialisation and particularly the discursive presentation of the businessmen, who participated in collective cultural events. The situation of a small capital town allows observing and explaining the strong influence of the models of aristocratic self-presentation on the self-presentation of the pretenders to the new elites. Dominant was the aristocratic imperative to engage unselfishly for the public goals of charity, spread of civilisation (and cultivated taste for art) and imperial welfare. In the presentation of the contributions of non-nobles, the virtue of unselfish work was certainly dominant against the (artistic) quality of the production. Nevertheless, the very chances to appear publicly in collective cultural events, by the side of and according to the example of aristocrats, promoted the idea of meritocratic elite and opened the field for the competition and compromises of the old and new elites.