„Kaluž se stane Atlantským oceánem, popel z cigarety horou. . .“: Relativita optického vnímání „všedního” ve fotografické tvorbě Hannese Beckmanna.

The article focuses on an extraordinary and yet to date overlooked figure - German-born artist Hannes Beckmann (1909-1977), a graduate of the Bauhaus in Dessau, one of the refugees who fled to Czechoslovakia to escape Nazism, and, no less importantly, director of the Photography Department of the Guggenheim Museum in New York. Beckmann’s work represented the fulfilment of the avantgarde ideas about the synthesis of the different arts. He was a painter, a photographer, a scenographer, a theorist, and a teacher, but he also created a number of abstract objects that border between minimalist and kinetic constructions. He graduated from the Bauhaus in Dessau, where he studied under Wassily Kandinsky, Paul Klee, and Josef Albers. For a year he was a guest student in the Photography Department under Walter Peterhans, a representative of the ‘New Objectivity’ and he worked for two years more in a photography studio in Vienna. It would be impossible to responsibly interpret how Beckmann’s work was impacted by his emigration to Czechoslovakia, where he lived in 1933- 1948, without looking for its foundations in the Bauhaus and the influence of a classical education in photography from Graphische Lehr und Versuchsanstalt in Vienna. This article draws attention to several thematic areas of the photographic work Beckmann created in Prague that tied in with the poetics of the everyday within the frame of the artistic and theoretical influence of a Bauhaus education. [ABSTRACT FROM AUTHOR]