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Sebastiano Luciani (called del Piombo) and his cooperation with Raphael in Rome between 1511 and 1517
Konečná, Kateřina ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
This bachelor thesis deals with the early Roman work of Sebastiano Luciani, later called del Piombo. Sebastiano came from Venice and he went to Rome at the invitation of a wealthy merchant Agostino Chigi, which allowed him to work in his Villa Farnesina. Here in the Sala di Galatea Sebastiano painted al fresco technique eight lunettes with themes from Ovid's Metamorphoses and also created a separate fresco of the Polyphemus. Thanks to this first Roman commission he got in touch with the leading artists of that period, especially with Raphael, who also worked for Chigi. Raphael made a famous fresco of the Galatea in the same hall and he didn't try to follow Sebastiano's style. Their rivalry and influence on each other continued after Sebastiano left the Villa. Competition between them was also amplified by Sebastiano's friendship with Michelangelo, who was considered to be the exact opposite of Raphael. Michelangelo also created praparatory drawings for del Piombo, as the penultimate chapter outlines. The last chapter is devoted to the painting of Madonna with the veil, which is the only Sebastiano's painting in the Czech collections. Keywords Sebastiano del Piombo, Sebastiano Luciani, Rome, Villa Farnesina, Raphael
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Old masters paintings in fotography (with emphasis on the work of Vermeer van Delft)
Binková, Simona ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
The thesis "Old masters paintings in photography (with emphasis on the work of Vermeer van Delft)" deal with new reflections of old master's paintings in photography. This problem is shown on example of authors-photographers of the 20th and 21th century, exactly: Tom Hunter and Dorothee Golz, which photographs are played in present time and are considering social problems; Cindy Sherman, Yasumasa Morimura and Hiroshi Sugimoto which use another medium (theater, sculpture) for making a photo and Guido Rey and Richard Polak, photographers from the beginning of the 20th century, which photographs are free inspired by Dutch paintings. key words: Dutch painting in 17th century, photography of 20th and 21th century, re- staging, appropriation, postmodernism, Vermeer van Delft, Tom Hunter, Dorothee Golz, Cindy Sherman, Yasumasa Morimura, Hiroshi Sugimoto, Guido Rey, Richard Polak
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Spanish court portraits of the 16. century and spanish portraits from the Lobkowicz collection
Kalinová, Daniela ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The thesis concerns Spanish court portrait of the 16th and the begining of the 17th century. After a brief introduction to the problematics of portrait in general it concentrates on the court portrait of the whole standing figure, maps the dawn of portrait painting in Spain and the origin of the indigenous portrait school. It analyses more closely two generations of Spanish portrait painters, especially Alonso Sánchez Coello and his competitors at the court of Philip II. and Juan Pantoja de la Cruz and his disciples working in Madrid during the reign of Philip III. Finally it summarizes the most interesting portraits from the Lobkowicz Collection which were made by these portraitists of the court of Madrid.
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Aspects of humour in visual arts of the Early Modern
Bartlová, Anežka ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee)
Ve své práci jsem se věnovala obrazu Hanse von Aachena Smějící se sedláci z pohledu smíchové kultury a jejích konotací ve dvorské kultuře Rudolfa II. Tento obraz jsme zkoumala v porovnání s obrazy podobných námětů slavností sedláků. Výsledkem mého zkoumání bylo zjištění, že zkoumaný obraz nemá s ostatními díly s tematikou sedláckých slavností mnoho společného, že jde spíše o typ portrétu. Námětem obrazu je pravděpodobně soukromá hra malíře a adresáta obrazu. Hra se odehrává mezi divákem a zobrazenými postavami, zajímavě je také rozehrána hra s mediem obrazu samým. Annotation I have chosen Hans von Aachen's image Laughing peasants for my work and I suggest its interpretation from the point of "vulgar" culture of laughter and also its connection with art at the court of Rudolf II. I have recompared the picture with some images depicting a similar topic of peasant's festivals. RI suggest as a conclusion that the image has no connection with these works, and I think it is more likely a certain type of portrait. The correct topic of von Aachen`s image is private a play between the painter and recepient. This interplay is enacted between the beholder and figures in the image and another interesting play takes place concerning the image medium itself.
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Mythological subjects in the work of Lucas Cranach the Elder
Hájková, Zita ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee)
This thesis deals with the production of Lucas Cranach the Elder. After the introductive encounter with the life of Lucas Cranach the Elder the emphasis is put on the mythological subjects with respect to their origin in historical sources and classical literature. The thesis also considers the different influences on Cranach's work in context with contemporary painters and humanism and presents the conditions mainly in the court of the Saxon Prince-electors where Cranach worked.
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Marco Bello in the public art collections of the Czech Republic
Pešlová, Olga ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
This bachelor thesis deals with four paintings attributed to Marco Bello (a disciple of Giovanni Bellini) stored within public art collections of Czech Republic. The main emphasis is laid on detailed description which creates a basis for the following confrontation. The author gives information about provenance, literal occurrence, painting techniques, recent condition, undergone conservation treatment etc. for each of the works respectively. The present study also summarizes the basic literature concerning the painter as well as gives fragments of biographical data. A great attention is paid to Circumcision, the only signed author's piece of work and hence a natural pivot of any research on the Marco Bello's production. The attached chart gives an overview of the paintings attributed to the author and thus throws light on approach of respective researchers and their intersection. The present study lay on detailed photography of the four objective paintings.
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Martin Heidegger, Meyer Schapiro, van Goghs's shoes and some problems of interpretation
Zachariáš, Jan ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
In Heidegger's text Origin of the work of Art is one part, where Heidegger writes about van Gogh's painting Pair of shoes. A lot of art writers and philosophers who consedered Heidegger's essay managed, that Heidegger interpreted this painting as shoes of peasant woman. In my opinion Heidegger only freely speaks about van Gogh's painting. In Heidegger's own words it is questioning of philosopher not strict interpretation. Everything what Heidegger says about van Gogh's painting is deeply conected with whole philosopher's concept of human being, which he itroduced in his masterpiece Being and Time. Van Gogh painted number of shoes, we can find sabots in his early period and lether working or walking shoes from Paris period. Depicting of sabots is conected with van Gogh's liking for counry-life and life of poor peasants in his Holland period. On the other hand in his Paris period one can find four paintings of city wolker's shoes. These paintings are conected with van Gogh's social statut as fleneur - city walker. One of these paintings is the same that Heidegger mentioned in his essay. It is surely "Pair of Shoes" (cat. num. Faille F 255). A lot of scholars, including Jameson, Owens, Derrida have considered this painting. The most probably interpretation seems to be that van Gogh wanted to express...
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Rembrandt Harmenszoon van Rijn in Bohemian and Moravian state collections
Lišková, Julie ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The work deal with several paintings from National gallery in Prague adherent to Rembrandt Harmenszoon van Rijn. Concretely Is spoken especially about three painting, one of which is still consider to be the autor's work by Rembrandt. The other two works have already been dedicated to his pupils. But they had been ascribed to Rembrandt in the past. Therefore these paintings were included in this work. Simultaneusly is solved the problem of the Rembrandts authorship determining and doubtful authorships in general. The best part of the work is devoted to the art historical opinions, their reproducing and the endeavour of layout contraversial points. Conclusion of the work is foremost the reproducing and gathering of available informations, because answer and solve questions of the authorship is the work for many years.
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Genre painting of the 17th and early 18th centuries in Bohemia
Rousová, Andrea ; Horyna, Martin (advisor) ; Konečný, Lubomír (referee) ; Mádl, Martin (referee)
The theme of the thesis "Genre Painting of the 1 i h and early 18th Centuries in Bohemia" was primarily selected due to the fact that until now none of the scholars had attended to this topic. Therefore the thesis for the first time surveys the situation on the art scene and straightaway from several points of view. Pivotal is the recognition of genre paintings by artists working in Bohemia during the period of Early and mainly High Baroque. However, firstly it was necessary to circumscribe the genre painting as such because this determination was fundamental in selecting the works that I labelled as genre. To this also relates the deeper introduction into the iconography and iconology of genre painting, rendered at the same time from the standpoint of the progress of interpretation of prominent experts in the discussed topic. The attention is paid to the references of genre painting in the commentaries of historiographers, painters, art theorists and further authors from Antiquity to the end of the 1 i h century as well. From them, among other things, it is clear that this category was not in the centre of their attention and their attitude to the genre painting was practically solely critical. The opposite attitude, however, is presented through the example of 1 i h and 18th centuries collecting....
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