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Marian image of Beata type in a wide local, time and content view.
Kolářová, Pavlína ; Klípa, Jan (advisor) ; Royt, Jan (referee)
Keywords Beata, Madonnas of svatovítský type, Marian images, Madonnas of 15th century, Czech medieval madonnas, Cetral European painting of 14th century, Cetral European painting of 15th century, Svatovítská madona, Replication of images Abstract Even though the preserved collection of a medieval painting is just a fragment of its former amount, we can still observe specific iconographical types, obviously more influential than others. Therefore the question arises, what are the reasons leading to a significant preference of particular types against others and what intention these images were multiplied with? Which role could the religious, iconographical, historical or artistic aspects contained in particular artwork play? One of the most significant example of this multiplication in bohemian medieval painting is iconografical type called Beata, witch - together with its contemporary and similarly extended type Regina -, represent the core of marian images of the whole 15th and the beginning of the 16th century. This thesis aims to present the Beata type in a broad view in both time and thematic sense and attempts to elucidate some conditions of the pictorial multiplication. The key instrument would be comparative analysis of a typological, iconographical and formal aspects, combined with a reflection of...
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Personalities of the second generation of the Czechoslovak restoration school and their activities in the Department of Conservation and Restoration of the National Gallery in Prague between 1956 and 1970
Zemanová, Daniela ; Ottová, Michaela (advisor) ; Klípa, Jan (referee)
Title: Personalities of the second generation of the Czechoslovak restoration school and their activities in the Department of Conservation and Restoration of the National Gallery in Prague between 1956 and 1970 Abstract The diploma thesis focuses on the reflection and analysis of the activities of the restorers Mojmír Hamsík, Věra Frömlová and František S. Tvrdý, who formed the second generation of the so-called Czechoslovak school of restoration, which has not been paid attention to so far. The restorers were graduates of the Academy of Fine Arts, where, under the tutelage of Professor Bohuslav Slánský, they acquired knowledge in the field of painting and conservation techniques and subsequently worked in the Department of Conservation and Restoration of the National Gallery in Prague, where they focused primarily on the restoration of paintings. For a more comprehensive grasp of the issue, the period between 1956 and 1970 is briefly outlined by the initial aspects that had a fundamental influence on the development and formation of the field of restoration in Czechoslovakia. The person of Bohuslav Slánský is focused on to analyze his methodological approach, selected aspects of which were adopted and, above all, further developed by the following generation. The analysis of archival materials,...
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Chapters on panel painting of the beautiful style
Klípa, Jan ; Homolka, Jaromír (advisor) ; Kuthan, Jiří (referee) ; Royt, Jan (referee)
The work has a character of two parts of an intended larger unit. The first part considers the development and the comprehension of the basic terms/conceptions inherent to the arts of the break of the 14th and 15th centuries. It aims to cover general tendencies which crystalized within the frame of the process of the formulation of the following terms: international style, court style, beautiful style and others. The most detailed focus is withal dedicated to the history of the term beautiful style and its meaning in which Czech research had a significant role during the last century. General issues of the style in the fine arts of the late Middle Ages play a substantial role within the frame of the study of art around the year 1400 and no other treatment of this theme can get along without a historiographic reflection which would entitle and accept the contemporary and ideal conditionality of the basic terms. In the conclusion of the first part there are formulated hypothetical views related to the direction of the future studies of the questions of art around the year 1400 on the European and the local levels. The second part of the work is dedicated to the concrete issues of the form of this art in the Viennese painting of the first third of the 15th century and its relations to the Czech art of the...
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The Sunday Christ
Záruba - Pfeffermann, Josef ; Royt, Jan (advisor) ; Kubík, Viktor (referee) ; Klípa, Jan (referee)
The work is a monograph on the late medieval devotional image of Sunday Christ (Feiertagschristus, Christo della Domenica, Svjeta Nedelja, Christ du dimanche, Sváteční Kristus). The main aim of this research was to create a complete catalogue of all examples of the "Sunday Christ" image and explain its origins and development. Origins of this image are found in the various conceptions of the continual Christ's suffering for our sins. The author is using the recent bibliography on this image (Koman, Reiss, and Rigaux) but the concept of the development is based more on the definition by Gertrud Schiller. The origins are seen in the mystical images from the cloister environment.- Sponsus pierced by Sponsa, Mystical nailing, nailing with various tools, Arma Christi, fabrication of Arma Christi, and other motifs found especially in the art of female convents. The pastoral care of nuns was usually practiced by Dominicans and other preaching orders, which probably modified some of the images of perpetual passion for the use of laity. As a certain reflection of this contemplative phase we may consider the Casatanense Manuscript (Rome, MS 1404) and mystical visions of Archbishop John of Jenstein, (1379) which included an ecclesiastical image of Christ attacked by Christians. The mural paintings had been painted in...
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The Acceptance of Works of Lucas Cranach the Elder in Painting of the First Half of the 16th Century in Bohemia
Hamsíková, Magdaléna ; Royt, Jan (advisor) ; Ottová, Michaela (referee) ; Klípa, Jan (referee)
1 Abstract The Acceptance of Works of Lucas Cranach the Elder in Painting of the First Half of the 16th Century in Bohemia The thesis focuses on the personality and works of the Renaissance painter Lucas Cranach the Elder (1472-1553) and the acceptance of his works and works of his workshop in painting in the first half of the 16th century in Bohemia. The art production in Bohemia, analogous to the 15th century, was concentrated in small centres and was mainly directed to the painting of neighbouring, mainly German speaking countries. Traces of Cranach's unmistakable aesthetics could be spotted in the Czech lands from the first decade to the almost seventh decade of the 16th century. The life of Cranach's style was so long because it was prolonged, among others, by his son Lucas Cranach the Younger (1515-1586). We can assert that no other author or his followers was so successful in such a large scale, for such a long period of time nor had customers of broad walks of life as Lucas Cranach the Elder. The reason for this was seen by earlier researchers in mass workshop production and certain "easy acquirement" of his style (Max J. Friedländer) that spread especially from the 1520's outside the borders of the Electorate of Saxony. His works were accepted firstly through his graphic masters, secondly through...
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The Concept of Beautiful Style and its Use in Czech Literature of Art History
Synecký, Jakub ; Vlnas, Vít (advisor) ; Ottová, Michaela (referee) ; Klípa, Jan (referee)
The work deals with the concept of beautiful style and its use in Czech literature of art history. Jaromír Pečírka introduced the term known from German professional literature to the Czech environment in the 1930s in relation to sculpture. It was applied to the history of Gothic painting by Antonín Matějček. After a short turnaround, associated with the name of Pavel Kropáček, the tradition of using the term was renewed by Jaroslav Pešina, who created a concept valid and recognized to this day. In relation to sculpture, Albert Kutal and his successor Jaromír Homolka had a similar role. The Czech specificity is the application of the term in relation to architecture, which was dealt with mainly by Dobroslav Líbal. Among the younger researchers, the work of Milena Bartlová, Jan Royt, Jan Klípa and Michaela Ottová is followed. The work follows individual concepts and their changes.
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Master of the Breviary of Frederick
Pavlíčková, Adéla ; Klípa, Jan (advisor) ; Kubík, Viktor (referee)
(EN) This thesis deals with an anonymous artist known as "the Master of the Frederick Breviary", named by the Austrian scholar, Gerhard Schmidt in 1967. His work dates to the second half of the 15th century and was created in different parts of Moravia and Vienna over a time period of thirty years and can be divided into in three main stages. The Master of the Frederick Breviary spent the first one in Olomouc, where he worked on custom-made commissions from individual church orders. The next phase can be dated to the time he lived in Vienna, where he became a court illuminator for Frederick III, the Holy Roman Emperor. During the third period, the master moved back to Moravia - but this time further south. The Master of the Frederick Breviary style can be described as a fusion of the Beautiful style residua (in its use of compositional schemes, system of the drapery folds and abstract colours) and "Master E.S"'s gothic graphics. It seems that his rather conservative and uninventive style (when compared to that of his other medieval Central European peers) is exactly what his clients (the Church and the Emperor) demanded. The master's oeuvre consists of fifteen manuscripts, which will be closely analysed in this thesis. The aim is to characterise the individual phases, clarify the master's approach...
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Altarpiece from Znojmo. Visual culture in the Danube
Bartuňková, Kateřina ; Ottová, Michaela (advisor) ; Klípa, Jan (referee)
Keywords The Znojmo altarpiece, Znojmo, Church of St. Michael, Dutch realism, Jakob Kaschauer Abstract This diploma thesis deals with the Znojmo Altarpiece, dated from 1430-1440 and now being exhibited in the Austrian Gallery Belvedere. Thesis is intentionally devided into two topics. The first one is the critical evaluation of the present literature, the second topic interprets the Znojmo Altarpiece itself. This evaluation is based on a specific fine art and visual value of the altarpiece connected to its sociocultural environment for which it was made for: the Church of St. Nicolas in Znojmo city. The complexity of the theologial program of the piece is also analysed, as well as its connection to a supposed donor, Duke Albrecht II. of Germany of the House of Habsurg. Thesis deals with the motives of duke's order including the choice of the carving workshop originated in the artistic environment of Bavaria, which was completed by the domestic Viennese painting workshop. In terms of its artistic style, both the painting and carving style of the alterpiece are putting into context of the Bavarian and Viennese contemporary production. The relationship between the origins of the Znojmo Altarpiece and the painting work of the Master of the Fridrich Altarpiece and the sculptural work of Jakob Kaschauer are also...
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The Sunday Christ
Záruba - Pfeffermann, Josef ; Royt, Jan (advisor) ; Kubík, Viktor (referee) ; Klípa, Jan (referee)
The work is a monograph on the late medieval devotional image of Sunday Christ (Feiertagschristus, Christo della Domenica, Svjeta Nedelja, Christ du dimanche, Sváteční Kristus). The main aim of this research was to create a complete catalogue of all examples of the "Sunday Christ" image and explain its origins and development. Origins of this image are found in the various conceptions of the continual Christ's suffering for our sins. The author is using the recent bibliography on this image (Koman, Reiss, and Rigaux) but the concept of the development is based more on the definition by Gertrud Schiller. The origins are seen in the mystical images from the cloister environment.- Sponsus pierced by Sponsa, Mystical nailing, nailing with various tools, Arma Christi, fabrication of Arma Christi, and other motifs found especially in the art of female convents. The pastoral care of nuns was usually practiced by Dominicans and other preaching orders, which probably modified some of the images of perpetual passion for the use of laity. As a certain reflection of this contemplative phase we may consider the Casatanense Manuscript (Rome, MS 1404) and mystical visions of Archbishop John of Jenstein, (1379) which included an ecclesiastical image of Christ attacked by Christians. The mural paintings had been painted in...
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