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Issues of questionable attributions of works by Francesco Squarcione
Třešňáková, Alena ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
of the Thesis Bc. Alena Třešňáková 2011 Abstract The thesis in the theme: Issues of questionable attributions of works by Francesco Squarcione The first part of the thesis provides a summary of information about Francesco Squarcione. He is known to have first been a tailor, then an artist (from 1429) and collector of antiquities, an innovative activity in his time, and finally, an entrepreneur who influenced young artists in Padua from the 1430s to 1460s. Squarcione founded (1431) the earliest known private art-school. He educated 137 pupils who had trained or learned through the copying of antiquities in Squarcione's collection. Only two works made by him have come down to us from his artistic era; the De Lazzara polyptych in the Museo Civico in Padova (1449−1452) and the Virgin and Child in Staatliche Museen in Berlin (around 1455). The second part of this work deals with the other works that have been attributed to him over the next centuries. There is a compiled catalog of these works of art. In each of the entry are summarized important opinions about authorship of the work and on the end of which I presented my own opinion. It is difficult to confidently attributed these works to the Master Francesco Squarcione, since on the commissions often collaborated his pupils, who created in his style...
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Antonio Maria Viani in Mantova. Painting works and drawings.
Nová, Magdaléna ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The subject of thesis is Antonio Maria Viani's paintings and drawings which he created during his residence in Mantua. Mantua was ruled by art enthusiastic Gonzagas family who were the indisputable art enthusiasts. This thesis aims to summarize and evaluate the articles that had been written about Antonio Mario Viani until the exhibition called "I segni dell'arte. Il Cinquecento da Praga a Cremona" took place in Cremona in 1997/1998. The exhibition significantly helped this artist (originally from Cremona) to become widely known. Firstly shown, there were some Viani's drawings from Clary-Aldringen's albums which are now deposited in the National Gallery in Prague. List of bibliography will have been completed by the latest literature related to the artist and discussions and reviews of the exhibition in Cremona are also included. The main purpose of this thesis is to introduce the artist Antonio Maria Viani as an excellent master which, undoubtedly, he was. It is also inherent to stress the exceptionality to have so many drawings from cremona's masters in our colletions.
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Foundations of Marie Margaret Countess of Waldstein
Svobodová, Jana ; Zlatohlávek, Martin (advisor) ; Pučalík, Marek (referee)
RESUMÉ MARIE MARKETA OF WALDSTEIN'S FOUNDATIONS This bachelor's work represents Marie Marketa, Countess of Waldstein, as the founder of sacral objects in her estates, and presents an overview of buildings with an explanation of their origin in the given locality. Bachelor's thesis is part of research on Waldstejn's patronage in northern Bohemia prepared for the exhibition of this important aristocratic family in the Museum of the Bohemian Paradise in Turnov. During my research, I did mapping of individual sites and I described them. From my point of view the work in the field was important, this means acquisition of photographs of individual churches and gathering additional information on the creation of buildings. Most reference period was the years 1724-1729, when the Countess of Waldstein was truly generous in promoting the arts, when the favorable financial situation help her. Thanks to this situation newly built or restored religious buildings on Waldstein's estates were built. Such as decanal church of St. James in Mnichovo Hradiště, St. Nicholas in Turnov, and St. Vojtěch in Kruh near Doksy, St. Wenceslas in Boseň and the chapel of St. John of Nepomuk at Waldstein, St. Stapin in Klokočka. The aim set for this work I managed to meet, even though I remained in this work due to my research even more...
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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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"The Grünes Gewölbe -between Art Repository and Baroque Museum. The Collection's History up to 1733."
Hlušičková, Pavla ; Zlatohlávek, Martin (advisor) ; Otavský, Karel (referee)
121 Anglická anotace The Green Vault is among Europe's most exquisite and most famous treasure chambers. It was established as a baroque museum by the Saxon elector and Polish king August the Strong (1670-1733) between 1723 and 1730. During that period, the Wettin dynasty's sumptuous collection of Renaissance and Baroque treasures was placed on view for the first time in eight presentation rooms of the Royal Palace. The inventories of 1733 have survived and form the basis for the present reinstallation of the treasure chamber. In those documents, this group of rooms is referred to as the "Secret Repository of the Green Vault of Dresden. The malachite-green hue of various architectural elements in the rooms of the secret repository probably led to their colloquial designation as the "Green Vault" from as early as 1572. Between 1723 and 1730 August the Strong realized his vision of a Baroque synthesis of the arts as an expression of wealth and absolutist power. In harmony with the festive architecture, 3,000 artworks were presented standing freely against a background of richly embellished and mirrored display walls and on ornamental tables. In this incomparable Baroque setting, the individual artwork receded behind the overflowing abundance of the whole. The rooms themselves have their origins in palace...
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Depiction and Meaning of Animals in Renaissance Portraiture: The Case of the Ermine
Marešová, Markéta ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee)
This thesis deals with representation of animal and their meaning in european portrait painting of the period spanning from second half of 15th century till the beginning of 17th century and it sets to describe relationship between humans and animals occurring in the symptomatic space of portraiture as well as the renaissance culture in general. Among the art genres it is portrait where we can trace immediate interaction of humans and animals as the later are usually included in the painting on demand of the submitter of the artwork and are positioned there as a symbol though which the portrayed person communicates with viewer. The fundamental characteristic of animal symbolic is its ambivalence and multiplicity of meaning shaped over centuries as the renaissance iconography of animal have been dominantly formed by ancient manuscripts and medieval bestiaries. From the wide specter of animals represented in this period my thesis is focusing in detail on the case of ermine which was one of the less commonly represented animals. Symbolism of the ermine is further discussed in case study on two particular master pieces of renaissance art - Lady with an Ermine by Leonardo da Vinci and Young Knight in a Landscape from venetian painter Vittore Carpaccio - where the appearance of the animal plays key role...
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History of Kupferstich-Kabinett (Collection of Prints, Drawings and Photographs) in Dresden between 1720 and 1780
Plzáková, Lucie ; Zlatohlávek, Martin (advisor) ; Otavský, Karel (referee)
The work describes history and development of Collection of Prints, Drawings and Photographs in Dresden in the years 1720 - 1780. Collection of Prints, Drawings and Photographs in Dresden was established in 1720 by Frederick Augustus I, Elector of Saxony and King of Poland (as Augustus II the Strong). The first director of Collection of Prints, Drawings and Photographs in Dresden Johann Heinrich Heucher bought a large Gottfried Wagner collection of drawings from Leipzig in 1728. Carl Heinrich Heinecken, the second director of Collection of Prints, Drawings and Photographs, cooperated with the art connoisseur and art collector Pierr Mariette from France. Collection of Prints, Drawings and Photographs in Dresden was avaible for the public in the second half of the 18. century. At the end of this work there is supplemented brief catalog of selected Drawings of the Italian masters of the 15th century from Collection of Prints, Drawings and Photographs in Dresden. These Italian drawings were a part of collection in Dresden already also in the years 1720 - 1780. Drawings are descripted and characterized there. Keywords: Dresden, Frederick Augustus I., Collection, Drawing, Italian Master.
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Inspiration of Albrecht Dürer by the artist Hans Hoffmann. So called Dürer's Renaissance at the court of Rudolf II.
Lišková, Barbora ; Nespěšná Hamsíková, Magdaléna (advisor) ; Zlatohlávek, Martin (referee)
The Bachelor thesis is focused on the inspiration of Albrecht Dürer in paintings of Rudolphin's painter Hans Hoffmann with a particular consideration to his painting The hare in a forest (1585). Based on what will be the centroid of the work, I would like to outline broader contexts of the role which Dürer's art played on the Rudolph's court. Next to the fundamental chapter containing an compendious characteristic of the A. Dürer's personality and art will be the part of work an epitomize disquisition about Rudolph II.'s admiration to this Renaissance master and about his successful efforts about an acquirement of his arts into Caesarian collections. The labor will also include an epitomize disquisition about Dürer's inspirations by another artists of Rudolph II.'s sphere.
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Early work of Sebastiano Luciani called del Piombo in Venice till 1511
Pokorná, Barbora ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
The baccalaureate dissertation "The early-maturing work of sebastiano Luciano (called del Piombo) till 1511 in Venice" deals with the problem of early maturing period of Sebastian's work in Venice before he left to Rome. The first part of the dissertation presents basic information about Sebastian's life, work and a review of his major works. The main part of the dissertation is focused upon Sebastian's younghood and the development into genious artist by confrontation with simultaneous artists and their influence. This period brought him acknowledged position between other artists in Venice and Rome. Another part of the dissertation presents the review of art pieces that he made during his early maturing period in Venice and their influence in the work of other artists. The dissertation is concluded by Venice art work catalogue.
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Drawings Filippino Lippi's for the frescoes in the chapel Strozzi and Carafa
Kolomazníková, Karina ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
The Barchelor thesis "Drawings Filippino Lippi's for the frescoes in the chapel Strozzi and Carafa" is devoted to the Italian Renaissance painter and draftsman Filippino Lippi. Mainly his drawings for the frescoes in the Strozzi and Carafa Chapels. After the basic informations about his life and work, with summary of his basic work, Lippi is treated as draftsman. There is captured his workshop experience as well as several important drawings, which he made. The main part of this thesis discusses the frescoes in the Strozzi Chapel in the Florentine church Santa Maria Novella and in the Carafa Chapel in the Roman church Santa Maria sopra Minerva and about extant and so far assigned drawings for these Filippino Lippi's frescoes. There is also mentioned several drawings, which is reltated to these wall painting and they were made by the other artists. In the conclusion of this thesis there is attached a catalogue of Lippi's preparation drawings for these frescoes.
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