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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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A false portrait of Beatrice Cenci and its influence on art and literature from 18th to 21th century
Polláková, Petra ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
This study examines the rich iconographic tradition of a painting by an unknown artist from the collections of Galleria Nazionale in Rome's Palazzo Barberini. The baroque picture depicting the bust of a young woman wearing a plain white robe and a cloth around the head in the fashion of a turban, was erroneously identified at the end of the 18th century as portrait of the Italian noblewoman Beatrice Cenci, who was executed in 1599 for complicity in the murder of her father Francesco Cenci. As Francesco had been jailed for many crimes and was known for tyrannical treatment of his family, general sympathy went out to Beatrice. She was admired for her beauty and the courage with which she faced imprisonment and torture. The dramatic case was exacerbated by a suspicion raised by the Cenci lawyer that Francesco had sexually abused his daughter Beatrice. Although this suspicion has never been confirmed, it brought Beatrice the aureole of a martyr. General fascination with the lot of the young noblewoman became a romantic legend at the time of Beatrice's imprisonment. In popular oral tradition it lived on for several centuries. In the middle of the 18th century the Cenci story appeared in a popular chronicle, Annali D'Italia, published by the Italian scholar Muratori. In late 18th century, a painting of a young...
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Gender aspects of embodiment in contemporary Czech art
Štefková, Zuzana ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee) ; Pachmanová, Martina (referee)
This thesis analyzes key issues related to the various fornls of representation of gendcr aspects af enlbod iment in eonten~porary Czech visual art Based on case studies a.nd using thc !llethodology oť ferninisln, post strueturalism,\ and psychoanalysis~ this thesis discusses how development of Czech society after 1989 retlects itself in the work of selected Czech and Slovak artists. After providing a theoretical and philosophical introduction into the topie, I discuss the exhibitions that have dealt with the issue of ernbodil11ent in the Czech context Detailed analysis 1S devoted to the different manifestations af hetero- and homosexual desire. Two separate chapters focus on the ways in which pornographic visuality inspires eontetnporary Czech art and on the relation between eroticls1n and power respectively. Next chapter discusses the gender specific sources of bodily' abject. The following text analyzes various representations of femaie bodies (stereotypical roles, motherhood, specifica11y enlbodied subjectivlty, visuality of women's )ifestyle tllagazines, and the impact of beauty lnyth) as well as the various aspects of male embodiment (visual reinterpretation of masculinity, the role af penis in the construction of tnale's subjectivity, and the deconstruction af maje genius). Finally~ tne thesis...
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Melancholy after Dürer
Pešťák, David ; Konečný, Lubomír (advisor) ; Hlaváčková, Jana Hana (referee)
At the beginning of the submitted thesis is presented Albrecht Dürer's engraving "Melencolia I" from the year 1514. This work is well known and very important for art history. At the end of the thesis is a small drawing, Caspar David Friedrich's selfportrait from from the beginning of nineteenth century. The both work can be described as melancolical. Dürer's engraving has Melancholy directly in the title, Friedrich's drawing creates an impression of melancholy. From complicated relationships between attributes and symbols on Dürer's work remains in the Friedrich only typical melancolical gesture of the hand, which support the head. My work deals with influency of Dürer's Melancholy in the art of the 16th, 17th and 18th century. Dürer's understanding of melancholy as "melancholia artificialis", artist's melancholy, in the connection with genius found immediately after its origin a lot of variations and immitations.
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