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Changes to the interior of the basilica of St. Margaret's monastery at Břevnov
Linart, Petr ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
Changes to the Interior of the Basilica of St. Margaret's Monastery Břevnov St. Margaret's Church, which is part of Břevnov monastery of Benediktines, was built under the supervision of abbot and builder Otmar Zinke in the beginning of the 18th century. As all the architectonical works, even building of this great dome of radical Baroque came through its development. The earliest changes were done by the architect Pavel Ignác Bayer in the beginning of forming the plans. His successor was Kryštof Dientzenhofer. He changed even the basic masonry and the building as a single nave. According to the archival records there were some changes concerning the iconographical programme. The interior was gradually completed and changed partly too. The main changes concerned the paintings, arranging of the liturgical area and the Baroque organ case reconstruction as well as new organ.
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Personal and family representation of Zacharias of Hradec in the Telc Chateau.
Salava, Jan ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
The castle in Telc is one of the few buildings in the Czech republic whose interiors from the second half of the 16th century have been preserved almost unaltered. Owner dominion Zacharias of Hradec had the castle enlarged and its interiors splendidly decorated. The decorations reflect the personal taste of the castle lord. The early designs were taken from a production of Nurnberg workshops. Later the Dutch influence prevailed. The inspiration by the Dutch engravers Cornelis Cort, Frans Huys and Swiss Rudolf Wyssenbach can be traced. Later, but not less important source of inspiration, is book Imagines gentis austriacae by the Italian painter and draughtsman Francesco Terzio. Various crypto-portraits, mainly in the Rooms that were opened to the public, may be attributed to personal representation as well. Another very specific form of representation are the bears who support the coat of arms of the castle lord and his first wife Kateřina of Wallenstain. The bears point out to a legend, according to which the castle lord's family descends from house Ursini, an ancient Italian family. The imperial chamber served for family representation as well. The chamber is decorated with portraits medallions of the roman kings and queens and several unidentifiable portraits. Although I was not able to prove...
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Chapters in the iconography of the renaissance portrait in Bohemia and Moravia
Kubíková, Blanka ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee) ; Jakubec, Ondřej (referee)
The subject ofthis thesis is studying the iconography and iconology of selected portraits from the fund of painted aristocratic portraits of the 16th and beginning of 17th century from Czech and Moravian collections and putting them into the context of portrait painting in neighbouring countries of that period. The first chapter deals with the portraits af Vilém oj Rožmberk. The privileged position ofthe Rožmberk ruler, who held the second position after the king in the hierarchy ofthe Czech lands, is imaged in the magnifico's full-figure portraits, which ref1ect the newest portrait tendencies [rom the imperial circles in an immediate sequence and which in iconographic details enable concrete iconological interpretations. Founding a family portrait gallery at a time oftemporary loss ofthis exclusive position can be interpreted as a strong expression ofthe resolution to renew the family's prestige. The second chapter deals with pictures from the Pernštejn collection: the double portrait of Marie Manrique de Lara with a naked child and a portrait of her husband, Vratislav oj Pernštejn. The symbolical statement of the double portrait is especially studied, which may be perceived as a Marian identification portrait celebrating the family's continuance. Apart from its representative function, this portrait...
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Depictions of the Last Judgment Scene in the Czech Renaissance and Mannerism of the 15th and the 16th Centurie
Kalina, David ; Zlatohlávek, Martin (advisor) ; Royt, Jan (referee)
Depictions of the Last Judgment Scene in the Czech Renaissance and Mannerism of the 15th and the 16th Centurie. The study submitted to fulfill the Bachelor Degree requirement, "Depictions of the Last Judgment Scene in the Czech Renaissance and Mannerism of the 15th and the 16th Centuries," analyzes several preserved frescoes with the theme of the Last Judgment and identifies their compositional and iconographic sources. The main ones are Johanes Sadeler's I. copper engravings of the Last Judgment (1550-1600). The graphic oeuvre of this Flemish artist, as the study demonstrates in a number of examples, exerted a considerable influence not only on his contemporaries but also on the art of later periods. Powered by TCPDF (www.tcpdf.org)
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The Flaying of Marsyas versus The Pieta Rondanini. a Comparison of the Late Works of Titian and Michelangelo
Wanková, Veronika ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The Anotation The Flaying of Marsyas versus the Pieta Rondanini A comparison of the late works of Titian and Michelangelo This bachelor's thesis deals with Titian's late work "The Flaying of Marsyas", which is held in the collections of the Archbishop's Palace in Kroměříž. This work is compared to another late work, Michelangelo's "Pieta Rondanini", a sculpture housed in Milan. The works are put into context with societal influences on both artists' work, the artists' confrontation with old age, and the issue of melancholy in their late works. Firstly, there is a list of literature that is necessary for understanding and further research of this topic. The list is followed by a summary of actual knowledge about both works. Subsequently the thesis contains a comparison of late works of Titian and Michelangelo where their new approach towards their works is described. Finally, the thesis deals with a relationship and difference between The Flaying of Marsyas and the Pieta Rondanini. The thesis also includes a rich supplement of pictures that should complement previous information as well as mention other works concerning with The Flaying of Marsyas or the Pieta Rondanini. Keywords: Flaying of Marsyas, Pieta Rondanini, Titian, Michelangelo, comparison of late works
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Josef Herscher. The Secret of His Coming and Working in the West Bohemia in the Baroque period
Jirmusová, Kristýna ; Zlatohlávek, Martin (advisor) ; Bukačová, Irena (referee)
135 Summary This study deals with Josef Herscher, a sculptor of the late baroque period, who worked in West Bohemia. The first notice about his presence there comes from 1720, other apper during the next years till 1756 when Herscher died. During that time ruled in Manětín Marie Gabriela Lažanská, who wanted to increase the fame of the city. In 1719 died another sculptor, Štěpán Borovec, who had worked in Manětín before Josef Herscher. He is the author of e.g. The Trinity Statue on the main square. It is said, that the statue was finished by Borovec's son Václav Borovec. We assume, that Václav Borovec could have helped Josef Herscher in his workroom and could have been one of Herscher's journeymen. Štěpán Borovec studied in Prague in the workroom of Jan Brokof. We know from the teaching-paper, that he was educated there. Statues of Saints by Josef Herscher have many common features with these by Ferdinand Maxmilián Brokof. This study compares them with St. Elizabeth, St. John of Nepomuk, Holy Virgin and many others. It seems, Josef Herscher knew the production of Brokof's workroom from the beginning of the 18th century to the late twenties of this century. He used the whole composition of particular statues as so as small details from their faces or gesticulation, which he adapted according to his own...
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Early Baroque Altars in Prague
Kolář, Jan ; Zlatohlávek, Martin (advisor) ; Horyna, Mojmír (referee)
ENGLISH ANNOTATION This paper discusses Prague altars that were crafted in the years of early-baroque between 1620 and 1680. It contains a brief outline of the historical period during which - in relation to counter-reformation and recatholization after the defeat of the Estate uprising in 1620 - baroque style had been fully accepted in Czech lands. The church, supported by the state, had made it its goal to restore catholicism in Czech lands and for this purpose it also used the means of arts. The baroque church combined all kinds of arts in its complexity. The main attention of its builders was paid to altar constructions, most often wooden ones. This paper then analyzes the history and typology of the altar and its components - the altar table, the retabulum (altar leg) and the tabernacle (sanctuary). The overall development of early-baroque altars dated from late-renaissaince mannerism to the beginning of top-baroque is discussed, together with the metamorphosis of the altars' architectural concepts, the artistic perfection of the altars and of their decorative elements. Both preserved and some non-preserved altar constructions located in Prague (in the area of Hradčany, Lesser Town, Old Town and New Town) are listed and described in this paper. Furthermore, an account is given of the artists...
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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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Sebastiano del Piombo in Public Art Collections in the Czech Republic
Nová, Magdaléna ; Zlatohlávek, Martin (advisor) ; Pujmanová, Olga (referee)
Sebastiano del Piombo in public collections of the Czech Republic Sebastiano del Piombo (his own name was Sebastiano Luciani) has been born at Venice in 1485. First art schooling obtained in Giovannni Bellini's workroom and soon he started to appreciate innovative works of Giorgione. Shorty he created his own art style combining Venetian coloristic tradition with monumentality of dimensions and forms. Around the first decade of 16th century he became an independent artist and obtained his first art commissions. In 1511 he went with his first patron Agostino Chigi to Rome. His first commission in Rome was to decorate Chigi's suburb villa. Here he learned that Rome art production is intimate to his own style which he polished in Venetia. Immediately after his arrival to Rome he is confronted with Raphael's artwork and they work together in Villa Farnesina. Later he had befriended Michelangelo who supported his Venetian friend in obtaining new orders and also with his own sketches. Relationship of those two artists is documented in their correspondence to these days. There are two Sebastian's works in the Czech Republic; a painting of a Madonna with a Veil and a drawing of Borgherini chapel decoration in a Rome San Pietro Church in Montorio. Both works are in possession of the Olomouc Archbishopric....
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Hieronymus Bosch and Venice
Novotná, Věra ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
This (bachelor) thesis concerns the phenomenon of Hieronymus Bosh and its possible links to art and life of Venice and Veneto in the sixteen century. The title of it is: Hieronymus Bosch and Venice. It is trying to set up tangible hypothesis based on broad study on literature concerning Bosch, especially his paitings, accommodated now in Palazzo Ducale in Venice,. Further it concerns on the sixteen century Veneto and, specifically and most importantly the mighty and beautiful art of the Serenissima. It is describing eventually indicated links if in at least two sources. It finally synthetizes the literature and concludes: there are no such confirmed indications in serious literature. It is further trying to include the panels in venezian contemporary art and its development, and is looking for any descendents of the Master in Veneto and in wider Europe, too. It gathers all Venetian donors and supporters, who had connections or knowledge on Bosch, Mainly it outlines the collection of Bosch's paintings owned by Cardinal Grimani; in comparison, too, other European noted collections, and their results. This work reveals importance of the works of Bosch and interest among the historians of arts since modern age, including last issues, on the other hand, the lack of serious studies on this specific...
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