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"Beautiful pietas" of the Beautiful Style
Čtvrtníková, Marie ; Ottová, Michaela (advisor) ; Klípa, Jan (referee)
The thesis in its first part outlines in general the iconographical type of pietà and its genesis from the very beginning of the representation of this type until the end of the 14th century. Furthermore the work interprets the literary sources and its impact on the form of medieval pietàs. The emphasis in all chapters of this work will be put in the first place on the type of the so called Beautiful pietàs of the Beautiful Style. In the first, theoretical part of the work the author presents, among others, an interpretation of Beautiful pietàs' gestures. The second part of the thesis treats seven concrete Beautiful pietàs chosen as illustrative representatives of the iconographical type they belong to. The attention will be devoted to the Pietà of Marburg, Pietà of Baden, Pietà of St. Elisabeth in Wrocław, Pietà of the Kreuzenstein Castle, K ivák's Pietà, Pietà from the Hermitage Museum in Petersburg and Pietà of Celje. In the case of these concrete examples will be summarized and interpreted the existing research outputs. Subsequently the author will attempt to solve some of the problems and questions relating to the concrete sculptures concerning in particular the time of their creation, provenance, the original placement and authorship.
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The Pietá of Vsemerice in context of beautiful style pietás
Čtvrtníková, Marie ; Ottová, Michaela (advisor) ; Royt, Jan (referee)
The thesis is dedicated on the one hand to the iconographical type of pietà in general and to its development from the beginnings of the 14th century to the first decades of the 15th century. But firstly the text is devoted to the The Pietà of Vsemerice, sculpture of high quality from the first half of the 15th century. Pietà of Vsemerice is compared with the production of Master of Týn Calvary in the field of the style and in some cases (where possible) also in the technological domain. The bachelor work sets the goal to summarize existing scientific outcomes and to propose some plausible answers to the questions concerning the Pietà of Vsemerice. In particular, these questions relates to the specifications of the time and place of her creation, of the authorship, and, last but not least, of her original destination. The thesis is structured into four chapters. First two of them deal with the pietà at general level and in the context of the sculpture in the Czech lands. Another two chapters are dedicated specifically to the Pietà of Vsemerice, the first of them resumes existing knowledge in the art history of the sculpture discussed, in the second one the author brings her own interpretation. Powered by TCPDF (www.tcpdf.org)
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