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Tombstones and Epitaphs of Italians in the Czech Lands during 1500-1620
Chlíbec, Jan
Thus far, no attention with respect to nationality has been paid to tombstones and epitaphs of Italians who lived in the Czech lands during the Renaissance era and who were subsequently buried there. Nevertheless, it is an interesting segment of this specific type of sculpture, although rather from the perspective of cultural history and epigraphy than from the art history. The commissioners of these works largely adapted their taste to the established types of sepulchral monuments and epithaphs north of Alps. The convolute of these works is rather limited, thus far comprising of 11 works and only 4 of them are figural. Yet, sober inscription plates , decorated only with the coat of arms of the deceased person, prevail in the majority of sepulchral works of the researched convolute.Their austere artistic form can be explained by the influence of the Council of Trent´s ideology. The Prague synod in 1605 continued the refusal of pompous tombstones and had an unfavourable impact on the development of sepulchral sculpture.
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Rembrandt fecit – Liepmann gedruckt. Oil-painting in the age of mechanical printing
Trnková, Petra
On January 16, 1839, a short report appeared in the Preußische Staats-Zeitung announcing the possibility of perfect mechanical reproduction of oil paintings. The news, which soon spread to other countries through the local press, was about the invention of the Berlin painter Jacob Liepmann – the so-called Ölgemälde-Druck. The paper aims not only to recall the forgotten invention and its creator and to clarify Liepmann’s principle of mechanical reproduction of oil paintings, but also to shed light on the circumstances of its development, publication, existence and early demise. In addition, attention is paid to contemporary discussions on the topic of perfect, fast and easy reproduction of a painting and to the problem of making the works of old maters accessible to the public.
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The Geopolitics of Photography Exhibitions. Showcasing Soviet Photographers in Interwar Czechoslovakia
Parkmann, Fedora
This paper presents interwar exhibitions of photography as spaces of exchange, self-promotion, and competition for recognition in the heart of a global geopolitics of photography. Focusing on the participation of Soviet photographers at several large-scale international exhibitions organized in Czechoslovakia in the 1930s, it shows that both the Czech and Soviet organizers took advantage of exhibitions to serve their respective interests: The Soviet Union to strengthen its cultural diplomacy, and the Czech supporters of Soviet photography to popularize functional and committed photographic approaches among their fellow countrymen.
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Copies, Reproductions, Casts, Prints
Buddeus, Hana
The Covid-19 pandemic has once again drawn our attention to the importance of thinking through various aspects of remote access to originals or second-hand spectatorship within art history. Thanks to graphic prints, reduced or reproduced sculptures, various souvenirs and especially photographic reproductions printed in magazines, calendars, books, posters or hung online, art is circulating, leaving the elite environment of collections and gaining a new context. How can reproductions of various material forms, qualities and uses be considered within art history?
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From American Spirituals to Czech Folk Ballads: Spiritual Kvintet and the Sources of their Lyrics over Six Decades
Opekar, Aleš
The paper deals with the lyrical aspect of Spiritual Kvintet’s repertoire and the sources from which the Czech group has drawn over their 60-year-long career. Initially, they were interested in African American spirituals, which gave the group its name. Soon after they added the folk songs of European immigrants to the USA. Czech sources of Spiritual Kvintet’s repertoire include European Renaissance songs, transcribed from lute tablatures of the Rudolphine era, songs of the Czech national revival, traditional Czech folk ballads, and finally some original compositions by Czech authors. The wide range of genres was matched by the unifying character of the lyrics. Both the foreign and archaic songs required translation into Czech, so the local audience would understand. The new lyrics were supplied by the members and friends of the group (Jiří Tichota, František Novotný, Dušan Vančura, and Vlastimil Marhoul), and some were provided by the renowned lyricist Ivo Fischer. The authors often shifted the specific nuances of the original meaning in favour of keeping the rhythm and sonority of the Czech verses. Nevertheless, they managed to formulate the songs’ original social message in a way that evoked associations with the domestic social situation. The diversity of the texts was unified by the musical arrangements, based on multi-voiced singing accompanied by guitar, double bass, and other acoustic instruments.
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A Spectacle in Circus - Distraction, Concentration?
Machalíková, Pavla
The text takes as its starting point the thesis of Jonathan Crary about the fragmentation of modern society and modern perception. As an example, it takes circus posters and announcements for the Bich circus society in Prague shortly after 1800. It analyses circus as a specific type of modern spectacle which manipulates the perception of the viewer in ways similar to manipulations in modern art.
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