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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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A contribution to the theory and practice of representation of passions in visual arts around 1800
Ježková, Markéta ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee)
The presented thesis deals with the French classicism theory of mechanism and representation of passions as the source of some art works created in the region of Bohemia around the year 1800. The theory of mechanism and representation of passions was developed in Paris at Academie Royalle de Peinture & Sculpture (Academy of Fine Arts) during the 17th century. The academicians were working on a project of creation of an universal model, which was based on the current scholastic discoveries and ancient Rome, to set a guideline to produce a piece of art which could "call" the spectator, touch his heart, allow him to read the presented story and recognize passions which the figures were undergoing. The way to reach this complex aim was initiated by René Descaretes in his writing "Passion of the Soul". His writing was lately modified and enriched by illustrations of Charles Le Brun, the artist of the king's court. Students of art were facilitated to learn and understand of the causes that lead in the expression of passions in the human face. Young artist were allowed to understand the passions, which were not publicly know because of the strict standards of social behavior. Le Brun's drawings of the human face were mostly neutral so they could be used for both sexes in various contexts. The Le Brun's writing was...
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A history of the paintings of Palma il Giovane in the collections of the Lands of the Bohemian Crown to the present day
Wanková, Veronika ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
A HISTORY OF THE PAINTINGS OF PALMA IL GIOVANE IN THE COLLECTIONS OF THE LANDS OF THE BOHEMIAN CROWN TO THE PRESENT DAY The diploma thesis deals in first part with the Palma's relationship to Titian's and Tintoretto's workshops. In spite of considering him as a Titian follower, the most latest research has denied this opinion and considers him as a painter working independently on Titian. However, Palma never refused to help to Titian's workshop if needed. He met Jacopo Tintoretto, another great Venetian painter of that time, during their common work on decoration of the Doge's Palace in Venice. This was an opportunity for Palma to get to know Tintoretto's style that he admired. At the same time, Palma created a very close relationship to Tintoretto and his son Domenico Tintoretto. Second part of the thesis describes Palma's works. After deaths of Titian, Tintoretto and Veronese, Palma was considered their successor and representative of traditional high- quality Venetian painting. He acquired a lot of orders and dozens of noblemen desired to own his paintings. Also aristocrats from Czech lands were interested in his works. Palma's works were coming here from several places - both directly from Venice and indirectly from Vienna or Nuremberg. I described sixteen paintings that are known to be...
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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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Ephemeral architecture of Renaissance festivies in Giulio Campi drawings
Hlušičková, Pavla ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
This dissertation informs about the life and work cremonese painter, architect and decorator Giulio Campi (c. 1502-1572), who became in 1541 the author of the decorations for the triumphal entry of Emperor Charles V in Cremona. Together with his colleague Camille Boccaccino suggested a number of triumphal arches, whose appearance has been preserved to this day on preparatory drawings. A number of preparatory drawings, which are part of the recently discovered album of the Clara - Aldringen in Teplice, keep the National Gallery in Prague. This thesis concerns the problems of Campi's proposals of the arches - addresses visual effects that might have had an influence on the Campi's drawing expression, features other Campi's surviving drawings from the collection of the European institutions and summarizes a form of the Charles V Trionfo in 1541 and Philip II. Trionfo in 1549 in Cremona.
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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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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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Matamorphosis of theoretical writing on African art in the 20th century
Bidlasová, Petra ; Winter, Tomáš (referee) ; Konečný, Lubomír (advisor)
According to Polish journalist Riszard Kapuscinski Africa is "a veritable ocean, a separate planet, a varied, immensely rich cosmos". The mere size and complexity of the African continent, consisting of many hundreds of tribes and dozens of states, mirrors in its culture and art and it renders impossible to reduce the modern history of African art to fit into one thesis. This fact made me concentrate on changes which occurred during the 20th century within the field of theoretical writing on African art [see Introduction]. Europeans have shown their interest in Africa for thousands years since the antiquities, starting as early as the 5th century B.C. with Herodotus, followed by Arabic merchants, who crossed Sahara and described with astonishment growing medieval empires of Central Africa: Ghana, Mali and Songhai. First period of greater interest is connected with 15th century European sailors, who were sent by their respective emperors to find gold, slaves and sale opportunities. This still leaves Europeans mainly on the African coast entering into the heart of Africa only after the colonial incursion in the late 19th century. An enormous amount of artworks was brought to Europe from Africa during the years and decades to come after the Berlin conference 1884-85, which almost deprived some tribes from...
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