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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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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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The influence of Federico Zuccari on the education of Italian artists at the end of the 16th and in the 17th century
Vítová, Kateřina ; Konečný, Lubomír (referee) ; Zlatohlávek, Martin (advisor)
Federico Zuccari was a major figure of the Italian history of art in the late 16th 17 century, at a time when culminate efforts to prove higher than the substance of craft arts. One of these efforts was the creation of new artistic institutions, academies of art. Federico Zuccariho is very closely linked with the beginning of their activity. Today's essential objective Academy of Fine Arts, a teaching young artists, was in time of their shaping only secondary function. The development of academies as the first place educational institutions was a major objective of Federico Zuccariho. The most of his theoretical and literary production focuses on the appropriate form of teaching and the necessary level of knowledge (both practical and theoretical) students of Fine Arts. Lectures on the theory of the arts, particularly those that reveal his deepest essence, Disegno, Zuccari considers as necessity for awareness of the role artist new era. Zuccari is in their thoughts also a great systematist and didactics using new methods. Unfortunately, most artistic companies were not yet ready nor mature for his theory. Bad to say, the quantity of his advanced ideas remained only in its infancy realization or even failure in practice at all.
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German and Austrian paintings of the 17th century in the National Gallery in Prague
Jandlová Sošková, Martina ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee) ; Vlnas, Vít (referee)
The collection of German and Austrian painting of the 17th and 18th centuries includes over 600 paintings. Out of this number, seventeenth-century painting totals 190 works reflecting the various stages of the development of painting in Austrian and German lands. At the same time, this ensemble mirrors the development of collectorship from the 17th to the 20th centuries. The aim of the textual part of the presented catalogue is to briefly define the turning points in the development of art in Germany and Austria. The catalogue does not want to summarize the history of German art, it rather focuses on some tendencies that are deemed important in view of the artistic contribution of selected painters in the context of the National Gallery in Prague collection. One of the tasks of the catalogue was to revise the circle of works traditionally attributed to 17th-century German and Austrian schools and delimit the group of the paintings included in the catalogue. It is thus divided into three sections, namely: "Paintings by Known Artists", "Paintings by Anonymous Artists", and "Supplements". The last named part contains paintings formerly considered works of German painters. Those are paintings that with all probability came into existence within the frame of other schools, and also copies after models from other...
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Monumental painting in Prague sanctuaries between late gothic and baroque
Mazač, Vít ; Konečný, Lubomír (advisor) ; Šroněk, Michal (referee)
The submitted rigorous thesis represents the author's attempt at contribution to the study of the Czech Renaissance. It is devoted to a remarkable group of the Renaissance mural painting - the paintings in Prague sacral interiors. It is based the author's seminar works and above all on his diploma thesis from the year 2002. The earlier works came into existence under guidance of Doc. PhDr. Jiří Kropáček within the framework of his Renaissance seminar, as well as of Prof. PhDr. Lubomír Konečný within the framework of the Iconography seminar. The most extensive part of the thesis is the Catalogue. The author seeks to present a complete overview of works in each of the 34 sanctuaries presented in alphabetical order, most of the items consist of smaller paragraphs concerning particular paintings or chapels. The paintings included are both preserved and extinct, known only from sources listed mostly in the Text Appendix. Every item is accompanied by facts about the creation of the particular work, which is followed by the description, eventually also by stylistic and iconographic analysis as well as by comparison with graphic models, whereas only a small part of the material can be acccompanied by a hypothesis on the work's authorship. To facilitate the reader's understanding of his descriptions, the author...
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Image of the wandering Jew in Czech and world art
Janáčová, Eva ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
In general terms, the principal aim of this MA thesis is to explore the iconography ofthe Wandering Jew in both Czech and world fine art. lnitially, some room is dedicated to the historical evolution ofthe legend of the Wandering Jew, who is originally referred to as Cartaphilus or Malchos, later Ahasverus. According to a narrative, taken down already in the first half of the thirteenth century in its essential setup, the so called "Wandering Jew" had punched Jesus, for which he was condemned by him to a ceaseless wandering until his second advent on earth.
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Self-portrait in the Czech baroque painting
Kacetlová, Miroslava ; Konečný, Lubomír (advisor) ; Horyna, Martin (referee)
The self-portrait in painting is similar to an autobiography in literature. It is an unique testimony of painter' s life and art, of his desires, fears and whishes. It contains its own typical attributes: brusches, a palette, an easel with a canvas and specific studio clothes as well, which point to the painter' s profession. Usually the sitter is in the contact with the viewer with the help of his eyes' sight. The development of the self-portraiture started in the Renaissance period, when the artist self-consciousness of his talent and uniqueness of his art spread. Painters started to offend against giuld rules which tied them. An important break into the obsolete system was the attempt to establish an Academy in Prague in 1709. The main authors of the project were the painter Michael Václav Halbax, the sculptor František Preiss and the architect František Maxmilián Kaňka. But their progressive idea broke down in the end. The barock self-portraits in the Czech painting were influenced by the previous period - the era ofthe emperor RudolfU. and his great painters for example: Bartholomeus Spranger and Hans von Aachen. I diveded self-portraits into five chapters: the self-portraits alone, the self-portraits with attributes, the family self-portraits, the self-portraits in narative scenes, the self-portraits...
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On the road. The mystic and the artist
Trojaková, Jolanta ; Lahoda, Vojtěch (advisor) ; Konečný, Lubomír (referee)
in the Czech art of the first half of the twentieth century. As the mystíc I define this artist, who dedicates his entire life to searching for God- in aU of his forms. In the introduction Bejore the Start I sket ch the spiritual milieu of the tirne. In the first chapter lmages oj Gods I demonstrate the contemporary prototype of the mystical f1uctuate person comparing two artist: Rudolf Adámek and Josef Váchal, who were both deeply involved in many occultism organizations. The second chapter TheWay to the Hereafter speaks comprehensively about the movement of the spiritualism in Bohemia in those days. I focus on the artists, who actively participated in spiritual séances, often having even played the role of spiritual medium. The third chapter Th? Way to the East deals with the oriental philosophies, which thanks to the doctrine of H.P. Blavatsky entered into the lives of many Cz ech artists. They started to practise yoga, studied buddhism and meditate. The new life style inf1uenced also their art. In the last, fourth chapter Thé! Mystical Ladder I tried to describe the way of the mystic - artist step by step fr01'1 tLo, mental state of spiritual beginner to that of the enlightened person. In conc1usion I shortly compare the temperaments of the artists, whose lives and artistic works helped me to...
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Image of the wandering Jew in Czech and world art
Janáčová, Eva ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
In general terms, the principal aim of this MA thesis is to explore the iconography ofthe Wandering Jew in both Czech and world fine art. lnitially, some room is dedicated to the historical evolution ofthe legend of the Wandering Jew, who is originally referred to as Cartaphilus or Malchos, later Ahasverus. According to a narrative, taken down already in the first half of the thirteenth century in its essential setup, the so called "Wandering Jew" had punched Jesus, for which he was condemned by him to a ceaseless wandering until his second advent on earth. The delineation of the ahasveric topic in the broader context of Czech and world literature, music, drama and cinematography is followed by a rather extensive section dedicated to the field of visual arts. According to some scholars, the first depictions of the Wandering Jew could have originated already in the twelfth century. However, more serious proposals situate their first emergence into the period between the thirteenth and the sixteenth century. Furthermore, it cannot be fully excluded that some figurations ofthe Wandering Jews are inspired in the iconography of the Carrying of the Cross. Since the beginning of the seventeenth century the iconography of Ahasverus reaches its full development: the most noticeable is the progression from initial...
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Perugino and Cremona
Jiráková, Hana ; Konečný, Lubomír (referee) ; Zlatohlávek, Martin (advisor)
A key theme of this study is the painting with Madonna and Saints in the church of Sant'Agostino in Cremona by Pietro Perugino in the context of his work in the North Italy. After characterization of Perugino's art ensues description of his North Italian commissions and of his painting in Cremona. In the next chapters I define the development of art in Cremona and I investigate the influence of this painting and of the Perugino's style on the art in Cremona in the period around the turn of 15th and 16th century. A target is to detect these connections in works of artists Boccaccio Boccaccino, Tommaso Aleni, Galeazzo Campi, Francesco Casella and Marco Marziale, who worked in this time in Cremona.
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