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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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Two paintings of Jacopo Vignali in the National Gallery in Prague
Zlatohlávková, Eliška ; Mádl, Martin (referee) ; Konečný, Lubomír (advisor)
This thesis is dealing with the two paintings of the Florentine painter Jacopo Vignali, deposited in the National gallery in Prague. Vignali lived and worked in the first half of the 17th century in Florence, where in this time culminated the "reform of the painting" initiated in the 80th of the 16th century, mostly by Lodovico Cigoli, whom Vignali followed at the beginning of his carrier, and was developed the early Baroque style. Vignali belonged to the first generation of the painters of the early Baroque era in Florence, the last important decade of the florentine painting. He served out in the studio of Matteo Rosselli, who not only to him but to the other scholars mediated the innovations of the reform painting. The most interesting artworks Vignali made during the first 15 years of his activity, mostly in the 20th of the 17th century. During these years he created his own style, which he used for the rest of his life. As far as the style is concerned, at the very beginning he was influenced by his teacher Matteo Rosselli and partly the German painter Adam Elsheimer. The biggest authority for him was a little bit older painter Francesco Curradi. Under his influence Vignali changed the colours, the bright ones where substituted by the smooth tone of soft red and purple and his characters became more...
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Gates to the unknown: the theme of doors and gates in art from ancient times to the 20th century
Jirátová, Kristýna ; Lahoda, Vojtěch (referee) ; Konečný, Lubomír (advisor)
The thesis Gates to the Unknown is concerned with the theme of doors and gates in art, spanning the time from ancient civilizations through the 20th century. In the times of Ancient Egypt, Greece and Rome funerary art prevails, with doors depicted on tombs and sarcophagi. A great deal of emphasis is placed on the biblical parables and scenes where the doors symbol occurs, containing a certain message. The scenes include for instance the Virgin Annunciate and the Last Judgement with its gates of Eden and Hell. The thesis also examines the changes in the concept of doors in the era of the Renaissance, Baroque and Classicism, where we meet the doors motif as a part of tombstones again. In these eras, as well as in 19th century art, the symbolism of doors slightly steps back. An individual part of the thesis follows doors and gateways in paintings of the 15-17th century Dutch masters, and their interiors full of mostly open doors that carry hidden meanings. The symbolism and a different understanding of the element of doors became widespread in 20th century art. From this period there have been selected pieces of artists such as René Magritte, 5 Marcel Duchamp and Salvador Dalí, but also artwork of the Czech artists, Jakub Schikaneder and Frantińek Muzika. In the whole thesis there is an emphasis on the...
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Rembrandt and Vermeer: two philosophical concepts of art
Černá Pivovarová, Maria ; Lahoda, Vojtěch (referee) ; Konečný, Lubomír (advisor)
The thesis Rembrandt and Vermeer: Two Philosophers of Art is devoted to two artistic concepts. The most striking representatives of these two concepts, whom we can observe throughout the entire history of art, are Rembrandt van Rijn and Johannes Vermeer. The differing philosophy of art of these two artists is presented in two selected paintings: Rembrandt's Self-Portrait with Saskia and Vermeer's canvas The Art of Painting. Both Rembrandt and Vermeer opened up the path for modern art, which is why works that were influenced by the art of these Baroque masters over the course of later centuries have also been included in the thesis.
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A false portrait of Beatrice Cenci and its influence on art and literature from 18th to 21th century
Polláková, Petra ; Lahoda, Vojtěch (referee) ; Konečný, Lubomír (advisor)
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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Problems of sacrality and of sacral space in the writings of some church authorities around 1600
Bronková, Johana ; Horyna, Martin (advisor) ; Royt, Jan (referee) ; Konečný, Lubomír (referee)
The thesis written in the course of the author's residence in Rome analyses concepts of the sacral space in some writings of the Church authorities selected according to their spread and influentiality, with the ambition to revert their interpretation to their contemporary backgrounds, which was hitherto often interpretated unilaterally under the prism of angling simplifications. In the last quarter of the 16th century there appear some new genres in the literature dealing with sacral architecture or on the contrary, there is a new way of approaching of the thematisation of the sacral architecture into the Church tractatistics. The most complete treatise of sacral architecture coming from the Church circles are the Instructiones fabricae (15770 of Charles of Borromeo. In spite of existing literature, the analysis of these rules denotes author's firm grounds in the tradition of humanistic tractatistcs. The next chapter reflects the discussion of participants of the Trident Council and its emphasis on the visual moments leading to the deepening of the interpretation of principal change in the conception of the sacral space, namely the translation of the tabernacle on the main axis of the church. ...
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Horizons and ruins. The visible and invisible in the early modern visual culture
Hájek, Václav ; Konečný, Lubomír (advisor) ; Wittlich, Petr (referee) ; Lahoda, Vojtěch (referee)
My thesis deals with one specific pictorial motif from nineteenth century (horizon contra ruin) which represents and brings questions into an early modern visual culture. The visual culture includes a set of representations (artefacts, mass images, visual signs etc.) and also methods of a visual perception and reception. This text has an objective to watch, how is a concrete historical variant of the visual culture by reflexive manner reflected and construed in visual artefacts themselves (in a relevant theoretical context).
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General principles of dreams imagery in visual culture
Šmejkalová, Adriana ; Hlaváčková, Jana Hana (referee) ; Konečný, Lubomír (advisor)
This thesis is based on the assumption that a dream is "thinking in pictures" and as such can result in unchained and free artwork. Nevertheless, we conclude that authentic dreams in the form of pictures and text were not found before Albrecht Dürer's work. On the other hand, artistic concepts of dreams generally used the symbolic language of timeless oral tradition over the centuries, supported by Greek myths and stories of rich Hebrew oral tradition. This work emphasises the lack of preserved monuments and the process during the time that Greek culture was adopted by the Romans. It mentions works of art inspired by dream formation, quotes Greek and Roman philosophers' beliefs on dreams and clarifies the formation of the allegoric method of interpretation that affected the medieval approach to dreams. It presents Early Church Fathers' concerns in relation to dreams through which the human mind can be controlled by both God and Satan. The chapter on medieval narrative picture cycles explores in greater detail established picture schemes where in addition to biblical dreams, papal and royal dreams are also presented. From the 12th and 13th centuries, works of art associated with dreams and new Franciscan, Carmelite and Benedictine orders were created. The Renaissance period opens with a reminder of lasting...
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