|
|
Sebastiano Serlio, Libro estraordinario and renaissance and manneristic portals in Prague
Ludvíková, Veronika ; Konečný, Lubomír (advisor) ; Muchka, Ivan (referee)
Sebastiano Serlio is one of the most notable theoreticians of Renaissance architecture. He is sometimes also referred to as the first theoretician of Mannerism in architecture. The present thesis is first concerned with Serlio's predecessor, the ancient theoretician of architecture Vitruvius. It points out Vitruvius' key thoughts, especially the ones which most potently influenced the work of Sebastiano Serlio. The thesis further relates to Serlio's life and the important moments of his life either during his stay in his homeland, Italy, or later in France. The greatest feat of Serlio in the domain of architecture is his theoretical work: a tractate on architecture published successively in volumes. Serlio's contribution lies chiefly in the formulation of the five orders of architecture and also in his capability of captivating the reader, the use of a language level familiar to a wide audience, and the clarity of the information given. Such literary qualities are also characteristic of the "Libro estraordinario" (the"Extraordinary Book", or the "Outstanding Book") which is of particular attention in the present thesis. "Libro estraordinario" is solely devoted to a single architectonic element: the portal. It consists of two parts: "Porte rustiche" and "Porte dilicate". Each portal type is provided with a...
|
|
|
General principles of dreams imagery in visual culture
Šmejkalová, Adriana ; Konečný, Lubomír (advisor) ; Hlaváčková, Jana Hana (referee)
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...
|
|
|
Sebastiano Serlio, Libro estraordinario and renaissance and manneristic portals in Prague
Ludvíková, Veronika ; Konečný, Lubomír (advisor) ; Muchka, Ivan (referee)
Sebastiano Serlio is one of the most notable theoreticians of Renaissance architecture. He is sometimes also referred to as the first theoretician of Mannerism in architecture. The present thesis is first concerned with Serlio's predecessor, the ancient theoretician of architecture Vitruvius. It points out Vitruvius' key thoughts, especially the ones which most potently influenced the work of Sebastiano Serlio. The thesis further relates to Serlio's life and the important moments of his life either during his stay in his homeland, Italy, or later in France. The greatest feat of Serlio in the domain of architecture is his theoretical work: a tractate on architecture published successively in volumes. Serlio's contribution lies chiefly in the formulation of the five orders of architecture and also in his capability of captivating the reader, the use of a language level familiar to a wide audience, and the clarity of the information given. Such literary qualities are also characteristic of the "Libro estraordinario" (the"Extraordinary Book", or the "Outstanding Book") which is of particular attention in the present thesis. "Libro estraordinario" is solely devoted to a single architectonic element: the portal. It consists of two parts: "Porte rustiche" and "Porte dilicate". Each portal type is provided with a...
|
|
|
The cosmological conception of the Old Testament and its representation in the Anglo-Saxon art
Panušková, Lenka ; Konečný, Lubomír (advisor) ; Hlaváčková, Jana Hana (referee) ; Studničková, Milada (referee)
The rendering thesis analyses the topic of the Creator of the world with compasses in his hands generally known in the art historian literature. The common known example of this iconography is presented in the frontispice of older of two bible moralisées in Vienna, on which the Logos-Creator is shaping the four elements within the earthcircle by the compasses. The illustration is to be interpreted according to the old French inscription in the top strip of the square frame of the scene: ICI CRIE DEX CIEL ET TERRE SOLEIL ET LVNE ET TOZ ELEMENZ. In line with this scene all the illuminations presenting God with a pair of compasses are commonly held for a depiction of Creator mundi as Architectus or deus geometra. That is why the aim of this work is to show the incorrectness of such identification above all in case of the Anglo-Saxon manuscripts. In these the analysed motif is simultaneously performed in both its meanings - the protological one as Creator mundi and also the eschatological one as the fair Judge. On the grounds by this bipolarity it is necessary to emphasize need of the distinction of the first group of authentic Anglo-Saxon view of the motif and its later appearance on the continent reduced by the essential weakening of the eschatological aspect in the favour of the protological one. The...
|
|
|
Classicist gates and doors in Polička
Junek, David ; Konečný, Lubomír (advisor) ; Macek, Petr (referee)
The houses doors and gates belong to discreet, but very significant monuments. There were more than 12 joineries in Polička, where 85 carved gates and doors were made during the period 40 - 80 years in 19th century and they were unique in whole Czech republic. 35 of them have preserved. Classicism appeared in Bohemia during the reign of kaiser Joseph II. (1780 - 1790) and it entered to Polička in 1841, when the buildings of schools for boys were built and faded until the eighties. The big town fire in 1845 caused outstanding classicist reconstruction. The publication treats on following topics very closely: The submitters - citizens of Polička - decorated gates were an subject of reputation. The joiners - there are the detailed lists of the masters and descriptions of their hoboes journeys. Construction of the gates and doors. The motives of decoration. The colour scheme of the gates and facades - the most common gate colours were ochre, brown and green - gate dichromatism is much modern. The door hammering including handles and locks - about locksmiths work, many cast-iron handles came from the iron-foundry in Blansko (it was one of the 5 most important iron-foundries in Austro-Hungary). The stony gantries - undecorated, made from sandstone or hard gneiss: gantries were painted by same colour as the gates....
|
|
|
Aby Warburg and the symbol of the snake as the archive of human memory
Martinkovičová, Tereza ; Konečný, Lubomír (advisor) ; Wittlich, Petr (referee)
Všestrannost Abyho Warburga a jeho zájem o široký kulturní kontext uměleckého díla způsobily, že jeho jméno nalezneme nejen v publikacích o dějinách umění a antropologii, ale i ve slovnících religionistiky. I Považoval umělecká díla za dokumenty sociální paměti lidstva? Díval se na ně nejen očima historika umění, ale i etnografa, religionisty a psychologa. Srovnával umělecká díla různých kultur a období. Na rozdíl od svých současníků, kteří zdůrazňovali autonomii dějin umění, považoval každé umělecké dílo za neoddělitelnou součást doby, v níž vzniklo. "lt was one oj Warburg's basic convinctions that any attempt to detach the image from Us relation to religion and poetry, to cult and drama, is like cutting oif Us lifeblood." 3 Přestože nenapsal žádné teoretické dílo, je možné z jeho studií vyvodit, jakou měl představu o významu symbolu v sociální paměti lidstva. Warburgův koncept sociální paměti lidstva, který vyústil do založení knihovny s názvem Mnémosyné (paměť), bude tématem první kapitoly. V ní poukážu na jedinečnost Warburgova přístupu v souvislosti s dobovou a současnou teorií dějin umění a lingvistikou. Zmíním se i o Warburgově disertaci a jeho důrazu na studium pramenů. V druhé kapitole se zaměřím na Warburgův zájem o antropologii a religionistiku, který se stal podnětem pro jeho rozhodnutí strávit...
|
|
|
German painting 1540-1650. Art of painting in German speaking countries between renaissance and baroque
Volrábová, Alena ; Zlatohlávek, Martin (referee) ; Konečný, Lubomír (referee)
Badatel, který se ujme svého odborného úkolu, nezřídka zjistí, jak bylo původní zadání ošidné. Dvojnásob to platí při práci o německém umění z období odeznívající renesance a přicházejícího uměleckého proudu směřujícího k baroku, zvaného manýrismus. Pokud chceme hovořit o "německé kresbě" té doby, nebo lépe řečeno o kresbě v německy mluvících zemích kolem roku 1600, vyvstane problém, kdo toto "německé umění" vlastně reprezentuje. Časté putování umělců a hostování mnoha Nizozemců nebo Italů ve významných uměleckých centrech tehdejší Evropy s sebou nese při vymezování daného okruhu jistou potíž. Kolem roku 1500 umělci svá působiště měnili méně a dá se říci, že se přidržovali míst svého původu. Okolo roku 1600 ale přicházeli lidé ze vzdálenějších míst Evropy. Hovoříme-li tedy o "německé kresbě" nebo lépe o "kresbě v Německu" kolem roku 1600, nemůžeme se držet národnostního hlediska v dnešním slova smyslu. Heinrich Geissler do svého obsáhlého katalogu z roku 1979 o německých kreslířích zahrnul všechny významné umělce, kteří v té době v Německu působili, takže zde nalezneme nejen široký okruh německých jmen, ale i mnohé světoběžníky od Jorise Hoefnagela, přes Antonia Maria Vianiho až po Václava Hollara.1 Pochopitelně každý z nich ve střední Evropě zanechal svou stopu a naopak si odtud odnesl své, přesto je...
|
|
|
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).
|
|
|
"Self-portrait in the circles of smoke": self-fashioning of the modern artist as a smoker in the Czech art at the turn of the 19th and 20th century
Kolářová, Petra ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
The topic of this Diploma Thesis is the representation of an artist as a smoker in the Czech Art at the turn of the 19th and 20th century. The motive is studied in the works of artists of the 1890s generation and the early avant-garde (Osma, Skupina výtvarných umělců), with the focus on the iconography of a smoker in art as well as the cultural history of smoking. Apart from paintings and graphics it uses other visual sources such as portrait photographs, caricatures published in contemporary newspapers and posters. The Thesis looks for a wider tradition in the European art and maps specific types of artist-smoker for whom cigarette, pipe or cigar is a part of his personal stylization. The first part concentrates on the early usage of the motive in the baroque painting and in the 19th century as such. The next part focuses on self-fashioning of modern artists characterized by their definition against social conventions. The attribute of smoking plays a role of a symbol of bohemian Iife, dandy astuteness, neurasthenic decadent, social or artistic revolt or emancipation of female-artists. The last part deals with the relationship of smoking to the actual art production of modern artists. Smoking is a metaphor for creativity of the symbolist poet or painter who draws the inspiration from his subjective...
|
|
|
"Self-portrait in the circles of smoke": self-fashioning of the modern artist as a smoker in the Czech art at the turn of the 19th and 20th century
Kolářová, Petra ; Lahoda, Vojtěch (referee) ; Konečný, Lubomír (advisor)
The topic of this Diploma Thesis is the representation of an artist as a smoker in the Czech Art at the turn of the 19th and 20th century. The motive is studied in the works of artists of the 1890s generation and the early avant-garde (Osma, Skupina výtvarných umělců), with the focus on the iconography of a smoker in art as well as the cultural history of smoking. Apart from paintings and graphics it uses other visual sources such as portrait photographs, caricatures published in contemporary newspapers and posters. The Thesis looks for a wider tradition in the European art and maps specific types of artist-smoker for whom cigarette, pipe or cigar is a part of his personal stylization. The first part concentrates on the early usage of the motive in the baroque painting and in the 19th century as such. The next part focuses on self-fashioning of modern artists characterized by their definition against social conventions. The attribute of smoking plays a role of a symbol of bohemian Iife, dandy astuteness, neurasthenic decadent, social or artistic revolt or emancipation of female-artists. The last part deals with the relationship of smoking to the actual art production of modern artists. Smoking is a metaphor for creativity of the symbolist poet or painter who draws the inspiration from his subjective...
|
guest ::
RSS feed.