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Josef Herscher. The Secret of His Coming and Working in the West Bohemia in the Baroque period
Jirmusová, Kristýna ; Zlatohlávek, Martin (advisor) ; Bukačová, Irena (referee)
135 Summary This study deals with Josef Herscher, a sculptor of the late baroque period, who worked in West Bohemia. The first notice about his presence there comes from 1720, other apper during the next years till 1756 when Herscher died. During that time ruled in Manětín Marie Gabriela Lažanská, who wanted to increase the fame of the city. In 1719 died another sculptor, Štěpán Borovec, who had worked in Manětín before Josef Herscher. He is the author of e.g. The Trinity Statue on the main square. It is said, that the statue was finished by Borovec's son Václav Borovec. We assume, that Václav Borovec could have helped Josef Herscher in his workroom and could have been one of Herscher's journeymen. Štěpán Borovec studied in Prague in the workroom of Jan Brokof. We know from the teaching-paper, that he was educated there. Statues of Saints by Josef Herscher have many common features with these by Ferdinand Maxmilián Brokof. This study compares them with St. Elizabeth, St. John of Nepomuk, Holy Virgin and many others. It seems, Josef Herscher knew the production of Brokof's workroom from the beginning of the 18th century to the late twenties of this century. He used the whole composition of particular statues as so as small details from their faces or gesticulation, which he adapted according to his own...
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Early Baroque Altars in Prague
Kolář, Jan ; Zlatohlávek, Martin (advisor) ; Horyna, Mojmír (referee)
ENGLISH ANNOTATION This paper discusses Prague altars that were crafted in the years of early-baroque between 1620 and 1680. It contains a brief outline of the historical period during which - in relation to counter-reformation and recatholization after the defeat of the Estate uprising in 1620 - baroque style had been fully accepted in Czech lands. The church, supported by the state, had made it its goal to restore catholicism in Czech lands and for this purpose it also used the means of arts. The baroque church combined all kinds of arts in its complexity. The main attention of its builders was paid to altar constructions, most often wooden ones. This paper then analyzes the history and typology of the altar and its components - the altar table, the retabulum (altar leg) and the tabernacle (sanctuary). The overall development of early-baroque altars dated from late-renaissaince mannerism to the beginning of top-baroque is discussed, together with the metamorphosis of the altars' architectural concepts, the artistic perfection of the altars and of their decorative elements. Both preserved and some non-preserved altar constructions located in Prague (in the area of Hradčany, Lesser Town, Old Town and New Town) are listed and described in this paper. Furthermore, an account is given of the artists...
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History of Kupferstich-Kabinett (Collection of Prints, Drawings and Photographs) in Dresden between 1720 and 1780
Plzáková, Lucie ; Zlatohlávek, Martin (advisor) ; Otavský, Karel (referee)
The work describes history and development of Collection of Prints, Drawings and Photographs in Dresden in the years 1720 - 1780. Collection of Prints, Drawings and Photographs in Dresden was established in 1720 by Frederick Augustus I, Elector of Saxony and King of Poland (as Augustus II the Strong). The first director of Collection of Prints, Drawings and Photographs in Dresden Johann Heinrich Heucher bought a large Gottfried Wagner collection of drawings from Leipzig in 1728. Carl Heinrich Heinecken, the second director of Collection of Prints, Drawings and Photographs, cooperated with the art connoisseur and art collector Pierr Mariette from France. Collection of Prints, Drawings and Photographs in Dresden was avaible for the public in the second half of the 18. century. At the end of this work there is supplemented brief catalog of selected Drawings of the Italian masters of the 15th century from Collection of Prints, Drawings and Photographs in Dresden. These Italian drawings were a part of collection in Dresden already also in the years 1720 - 1780. Drawings are descripted and characterized there. Keywords: Dresden, Frederick Augustus I., Collection, Drawing, Italian Master.
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Sebastiano del Piombo in Public Art Collections in the Czech Republic
Nová, Magdaléna ; Zlatohlávek, Martin (advisor) ; Pujmanová, Olga (referee)
Sebastiano del Piombo in public collections of the Czech Republic Sebastiano del Piombo (his own name was Sebastiano Luciani) has been born at Venice in 1485. First art schooling obtained in Giovannni Bellini's workroom and soon he started to appreciate innovative works of Giorgione. Shorty he created his own art style combining Venetian coloristic tradition with monumentality of dimensions and forms. Around the first decade of 16th century he became an independent artist and obtained his first art commissions. In 1511 he went with his first patron Agostino Chigi to Rome. His first commission in Rome was to decorate Chigi's suburb villa. Here he learned that Rome art production is intimate to his own style which he polished in Venetia. Immediately after his arrival to Rome he is confronted with Raphael's artwork and they work together in Villa Farnesina. Later he had befriended Michelangelo who supported his Venetian friend in obtaining new orders and also with his own sketches. Relationship of those two artists is documented in their correspondence to these days. There are two Sebastian's works in the Czech Republic; a painting of a Madonna with a Veil and a drawing of Borgherini chapel decoration in a Rome San Pietro Church in Montorio. Both works are in possession of the Olomouc Archbishopric....
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Hieronymus Bosch and Venice
Novotná, Věra ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
This (bachelor) thesis concerns the phenomenon of Hieronymus Bosh and its possible links to art and life of Venice and Veneto in the sixteen century. The title of it is: Hieronymus Bosch and Venice. It is trying to set up tangible hypothesis based on broad study on literature concerning Bosch, especially his paitings, accommodated now in Palazzo Ducale in Venice,. Further it concerns on the sixteen century Veneto and, specifically and most importantly the mighty and beautiful art of the Serenissima. It is describing eventually indicated links if in at least two sources. It finally synthetizes the literature and concludes: there are no such confirmed indications in serious literature. It is further trying to include the panels in venezian contemporary art and its development, and is looking for any descendents of the Master in Veneto and in wider Europe, too. It gathers all Venetian donors and supporters, who had connections or knowledge on Bosch, Mainly it outlines the collection of Bosch's paintings owned by Cardinal Grimani; in comparison, too, other European noted collections, and their results. This work reveals importance of the works of Bosch and interest among the historians of arts since modern age, including last issues, on the other hand, the lack of serious studies on this specific...
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The Drawings of Roman Mannerist Artists in the National Collections of the Czech Republic
Krůfová, Johana ; Zlatohlávek, Martin (advisor) ; Kropáček, Jiří (referee)
The Drawings of Roman Manneristic Artists in the National Collections of the Czech Republic The thesis is engaged in drawings of the artists who were creating in Rome during the period of Mannerism: Polidoro da Caravaggio, Marco Marcchetti da Faenza, Giulio Romano, Francesco de'Rossi yclept Salviati, Perino del Vaga, Giorgio Vasari and Taddeo Zuccari, whose works abide in the National Collection of the Czech Republic. The thesis contains a brief introduction to the drawing of the 16th century and its importance in fine art, characteristics of the Roman Manneristic period, the despoliation of Rome, Rome position in the artistic field before conquest, Manneristic period origins and Michelangelo's importance as an inspiratory source for the artists. Another part is a catalogue of selected Roman mannerist drawings, which is supplemented with brief biographies of the artists of the Roman art school. The aim of the thesis is to give a synopsis of those artists and description of their works and to comprehend main inspiratory influences. Work finally includes a brief history of the four public collections of drawings in the Czech Republic. This is drawings in the Collection of Prints and Drawings, National Gallery in Prague; in the Archbishopric of Olomouc; in the Moravian Gallery in Brno and in the...
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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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Paintings by the Vivarini Family in the National Gallery in Prague in the Context on their Art Studio in Italy
Třešňáková, Alena ; Zlatohlávek, Martin (advisor) ; Hlaváčková, Jana Hana (referee)
Paintings by the Vivarinis in the National Gallery in Prague in the context with their art workshop in Italy In the National Gallery in Prague is artistic represented Muranese school in the works of Antonio Vivarini da Murano, which cooperated with his brother-in-law Giovanni d'Alemagna on the Polyptych with Adoration in 1447 and on the Crucifixion around 1448, for Franciscan church of San Francesco in Padua. They worked on the decoration of Ovetari Chapel here. Giovanni d'Alemagna died in 1450, after that Antonio cooperated with his younger brother Bartolomeo Vivarini da Murano on the Polyptych for main altar of the Church San Francesco in Padua in 1451. Parts of polyptych are found in the National Gallery in Prague, in Kunsthistorisches Museum in Vienna, in private collection of Vittorio Sgarbi in Ferrara and two parts are lost today. Alone Antonio pinxit one figure of St Nicholas of Bari in the Pseudo-polyptych with twelve saints, that is attribution to Lovro Dobričević now. Paintings by the Vivarinis got off into the Prague from d'Este collection in Konopist, which works acquired from inheritance of Tommaso degli Obizzi of Catajo near Padua in 1805. Keywords: Vivarini da Murano, d'Alemagna, Padua, Crucifixion, Adoration, Pseudo-polyptych.
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Sgraffito Decoration in the Treasury and the Banquet Hall at the State Chateau at Telč
Salava, Jan ; Zlatohlávek, Martin (advisor) ; Mžyková, Marie (referee)
The Sgrafito Decoration of the Treasury and the Small Banqueting Hall in the State Chateau Telč The interior paintings in two ground floor rooms of Telč's chateau came into being during the government of Zachariáš of Hradec from the house of Vítkovci. In the years 1551- 1552 Zachariáš took part in the noble voyage to italien Genoa on the occation of greeting newly elected king Maxmilián II. It was shortly after he entered upon Telč's domination, 7. november 1550. Immediately after he took over the domination started with the rebuilding of the old castle that was not suited to the new style and the way of housing. This reconstruction proceeded in several stages of it the first one propably started even before the very departure to Italy and related only to the old castle rebuilding. This first stage was lead by the well- known architect Leopold Estreicher of Slavonice and were painted also the interiors of the castle's rooms. In my work I was concerned with the paintings in the Small banqueting hall and the Treasury that are in the old castle's ground floors and are in the close neighbourhood. The Small banqueting hall is decorated by scenes that have didactic character. On the north wall there is a painting with Orpheus playing for animals and this painting merges to the west wall corner. On the...
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The Renaissance Chapel of St. John the Baptist in the Archbishop's Palace in Prague
Opatrná, Marie ; Zlatohlávek, Martin (advisor) ; Kropáček, Jiří (referee)
Resume The renaissance chapel S. John Baptist in Archbishop Palace in Prague Marie Opatrná Supervisor of assignment: PhDr. Martin Zlatohlávek PhD. The chapel in Archbishop Palace was built in honor of the Almighty God, the Virgin Mary, St. John the Baptist, St. John of Nepomuk and All Saints. This chapel is important and significant part of Rudolf's art. The chapel was founded by Zbyněk Berka z Dubé in 1599. There are not any signs of the previous existence of a chapel in the palace. All paintings on the roof were made by Daniel Alexius z Květné. In the chapel we can see these paintings: the Visitation, the Preaching of St. John the Baptist, the Baptism of Jesus and Dancing of Salome. Daniel Alexius z Květné was inspired by graphics of Cornelius Galle and Pietr Jansz Saenredam. The scene of the Miraculous rescue of the prince Jaromír was inspired by painting of a German anonym. This painting owns the National Gallery in Prague now. The pattern for the scene of The Holy Trinity is not known. The chapel is decorated with stucco decor. Its dating was questionable for a long time. I tend to the opinion that it was made in 1599 when the chapel was founded. In the nave, there are the gallery of clerical dignitaries, angels with Arma Christi and memorial tablet which reminds the renovation in 1676 and 1888. The...
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