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The unique painting decoration of the Bučovice chateau in the second half of the 16th century: reception of Venetian models
Knedlíková Wanková, Veronika ; Zlatohlávek, Martin (advisor) ; Jakubec, Ondřej (referee) ; Waisser, Pavel (referee)
This thesis deals with wall paintings of Italian character in Bu ovice Chateau in Moravia, Czech Republic. The unique wall paintings were created on impulse of Moravian aristocrat and owner of the castle - Jan Šembera ernohorský of Boskovice - in the last twenty years of the 16th century. This time represents a golden age of wall painting in the Czech lands; however, it rather reflects Italian Mannerism than the Renaissance. The paintings are situated in five rooms in the ground floor of the castle; they should refer to the level of education, nobility and wealth of the donator, Jan Šembera. Thanks to a connection of paintings, statues and stuccos the decoration of all five rooms created a unique complex. This demonstrates Šembera's ambitions - he wanted to own a richly decorated representative castle. Jacopo Strada, once an imperial Antiquarian, stayed in the Bu ovice Chateau; the stay might have been connected with his mercantile activity. He probably enabled Šembera to achieve that goal - he could have provided the Šembera's artists with Italian models and created the decoration system of five rooms. Strada made a concept of the room decoration performing various epitomes. The concept of Strada reflected the artworks of Venetian painter Paolo Veronese, the artworks of Giulio Romano and his...
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Mannerist Tapestries in the Czech Republic
Sulíková, Daniela ; Jarošová, Markéta (advisor) ; Zlatohlávek, Martin (referee)
The thesis Mannerist Tapestries in the Czech Republic is focusing on the topic of mannerist tapestries in the Czech Republic. So far this subject remains, in both czech and foreign professional literature, without any greater attention and if the topic is mentioned, the expressions "late renaissance", "mannerism" and "early baroque" are very often mixed. For this reason, it is necessary to define "mannerist tapestry", based on formal analysis, comparison and focusing on cultural-historical background. After this theoretical part, it will be possible to place certain tapestries to this very short art period or vice versa to exclude them. The main part is focused on mannerist tapestries from the castles, museums, ect. of the Czech Republic and their inclusion in the European context. Key words Mannerism, Tapestry, Decorative arts of the16th century, Art collections from the Czech Republic
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Perception of "wild man" in Bohemia in the years 1511-1612
Babich, Elena ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
The diploma thesis "Perception of "wild man" in Bohemia in the years 1511-1612" deals with possible ways of perceiving the "wild man" in the Czech lands in the years 1511-1612. It research the figure of the wild man in the Czech folk culture, in opinions theologians, doctors, painters and European monarchs. It analyzes preserved authentic sources and original texts, summarizing the research and defines the term of "wild man". It tries to explain the causes of positive and negative attitudes of society and individuals in the Czech context. The thesis is primary focused on the imaging patients with hypertrichosis in natural science catalogs and collections of curiosities. It focused on the phenomenon Petrus Gonzales, who changed stereotypes about the wild man. To individual works collectively presents current knowledge concerning authorship, chronology, painterly submissions. Keywords Wild man, Petrus Gonsalvus, collection of curiosities, Rudolf II, history of medicine Počet znaků (včetně mezer): 137 366
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The Work of Fabián Puléř
Svitáková, Kristina ; Hlaváčková, Jana Hana (advisor) ; Zlatohlávek, Martin (referee)
This thesis deals with Fabian Puléř, an illuminator who lived in the 2nd half of 16th century in Prague, and about his workshop in the Old Town. The main theme is the graduals and their fragments, which were made in his shop or are believed to be made there (the Metropolitan St. Vitus Temple Gradual, the Gradual of Čáslav, the Gradual of Žlutice, three illuminations from the collection of National Gallery in Prague, the two-part St. Valentine's Gradual from the Old Town, the fragments of Kaňkovský Gradual, the Gradual of Louny owned by Jan Táborský of Klokotská Hora, the Gradual of Český Brod), their description and cataloguization. Apart of critically rewieving the literation on the subject to this day, my thesis follows the life of Fabian Puléř regarding archival sources and also influences and impulses behind his work. It also contains crucial chapter about iconography of utraqistic musical manuscripts and about the litterateur brotherhoods, who ordered these hymnic books.
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Antonio Campi (1523-1587). Between Mannerism and Baroque.
Hlušičková, Pavla ; Zlatohlávek, Martin (advisor) ; Daniel, Ladislav (referee) ; Přibyl, Petr (referee)
The dissertation evaluated the formal, stylistic and contextual analysis of the painting oeuvre of the Cremonese native Antonio Campi. Monographic elaboration of Campi's oeuvre complement to the existing range of syntheses a number of information that has been in the literature so far omitted. The work assessed Antonio's oeuvre on the revision of archival material preserved in Milanese and Cremonese state and church archives, as well as by the means of thorough study of the secondary literature. Chronology of Campi's production was based on the stylistic and formal analysis and at the same time it has been enriched by a number of comparisons of the Lombardy-Ligurian region. Perspective at Antonio's oeuvre was accompanied by drawings and panel paintings that have emerged in the art market in recent years. With this thorough analysis, it became clear that the simple definition of an older Italian scientific literature that had Antonio Campi understood as a painter, who by his work formed the basis of Caravaggio chiaroscuro approach in the last decades of the 16th century and in the early years of the 17th age, proved to be inaccurate. It became clear that with this view we can not identify ourselves any more. Constant changes in mood, surprise, unpredictability, restlessness and individuality, the...
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Reflection of Italian painting in work of "Czech" artists and its influence on the development of Baroque painting in the period 1611-1650
Opatrná, Marie ; Zlatohlávek, Martin (advisor) ; Šroněk, Michal (referee) ; Steckerová, Andrea (referee)
disertační práce v anglickém jazyce MGR. ING. MARIE OPATRNÁ REFLECTION OF ITALIAN PAINTING IN WORK OF "CZECH" ARTISTS AND ITS INFLUENCE ON THE DEVELOPMENT OF BAROQUE PAINTING IN THE PERIOD 1611-1650 Školitel práce: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. The thesis deals with "Czech" painting of the first half of the 17th century and the Italian influences in it. In order to understand the origin of these influences, it explores Italian sacral painting of the whole 16th century. Nevertheless, the main attention is dedicated to the second half of this century. The part of this theme is explained on the development of academic studies from the 20th century. The second part of the thesis deals with the Czech art-historical literature and with the subject of protobaroque or early baroque painting. These two parts define terms of these periods and their approaches to painting. The main point of interest is the transition in the field of sacral painting from the art of late renaissance to the art of early baroque. The existence of this special period of sacral painting in Czech area is supported by examples of images and their analysis. The conclusion summarizes new findings and opens questions about new view on the Czech painting of the 17th century and about new methodological attitudes.
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Depiction and Meaning of Animals in Renaissance Portraiture: The Case of the Ermine
Marešová, Markéta ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee)
This thesis deals with representation of animal and their meaning in european portrait painting of the period spanning from second half of 15th century till the beginning of 17th century and it sets to describe relationship between humans and animals occurring in the symptomatic space of portraiture as well as the renaissance culture in general. Among the art genres it is portrait where we can trace immediate interaction of humans and animals as the later are usually included in the painting on demand of the submitter of the artwork and are positioned there as a symbol though which the portrayed person communicates with viewer. The fundamental characteristic of animal symbolic is its ambivalence and multiplicity of meaning shaped over centuries as the renaissance iconography of animal have been dominantly formed by ancient manuscripts and medieval bestiaries. From the wide specter of animals represented in this period my thesis is focusing in detail on the case of ermine which was one of the less commonly represented animals. Symbolism of the ermine is further discussed in case study on two particular master pieces of renaissance art - Lady with an Ermine by Leonardo da Vinci and Young Knight in a Landscape from venetian painter Vittore Carpaccio - where the appearance of the animal plays key role...
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The Iconographic Program of coffered ceiling in Golden hall at the state castle Telč
Brychtová, Šárka ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
5 Abstract The work provides a factual description, thematic description and semantic analysis of the coffered ceiling in the Golden Hall at the State Telč Castle in Telč, including the historical context of its making. The ceiling consists of thirty coffers, each depicting one figure. The original graphic templates have been found for fourteen coffers. The depicted figures were identified in additional nine coffers based on the analysis of the represented attributes of those figures, but the meaning of the remaining seven coffers remains to be unclear. Based on identifying the figures in the majority of the coffers, the work builds two main, partially overlapping thematic courses. The first thematic course focuses on love between human beings and love as a part of Christian faith. The second thematic course focuses on moralistic themes, warning against moral lapses and particularly against the improper use of wealth. One chapter in the work focuses on probable authorship of the coffered ceiling and on foreign influences, but a definitive satisfying answer to these questions has not been found. Keywords coffered ceiling, iconographic program, graphic patterns, Golden hall, castle, Telč
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Jaromír Neumann: The connoisseur of Venetian painting
Lišková, Julie ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The work is dedicated to the personality Jaromír Neumann as an expert of Venetian painting in our country, whose approach is documented on a number of paintings from several institutions, which autorship determinated. Specifically, the images of the Prague Castle Picture Gallery, National Gallery in Prague, Olomouc Picture Gallery and significant Titian painting of Kroměříž Picture Gallery, which concentrated his interest for a long time. These are the works of painter's family Bassano, Paolo Veronese, Jacopo and Domenico Tintoretto, Bonifazio Veronese, Rocco Marconi, Pordenone and Titian. More generally, the work deals with issues of connoisseurship and restoration, but is not the purpose of extensive analysis, the more necessary as outlined in the context of the theme of the work. The result should be the definition and specification process of Neumann's autorship determination and the pursuit of affect key points that form its determination.
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Geertgen tot Sint Jans and the begining of Dutch Renaissance painting
Kobrsková, Markéta ; Zlatohlávek, Martin (advisor) ; Jarošová, Markéta (referee)
This diploma thesis deals with the life and work of the Dutch painter Geertgen tot Sint Janse in the context of the beginning of Dutch Renaissance. This diploma thesis contains an analyses of Triptych with The Adoration of the Kings from the Prague Castle Collections. In particular, the art influences and the possible inspiration by the work of Albert van Ouwater is discussed. The Adoration of the Kings is an important piece of art not only in the context of Dutch Renaissance painting but also in the context of European Renaissance at the end of 15th century. The rich symbolic apparatus of the tryptich refers to the medieval tradition, but the beginning of illusionism can be recognised from the painting as well.
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