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The Iconography and Cult of St. Anne in Bohemia during the Middle Ages
Semrádová, Alžběta ; Royt, Jan (advisor) ; Klípa, Jan (referee)
This thesis traces the development of the cult of Saint Anne in Bohemia during the medieval era and early modern period, basically by the half of 16th century. The main goal of the thesis was to discover, how the cult of the saint spreaded - in which period and on which factors it depended - and then compare with the situation in other countries, especially in The Holy Roman Empire. Spreading of the cult was described with the use of the preserved artworks, church dedications to St. Anne, brotherhoods dedicated to her and eventually mine constructions. The last point is related with the question if the cult of St. Anne in Bohemia was really so closely connected with the community of miners as the existing literature suggest. To answer the mentioned issues three case studies (beside the first chapter) were used. The thesis implies that the culmination of the worship of St.Anne in Bohemia can be dated between the years 1480 - 1520, which corresponds with the extreme popularity in neighbouring lands. While in areas inhabited by miners St. Anne was really one of the most popular saints, the question remains if the proofs about her popularity in areas aside the centres of mining, though maybe somewhat connected with mining, can be explained as the influence of the "miners' devotion" to the saint (for...
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The Development of Floral Still Life Paintings from antiquity to the late Baroque
Semrádová, Alžběta ; Konečný, Lubomír (advisor) ; Dobalová, Sylva (referee)
The thesis provides a general outline of the development of the still life paintings from antiquity to the end of the Baroque era in the European cultural context with an emphasis on the floral still lifes. The text is divided into four chapters. The first chapter is devoted to the still life paintings in ancient times, which later inspired painters of the younger ages, but also tries to point out to the different understanding of these specific thermes. Some quotations of ancient literature are attached. The second chapter introduces the medieval still lifes. In those times the Christian iconography has formed. The independent still lifes did not exist, however slowly began to appear within religious images like the bearers of the hidden symbolism. In the following chapter the Renaissance still life is introduced in the context of reducing the differences between art and nature observation in connnection with scientific knowledge. The last chapter deals with the Baroque still life painting, examines the development of individual still life paintings, mainly from the 17th and 18th centuries, and presents the differences between still life produced in different European art centres.
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