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Issues of questionable attributions of works by Francesco Squarcione
Třešňáková, Alena ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
of the Thesis Bc. Alena Třešňáková 2011 Abstract The thesis in the theme: Issues of questionable attributions of works by Francesco Squarcione The first part of the thesis provides a summary of information about Francesco Squarcione. He is known to have first been a tailor, then an artist (from 1429) and collector of antiquities, an innovative activity in his time, and finally, an entrepreneur who influenced young artists in Padua from the 1430s to 1460s. Squarcione founded (1431) the earliest known private art-school. He educated 137 pupils who had trained or learned through the copying of antiquities in Squarcione's collection. Only two works made by him have come down to us from his artistic era; the De Lazzara polyptych in the Museo Civico in Padova (1449−1452) and the Virgin and Child in Staatliche Museen in Berlin (around 1455). The second part of this work deals with the other works that have been attributed to him over the next centuries. There is a compiled catalog of these works of art. In each of the entry are summarized important opinions about authorship of the work and on the end of which I presented my own opinion. It is difficult to confidently attributed these works to the Master Francesco Squarcione, since on the commissions often collaborated his pupils, who created in his style...
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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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Issues of questionable attributions of works by Francesco Squarcione
Třešňáková, Alena ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
of the Thesis Bc. Alena Třešňáková 2011 Abstract The thesis in the theme: Issues of questionable attributions of works by Francesco Squarcione The first part of the thesis provides a summary of information about Francesco Squarcione. He is known to have first been a tailor, then an artist (from 1429) and collector of antiquities, an innovative activity in his time, and finally, an entrepreneur who influenced young artists in Padua from the 1430s to 1460s. Squarcione founded (1431) the earliest known private art-school. He educated 137 pupils who had trained or learned through the copying of antiquities in Squarcione's collection. Only two works made by him have come down to us from his artistic era; the De Lazzara polyptych in the Museo Civico in Padova (1449−1452) and the Virgin and Child in Staatliche Museen in Berlin (around 1455). The second part of this work deals with the other works that have been attributed to him over the next centuries. There is a compiled catalog of these works of art. In each of the entry are summarized important opinions about authorship of the work and on the end of which I presented my own opinion. It is difficult to confidently attributed these works to the Master Francesco Squarcione, since on the commissions often collaborated his pupils, who created in his style...
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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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