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Iconography of Rudolf II.
Zlatohlávková, Eliška ; Konečný, Lubomír (advisor) ; Fučíková, Eliška (referee) ; Seifertová, Hana (referee)
Many portraits of Rudolf II were painted and created during his lifetime, forming a significant component of Rudolfine art, however, they have not received a sufficient art historical attention. They document, at times at stylyzed manner, the transformation of Rudolf's appearance. However, their most important task was to demonstrate and make tangeable Rudolf's authentic appearance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander, although, as we know, they did not correspond to reality. A special chapter of the portrait iconography also create complicated allegories about Rudolf's reign relying on representations of personifications, mythological and animal symbols using Rudolf's personal impresa. Most of the portraits follow former portrait types typical for the 16th century, as bust, standing figure or equestrian monument. However, the peculiarity for Rudolfine portraiture is the allegorical portrait Rudolf as Vertumnus painted by Giuseppe Arcimboldo that combines classical portrait with allegory.
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Two paintings of Jacopo Vignali in the National Gallery in Prague
Zlatohlávková, Eliška ; Konečný, Lubomír (advisor) ; Mádl, Martin (referee)
This thesis is dealing with the two paintings of the Florentine painter Jacopo Vignali, deposited in the National gallery in Prague. Vignali lived and worked in the first half of the 17th century in Florence, where in this time culminated the "reform of the painting" initiated in the 80th of the 16th century, mostly by Lodovico Cigoli, whom Vignali followed at the beginning of his carrier, and was developed the early Baroque style. Vignali belonged to the first generation of the painters of the early Baroque era in Florence, the last important decade of the florentine painting. He served out in the studio of Matteo Rosselli, who not only to him but to the other scholars mediated the innovations of the reform painting. The most interesting artworks Vignali made during the first 15 years of his activity, mostly in the 20th of the 17th century. During these years he created his own style, which he used for the rest of his life. As far as the style is concerned, at the very beginning he was influenced by his teacher Matteo Rosselli and partly the German painter Adam Elsheimer. The biggest authority for him was a little bit older painter Francesco Curradi. Under his influence Vignali changed the colours, the bright ones where substituted by the smooth tone of soft red and purple and his characters became more...
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Iconography of Rudolf II.
Zlatohlávková, Eliška ; Konečný, Lubomír (advisor) ; Fučíková, Eliška (referee) ; Seifertová, Hana (referee)
Many portraits of Rudolf II were painted and created during his lifetime, forming a significant component of Rudolfine art, however, they have not received a sufficient art historical attention. They document, at times at stylyzed manner, the transformation of Rudolf's appearance. However, their most important task was to demonstrate and make tangeable Rudolf's authentic appearance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander, although, as we know, they did not correspond to reality. A special chapter of the portrait iconography also create complicated allegories about Rudolf's reign relying on representations of personifications, mythological and animal symbols using Rudolf's personal impresa. Most of the portraits follow former portrait types typical for the 16th century, as bust, standing figure or equestrian monument. However, the peculiarity for Rudolfine portraiture is the allegorical portrait Rudolf as Vertumnus painted by Giuseppe Arcimboldo that combines classical portrait with allegory.
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Two paintings of Jacopo Vignali in the National Gallery in Prague
Zlatohlávková, Eliška ; Mádl, Martin (referee) ; Konečný, Lubomír (advisor)
This thesis is dealing with the two paintings of the Florentine painter Jacopo Vignali, deposited in the National gallery in Prague. Vignali lived and worked in the first half of the 17th century in Florence, where in this time culminated the "reform of the painting" initiated in the 80th of the 16th century, mostly by Lodovico Cigoli, whom Vignali followed at the beginning of his carrier, and was developed the early Baroque style. Vignali belonged to the first generation of the painters of the early Baroque era in Florence, the last important decade of the florentine painting. He served out in the studio of Matteo Rosselli, who not only to him but to the other scholars mediated the innovations of the reform painting. The most interesting artworks Vignali made during the first 15 years of his activity, mostly in the 20th of the 17th century. During these years he created his own style, which he used for the rest of his life. As far as the style is concerned, at the very beginning he was influenced by his teacher Matteo Rosselli and partly the German painter Adam Elsheimer. The biggest authority for him was a little bit older painter Francesco Curradi. Under his influence Vignali changed the colours, the bright ones where substituted by the smooth tone of soft red and purple and his characters became more...
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Privacy and propaganda: The iconography of the emperor Rudolf II
Zlatohlávková, Eliška
Many portraits were painted of Rudolf II during his lifetime, forming a significant component of Rudolfian art, however, they have not received sufficient art historical attention. They document—at times in a stylyzed manner—the transformation of Rudof´s appearance. However, their most important task was to demonstrate and make tangeable Rudolf´s authentic apperance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander. It is difficult to find interconnections between the many portraits that were produced of Rudolf, however among them one may find some artworks that would become exemplars for other portraits of the emperor during his reign/lifetime/the end of the 16th and early 17th century.
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