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Monastic rules and muses. The Capuchin friars in the service of Art in early Baroque Bohemia
Bartůšková, Alice ; Zlatohlávek, Martin (advisor) ; Šroněk, Michal (referee) ; Royt, Jan (referee)
disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...
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Monastic rules and muses. The Capuchin friars in the service of Art in early Baroque Bohemia
Bartůšková, Alice ; Zlatohlávek, Martin (advisor) ; Šroněk, Michal (referee) ; Royt, Jan (referee)
disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...
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The Gallery of Fine Arts in Ostrava exhibits graphics by Jacques Callot
Galerie výtvarného umění v Ostravě
Galerie výtvarného umění v Ostravě (GVUO) společně s kurátorem Janem T. Štefanem připravila interaktivní přehlídku grafických listů významného lotrinského barokního mědirytce Jacquese Callota. Přijďte si i s dětmi vyzkoušet, jak náročnou technikou autor pracoval. Zjistěte, co vše ke své práci potřeboval a jak důležité nástroje byly pro mědirytce lupa a mikroskop. Výstava bude zahájena v úterý 21. ledna v 17 hodin. V Domě umění, GVUO bude k vidění do 22. března 2020.
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Laberinto
Skopalová, Eva ; Konečný, Lubomír (advisor) ; Purš, Ivo (referee)
Laberinto is a type of book-form game, invented by Andrea Ghisi, and first printed in 1607. A second version was printed in 1616 and includes all the characters of the so-called tarocchi of Mantegna, with the addition of a new series of ten cards (following the logic of composition of the tarocchi). Another two versions of Laberinto (printed in 1607 and 1610) contain none of the Mantegna tarocchi characters. The rules of the game are based on the art of mathematical combinations. The aim of the game is to move through a visual labyrinth and discover which figure the opponent has in mind. The focus of this work will be on the 1616 version; my intention is to describe the problematic of the repetition of the original game concept a century and a half later, examining the conditions under which players used the allegorical field of the so-called Mantegna Tarocchi, and under which the cosmological meaning was secularized and the new series of ten cards added.
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