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In Orderto Turn Attention to the Significance of the Monuments. The Image of Monument Conservation in Bohemia in the Period after the Establishment of the Central Commission
Horáček, Jaroslav ; Konečný, Lubomír (advisor) ; Petrasová, Taťána (referee) ; Novotný, Michal (referee)
e founding and subsequent convening of the Central Commission for the Preservation and Research of Building Monuments (k. k. Central-Commission zur Erforschung und Erhaltung der Baudenkmale) in 1850/1853 represents a significant milestone in the history of monument conservation in the countries of the Habsburg Monarchy and has its place in Europe. e present dissertation traces the impact of the Central Commission's activities in Bohemia during the 1850s and early 1860s, which roughly corresponds to the time of K. Czoernig von Czoernhausen's presidency. In the introduction, attention is paid to a review of current texts on early conservation, their authors and the method of treatment of the topic. en the situation of the preservation of monuments in selected neighbouring and more distant European states (Baden, Württemberg, Prussia, Saxony, Styria, France) is outlined. e beginning of the Central Commission is connected with the recruitment and designation of conservators and correspondents to work at the sites. According to the files of the Presidium of the Bohemian Governorate, the process from the selection of candidates to their designation in 1854 has been carefully described. In the following years, the individual regional conservators and later the correspondents contributed, according to their...
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Works by "Netherlandish" masters od the 17th century from the collection of Count Humprecht Jan Černín
Ryantová, Zdislava ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The first chapter of this work deals with the life of Count Humprecht Jan Černín, who was a leading Bohemian baroque art collector. The next chapter describes the formation of the Czernin picture gallery during the life of Humprecht Jan Černín, its development under his successors until it ceased to exist at the end of the 18th century, and a subsequent attempt to restore it. In the third chapter we come to the main theme - the collection of Netherlandish masters. I summarize the extant sources for this part of the collection and I describe its formation. I focus on the masters and themes which are represented in this collection and I examine the role played by Humprecht Jan Černín in their selection. The last chapter describes three paintings by Netherlandish masters from the collection of Humprecht Jan Černín, which have been preserved in Bohemia. I describe the literature relating to these works, their provenance, and also the painter, if we know who it was. I place the main emphasis on the themes of these paintings.
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Origins and genesis of Marxist iconology
Johanidesová, Tereza ; Konečný, Lubomír (advisor) ; Kroupa, Jiří (referee) ; Rakušanová, Marie (referee)
The aim of this dissertation is to describe the basic assumptions, genesis and main characteristics of Marxist iconology, which emerged as a distinctive interpretative approach in the environment of Czech art history in the early 1960s. Here I conceive of Marxist iconology as an umbrella term for the common methodological tendencies and interpretive strategies of a closely interrelated group of art historians working at the then Institute for Theory and History of Art of the Czechoslovak Academy of Sciences. The thesis follows four main thematic lines that can be considered crucial in terms of shaping the method of Marxist iconology into the form it took in the 1960s. The first perspective pursued is represented by iconographic and iconological tendencies. The history of the notions of iconography and iconology and its main world representatives are outlined, with an emphasis on the first half of the 20th century, followed by an examination of initially iconographic and later iconological tendencies in 20th century Czech art history. Emphasis is placed not only on the ways of conceptual interpretation but also on the tradition of understanding the concepts of iconography/iconology in Czech art history. The second line that the thesis follows in terms of the formation of Marxist iconology is the very...
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"Malo mori quam foedari": The Symbol of the Ermine in the Visual Arts and Period Thinking.
Marešová, Markéta ; Konečný, Lubomír (advisor) ; Dobalová, Sylva (referee)
The master's thesis "Malo mori quam foedari": The Symbol of the Ermine in the Visual Arts and Period Thinking focuses on the origin and development of ermine symbolism and its application in the European environment between antiquity and the end of the 16th century. The springboard for this work is the iconic painting of the Italian Renaissance attributed to Leonardo da Vinci, Lady with an Ermine, in which this animal holds a prime position. By placing the ermine in the foreground of the painting and thanks to the exceptionally masterful rendering, the artist gives the creature and its symbolism a key role in the reading and understanding of the painting's meaning. The advanced level of humanistic education in the European royal courts made it possible to not only create but also to understand various symbolic references in the visual arts and literature. One such example is the symbolisms of the ermine, the roots of which reach as far back as ancient history. The central aim of the presented work, besides the evaluation of existing knowledge concerning the Lady with an Ermine, is the synthesis and presentation of interpretations of the ermine as a symbol in all its depth and breadth, and in all its historic and local transformations that have thus far not been systemically mapped. The basis of...
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The Legacy of Antiquity, and Jewellery Historical and Contemporary(Glyptic Patterns; Ways of Rendering a Theme)
Matějovič, Petja ; Konečný, Lubomír (advisor) ; Cogan, Miroslav (referee) ; Nováková, Kateřina Nora (referee)
1 PhDr. Petra Matějovičová Thesis The Legacy of Antiquity, and Jewellery Historical and Contemporary (glyptic patterns; ways of rendering a theme) Abstract This thesis examines historical and contemporary jewellery, and specifically the ways in which jewellery bears meanings. To demonstrate these ways it uses formal patterns, motifs and themes in jewellery that are part of the legacy of antiquity. The thesis attempts to devise strategies for presenting jewellery's potential to an audience that has not previously been addressed by work of this kind, or has focused on a specific segment of jewellery. Inspiration from antiquity can be considered an attractive prism that is appropriate for the task in hand. The thesis avoids any categorising of jewellery according to the degree of its creators' input or any kind of ambitions (primarily it does not follow any definitions such as artist jewellery, studio jewellery, unique jewellery or conventional jewellery). It includes jewellery as a material object or objects and jewellery that does not possess this characteristic. The thesis considers and classifies jewellery according to a number of keys, although chronology is not one of them. Characteristics of Jewellery, an introductory chapter outlining as many factors as possible that are responsible for jewellery's...
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Ermine as symbol and its resonance in fine arts
Marešová, Markéta ; Konečný, Lubomír (advisor) ; Murár, Tomáš (referee)
The master's thesis Ermine as Symbol and its Resonance in the Fine Arts focuses on the origin and development of ermine symbolism and its application in the European environment between antiquity and the end of the 16th century. The choice of the ermine as the subject of research arose from the dearth of systematic inquiry into both the symbolism of this particular animal, as well as its presence in the visual arts, which is rare compared to that of some other animals. From the uncertain identification of the ermine in classical sources and its possible confusion with other mustelids, the originally ambivalent symbolism of the ermine crystallized during the Middle Ages: the ermine came to represent integrity and moral purity. The ermine in its snow-white coat carried the allegory of these qualities and, in its significance, it also gradually became a political symbol and a representational strategy demonstrating social status and power. The main purpose of the present work, besides evaluating existing knowledge related to this topic, is primarily to synthesize and present the interpretation of the ermine as a symbol not only in its full breadth, but also in all its period and local iterations and transformations. The basis of this study is the location, description and comparison of the connections...
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Where do the limits of l'informe lie?
Hejný, Kryštof ; Konečný, Lubomír (advisor) ; Vlček, Tomáš (referee)
The present study centres on perceived blank space within research dedicated to czech ceramics of the second half of the twentieth century. Its purpose is to map and summarize the totality of published period discourse pertinent to the selected topic. Most forms of object oriented expression and production within fired clay medium generated throughout the period of immutability and economic centralization fall into categories defined by terminological adjacency to "non-fine art" education, industrial application and/or modernist material semantics. Study observes a historical, hence limited field whose horizon emerges via questions meaningfully unencumbered by partially mythologized experiences and overreliance on stereotypes in judgement of relative importance of concepts, events and goals. Those have insofar marred attempts for general interpretation. The issue of supplementarity or, in moral terms, inferiority of the medium ran an unsolved red line through the period discourse. Sociological advancement however, whose tools were curated consumption and a mixture of work ethic and esthetic, bracketed ceramic supplemental to industry. Its value was then judged by its adherence to original material dialectic (place of craft, or artistic means, in Theodor Adorno's Esthetic theory, ADORNO 1970). As...
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On the Iconography of the Cassone Panels from the National Gallery in Prague
Savická, Pavla ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
At the time when the Middle ages were almost, but not quite, gone and depictions of pagan gods in "high" art were still scarce, relatively common objects were covered with ancient stories and classical myths. On Florentine marriage chests of the Quattrocento reappeared some scenes that were neglected and forgotten for centuries. These chests, so called cassoni, played an important role in the renewal of secular painting in the Renaissance. This research looks at two cassone panels from the National Gallery in Prague, The Judgment of Paris and The Rape of Helen. It is focused on their iconography and its sources. Special attention is paid to the female figure with wings on her head that appears in The Judgment of Paris. She is identified as Venus, who is often depicted with wings in Florentine art of the 15th century. Possible literary sources are also considered.
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Paolo Fiammingo in Venice
Koubková Novotná, Věra ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
Thesis on subject of Paolo Fiammingo in Venice focuses on a personality of a Netherlandish painter, who lived in Venice the most important part of his productive life. Text of the thesis resumes knowledge on his origin, regarding existing literature it suggest, that there is not enough documentation of his staying or apprenticeship until he came to Venice. In this regards, it also concludes, that he was not famous until he took part in Tintoretto's workshop in Veneto. Thesis researches possible Tosca and Roma mannerism influences of his later works by an analysis his later work and in the light of existing literature. Main part of the thesis concerns on Paolo's sojourn in Venice, which started probably in Tintoretto's workshop. Within workshop daily praxis, he was contributing in finishing some specific commissions of his Master with his apprentice colleagues. Thesis brings some witnesses concerning workshop life and also way the completed work took from the workshop to commissioner. The other part of this work turns awareness to his independent production in Venice and its close connection to his transalpine commissions. The part concludes in suggestions concerning the case of Fiammingo and his concrete purchasers, the Augsburg merchandiser Hans Fugger and the Emperor Rudolf II. It also mentions a...
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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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