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Antonio Maria Viani in Mantova. Painting works and drawings.
Nová, Magdaléna ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The subject of thesis is Antonio Maria Viani's paintings and drawings which he created during his residence in Mantua. Mantua was ruled by art enthusiastic Gonzagas family who were the indisputable art enthusiasts. This thesis aims to summarize and evaluate the articles that had been written about Antonio Mario Viani until the exhibition called "I segni dell'arte. Il Cinquecento da Praga a Cremona" took place in Cremona in 1997/1998. The exhibition significantly helped this artist (originally from Cremona) to become widely known. Firstly shown, there were some Viani's drawings from Clary-Aldringen's albums which are now deposited in the National Gallery in Prague. List of bibliography will have been completed by the latest literature related to the artist and discussions and reviews of the exhibition in Cremona are also included. The main purpose of this thesis is to introduce the artist Antonio Maria Viani as an excellent master which, undoubtedly, he was. It is also inherent to stress the exceptionality to have so many drawings from cremona's masters in our colletions.
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Rembrandt Harmenszoon van Rijn in Bohemian and Moravian state collections
Lišková, Julie ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The work deal with several paintings from National gallery in Prague adherent to Rembrandt Harmenszoon van Rijn. Concretely Is spoken especially about three painting, one of which is still consider to be the autor's work by Rembrandt. The other two works have already been dedicated to his pupils. But they had been ascribed to Rembrandt in the past. Therefore these paintings were included in this work. Simultaneusly is solved the problem of the Rembrandts authorship determining and doubtful authorships in general. The best part of the work is devoted to the art historical opinions, their reproducing and the endeavour of layout contraversial points. Conclusion of the work is foremost the reproducing and gathering of available informations, because answer and solve questions of the authorship is the work for many years.
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Depiction and Meaning of Animals in Renaissance Portraiture: The Case of the Ermine
Marešová, Markéta ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee)
This thesis deals with representation of animal and their meaning in european portrait painting of the period spanning from second half of 15th century till the beginning of 17th century and it sets to describe relationship between humans and animals occurring in the symptomatic space of portraiture as well as the renaissance culture in general. Among the art genres it is portrait where we can trace immediate interaction of humans and animals as the later are usually included in the painting on demand of the submitter of the artwork and are positioned there as a symbol though which the portrayed person communicates with viewer. The fundamental characteristic of animal symbolic is its ambivalence and multiplicity of meaning shaped over centuries as the renaissance iconography of animal have been dominantly formed by ancient manuscripts and medieval bestiaries. From the wide specter of animals represented in this period my thesis is focusing in detail on the case of ermine which was one of the less commonly represented animals. Symbolism of the ermine is further discussed in case study on two particular master pieces of renaissance art - Lady with an Ermine by Leonardo da Vinci and Young Knight in a Landscape from venetian painter Vittore Carpaccio - where the appearance of the animal plays key role...
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Contributions to the study of the early modern period iconography of book covers
Pavlišová, Jindřiška ; Konečný, Lubomír (advisor) ; Royt, Jan (referee)
ln this thesis I explore 16th century book covers. The cover protects and decorates the book and is therefore treated in the following text as an inseparable part of the book. Since book covers have rarely been studied in the past, I have included below a section (Chapter 1) on existing literature - both Czech and foreign - on the topic. Thanks to Gutenberg's invention of a new kind of printing press, and thanks to new fonts, easier typography and unprecedented development of xylographic illustration (especially in Germany), the book changed beyond recognition in the second half of the 15th century and at the beginning of the 16th century. In addition to these profound changes, or - rather - as a result of these changes, the book became cheaper and began to spread among all social classes (Chapter 2). Moreover, it is by no means surprising that all these developments were to have a seminal influence on the book cover (Chapter 3), which became simplified and Iighter in comparison with what it had been in the Middle Ages. In the 16th century, all metal components - one of whose functions, incidentally, had been to protect the boo k - gradually disappeared, the only exception being small metal clasps, used to keep the books shut tight. The need to produce quickly as many book covers as possible forced...
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The face is afoot. Depiction of Sherlock Holmes in the Czech lands
Kolich, Tomáš ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
The subject matter of this bachelor thesis is the evolution of depiction of Sherlock Holmes in the Czech region in book illustrations, comics, theatre and film. This thesis examines today's image of this fictional character and shows how this image has been created. It focuses on the subjects which make Holmes easy to recognize and explains when and how this objects were inserted into Holmes's world. Thesis analyzes periods of history in chronological order. First, it shows how Holmes looked in the novels of Arthur Conan Doyle and in the original English illustrations and dramatizations. Consequently, it analyzes this evolution in the Czech region from the first translations of Doyle's novels to the present day. The task of this paper is also to collect and to create list of every Czech depiction of Holmes that can be found.
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The Shape of Orpheus. The sketch of the Iconography of Orfeus in European and Czech nineteenth-century visual arts
Machková, Magda ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee) ; Dykast, Roman (referee)
Who says there is only one Orpheus, the mythical singer, poet, lover, musician, tragedian? The pivotal term of this study 'Orpheus' potential' refers to a set of characteristic datas or qualities, encrypted into the iconography of this theme by the time of c. 3 000 years and deciphered and interpreted by artists for nearly equivalent period. Although the Czech lands of the nineteenth century were both metaforically and literally distant from the Greek antiquity, we are able to trace a surprising volume of comments, receptions or appropriatons of Orpheus' iconography in various fields of arts: visual arts, dramatic arts, poetry, opera. The transformation of typology is discussed on illustrative examples using the genre of micro- stories, the second part of the study focuses on the localy determined shape of 'Slavic Orpheus', the person from the pre-Czech mythology, Lumír, who was gifted by analogic talents like his prototype.
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Image of the wandering Jew in Czech and world art
Janáčová, Eva ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
In general terms, the principal aim of this MA thesis is to explore the iconography ofthe Wandering Jew in both Czech and world fine art. lnitially, some room is dedicated to the historical evolution ofthe legend of the Wandering Jew, who is originally referred to as Cartaphilus or Malchos, later Ahasverus. According to a narrative, taken down already in the first half of the thirteenth century in its essential setup, the so called "Wandering Jew" had punched Jesus, for which he was condemned by him to a ceaseless wandering until his second advent on earth.
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Laocoon: reception of the group in Czech visual arts (1800-2000)
Havlíková, Ivana ; Konečný, Lubomír (advisor) ; Bouzek, Jan (referee)
The marble statuary group of Laocoon discovered in 1506 A. O. in city of Rome i s one of the most studied, discussed and inspirational work of ancient art. Since i ts discovery, Laocoon has inspired an uncountable number of diverse receptive works of art in many different ways. Briefly summarizing, it was considered as an exemplum artis for artists of almost all periods and as an exemplum doloris in christian iconography of posttridentine period. In century Laocoon was used for the first time in the sphere of popular cul ture. The greatest influence can be seen in the art of caricature. Influence of the group persists even until our days. First examples of reception of the group in Czech art can be seen in the period of manierism in the court of emperor Rudolf II and in 18th century. In 19th century with the beginnings of Prague Art Academy Laocoon became even in our country one of the most copied works of ancient art, but it also stimulated the origin of satirical reaction on educational methods of Prague Art Academy. The first appearence of Laocoon in czech caricature is dated to the middle of 19th cen tury, since than Laocoon has been used for the needs of Czech caricature many times.
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The Flaying of Marsyas versus The Pieta Rondanini. a Comparison of the Late Works of Titian and Michelangelo
Wanková, Veronika ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The Anotation The Flaying of Marsyas versus the Pieta Rondanini A comparison of the late works of Titian and Michelangelo This bachelor's thesis deals with Titian's late work "The Flaying of Marsyas", which is held in the collections of the Archbishop's Palace in Kroměříž. This work is compared to another late work, Michelangelo's "Pieta Rondanini", a sculpture housed in Milan. The works are put into context with societal influences on both artists' work, the artists' confrontation with old age, and the issue of melancholy in their late works. Firstly, there is a list of literature that is necessary for understanding and further research of this topic. The list is followed by a summary of actual knowledge about both works. Subsequently the thesis contains a comparison of late works of Titian and Michelangelo where their new approach towards their works is described. Finally, the thesis deals with a relationship and difference between The Flaying of Marsyas and the Pieta Rondanini. The thesis also includes a rich supplement of pictures that should complement previous information as well as mention other works concerning with The Flaying of Marsyas or the Pieta Rondanini. Keywords: Flaying of Marsyas, Pieta Rondanini, Titian, Michelangelo, comparison of late works
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