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Spanish court portraits of the 16. century and spanish portraits from the Lobkowicz collection
Kalinová, Daniela ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
The thesis concerns Spanish court portrait of the 16th and the begining of the 17th century. After a brief introduction to the problematics of portrait in general it concentrates on the court portrait of the whole standing figure, maps the dawn of portrait painting in Spain and the origin of the indigenous portrait school. It analyses more closely two generations of Spanish portrait painters, especially Alonso Sánchez Coello and his competitors at the court of Philip II. and Juan Pantoja de la Cruz and his disciples working in Madrid during the reign of Philip III. Finally it summarizes the most interesting portraits from the Lobkowicz Collection which were made by these portraitists of the court of Madrid.
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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. The delineation of the ahasveric topic in the broader context of Czech and world literature, music, drama and cinematography is followed by a rather extensive section dedicated to the field of visual arts. According to some scholars, the first depictions of the Wandering Jew could have originated already in the twelfth century. However, more serious proposals situate their first emergence into the period between the thirteenth and the sixteenth century. Furthermore, it cannot be fully excluded that some figurations ofthe Wandering Jews are inspired in the iconography of the Carrying of the Cross. Since the beginning of the seventeenth century the iconography of Ahasverus reaches its full development: the most noticeable is the progression from initial...
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Sebastiano Serlio, Libro estraordinario and renaissance and manneristic portals in Prague
Ludvíková, Veronika ; Konečný, Lubomír (advisor) ; Muchka, Ivan (referee)
Sebastiano Serlio is one of the most notable theoreticians of Renaissance architecture. He is sometimes also referred to as the first theoretician of Mannerism in architecture. The present thesis is first concerned with Serlio's predecessor, the ancient theoretician of architecture Vitruvius. It points out Vitruvius' key thoughts, especially the ones which most potently influenced the work of Sebastiano Serlio. The thesis further relates to Serlio's life and the important moments of his life either during his stay in his homeland, Italy, or later in France. The greatest feat of Serlio in the domain of architecture is his theoretical work: a tractate on architecture published successively in volumes. Serlio's contribution lies chiefly in the formulation of the five orders of architecture and also in his capability of captivating the reader, the use of a language level familiar to a wide audience, and the clarity of the information given. Such literary qualities are also characteristic of the "Libro estraordinario" (the"Extraordinary Book", or the "Outstanding Book") which is of particular attention in the present thesis. "Libro estraordinario" is solely devoted to a single architectonic element: the portal. It consists of two parts: "Porte rustiche" and "Porte dilicate". Each portal type is provided with a...
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Ephemeral architecture of Renaissance festivies in Giulio Campi drawings
Hlušičková, Pavla ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
This dissertation informs about the life and work cremonese painter, architect and decorator Giulio Campi (c. 1502-1572), who became in 1541 the author of the decorations for the triumphal entry of Emperor Charles V in Cremona. Together with his colleague Camille Boccaccino suggested a number of triumphal arches, whose appearance has been preserved to this day on preparatory drawings. A number of preparatory drawings, which are part of the recently discovered album of the Clara - Aldringen in Teplice, keep the National Gallery in Prague. This thesis concerns the problems of Campi's proposals of the arches - addresses visual effects that might have had an influence on the Campi's drawing expression, features other Campi's surviving drawings from the collection of the European institutions and summarizes a form of the Charles V Trionfo in 1541 and Philip II. Trionfo in 1549 in Cremona.
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Self-portrait in the Czech baroque painting
Kacetlová, Miroslava ; Konečný, Lubomír (advisor) ; Horyna, Martin (referee)
The self-portrait in painting is similar to an autobiography in literature. It is an unique testimony of painter' s life and art, of his desires, fears and whishes. It contains its own typical attributes: brusches, a palette, an easel with a canvas and specific studio clothes as well, which point to the painter' s profession. Usually the sitter is in the contact with the viewer with the help of his eyes' sight. The development of the self-portraiture started in the Renaissance period, when the artist self-consciousness of his talent and uniqueness of his art spread. Painters started to offend against giuld rules which tied them. An important break into the obsolete system was the attempt to establish an Academy in Prague in 1709. The main authors of the project were the painter Michael Václav Halbax, the sculptor František Preiss and the architect František Maxmilián Kaňka. But their progressive idea broke down in the end. The barock self-portraits in the Czech painting were influenced by the previous period - the era ofthe emperor RudolfU. and his great painters for example: Bartholomeus Spranger and Hans von Aachen. I diveded self-portraits into five chapters: the self-portraits alone, the self-portraits with attributes, the family self-portraits, the self-portraits in narative scenes, the self-portraits...
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Titian, classical mythology and Ovid
Vorlová, Magdalena ; Konečný, Lubomír (advisor) ; Bažant, Jan (referee)
The thesis examines the classical motifs in the works of Titian. The author focuses on a closed set of works inspired by classical motifs (i.e. motifs of classical mythology), which were created for the Spanish king Philippe II. The thesis deals with the question of possible literary or material sources which could have been at the painter's disposal or could have served as his inspiration. The set of works is defined by themes chosen from Ovid's Metamorphoses. The question is whether Titian based his compositions on their classical version or on a Renaissance adapted or commented translation, or whether he even inspired himself by other classical authors.
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Rembrandt and Vermeer: two philosophical concepts of art
Černá Pivovarová, Maria ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
The thesis Rembrandt and Vermeer: Two Philosophers of Art is devoted to two artistic concepts. The most striking representatives of these two concepts, whom we can observe throughout the entire history of art, are Rembrandt van Rijn and Johannes Vermeer. The differing philosophy of art of these two artists is presented in two selected paintings: Rembrandt's Self-Portrait with Saskia and Vermeer's canvas The Art of Painting. Both Rembrandt and Vermeer opened up the path for modern art, which is why works that were influenced by the art of these Baroque masters over the course of later centuries have also been included in the thesis.
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Emperor Rudolf II's Patronage of Alchemy. Michael Maier (1569 - 1622) and Anselmus Boëthius de Boodt (1550 - 1622)
Purš, Ivo ; Konečný, Lubomír (advisor) ; Mádl, Martin (referee) ; Karpenko, Vladimír (referee)
Emperor Rudolf II's Patronage of Alchemy. Michael Maier (1569-1622) and Anselmus Boëthius de Boodt (1550-1632) The work is focused on the emperor Rudolf II's (1552-1612) patronage of alchemy and two distinguished physicians interested in alchemy that lived for some time at the emperor's court. The text reflects these topics in its structure; therefore, it is divided into three parts. The first part deals with the emperor himself and his support of alchemy at the court. Furthermore, the reasons of the emperor's interest in this field of research are analyzed, as well as historical and philosophical context of the research. Examined were also collaborators and closest courtiers to the emperor that took and interest in alchemy and the possibilities of practical realization of laboratory works at Prague castle, the question of their nature and expected results. Last but not least is discussed, to what extent was the emperor personally involved in the experiments. The second chapter is about Michael Maier (1569-1622), a physician and alchemist, who came to Prague in the middle of 1608 with an intention to ask the emperor to support his research. Maier gained a doctorate in medicine in Basel and his interest in alchemy was purely medical. He wanted to offer the emperor a 'universal medicament' he had...
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Chapters on the theories of sublime and their reflection in fine art
Němcová, Kristina ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
The bachelor thesis is dealing with the term sublime in both theoretical and practical level. The development of theories of the sublime and its reflection in fine art is analyzed from the antiquity to the 19th Century. The reflection in fine art in the ancient times is shown on the statue of Niobé from Apollon temple in Rome. In chapters on the Romantic period the term sublime is reflected in landscape painting in Bohemia, United Kingdom, Switzerland, Germany, Norway and America. The emphasis is put on the reflection in works of two artists- British painter Joseph William Turner and German painter Caspar David Friedrich.
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Mythological subjects in the work of Lucas Cranach the Elder
Hájková, Zita ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee)
This thesis deals with the production of Lucas Cranach the Elder. After the introductive encounter with the life of Lucas Cranach the Elder the emphasis is put on the mythological subjects with respect to their origin in historical sources and classical literature. The thesis also considers the different influences on Cranach's work in context with contemporary painters and humanism and presents the conditions mainly in the court of the Saxon Prince-electors where Cranach worked.
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