|
|
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...
|
|
|
Johann Hiebel, the painter of frescoes
Fronek, Jiří ; Horyna, Martin (advisor) ; Preiss, Pavel (referee) ; Mádl, Martin (referee)
The painter Johann Hiebel (1679/1681 - 1755), who came from Schwaben (South Germany), was one of the many foreign artists who became residents in Bohemia and significantly influenced the Bohemian baroque art. He arrived in Prague at the end of the year 1707 and his arrival was very seasonable. He has acquired a reputation as a painter of frescoes educated by the famous painter Andrea Pozzo. In a short period of time he started working on projects organized by the most important investors in Bohemia, especially by the Societas Jesu of the Bohemian province, where he realized his most significant frescoes in their churches, chaples and libraries, employing his best abilities. Johann Hiebel established the long-term, close relations with the Jesuits and gained fame by realizing his first important and successful contract in the St.Climent's church in Prague (1714-1715). Consequently he made for them other works in fresco that are counted as his masterpieces - the frescoes in one of the order's churches SJ in Klatovy in 1716, then again in the Klementinum in Prague (Oratorium Congregationis Latinae Maioris 1723 and the Bibliotheca Maior 1724), and finally in Świdnica (Schweidnitz) in the Silesia - the chapel Beatissimea Virgins in Sole of the parish church JS (1726). Other focal point of Hiebel's creation...
|
|
|
Knights of the cross with the red star and iconographic programme of the St. Carolus Boromaeus cathedral in Vienna
Pučalík, Marek ; Preiss, Pavel (advisor) ; Mádl, Martin (referee) ; Preiss, Pavel (referee)
The Rigorous Thesis deals with the iconographic programme of the St. Carolus Boromaeus cathedral in Vienna (known as Karlskirche). The author begins with the outline of the curriculum vitae of Cardinal Charles, the Archbishop of Milan, and the life of the Emperor Charles VI. It was Charles VI of Hapsburg (anglicized Habsburg) who had the monumental votive cathedral built in the capital of the monarchy as thanksgiving for the end of plague. The corner stone was laid in 1713 and in 1737 only the construction was built according to the plans Johann Bernhard Fischer of Erlach. In 1733 brought to the church were the Knights of the Cross with Red Star, Czech Order from Prague. Their task there was to conduct spiritual administration for all time and found the hospital which they did immediately in 1739. The task of the writer of the Rigorous Thesis was to elaborate the history and, mainly, the iconographic programme of the exterior and, first of all, of the interior of the House of God. He outlined there also the potential cooperation of the Knights' Fathers on the final programme of decoration. The work set as its task the extension of knowledge of that significant Baroque jewel of European architecture in the direction of revealing new facts found in the archives. It is interesting to observe the personality of...
|
|
|
The Nový Svět glassworks at Harrachov during the first half of the 19th century and their meaning for Czech and European glass of the time
Schöttner, Jan ; Kybalová, Jana (advisor) ; Mádl, Martin (referee) ; Brožová, Jarmila (referee)
Nový Svět Glass Factory in Harrachov represented the best of what was achieved in the field of refined glass production in the first half of the 19th century, not only in the technological arena, but also in the artistic one. Absolutely key in achieving these extraordinary results lies within the personality of Johann Pohl, who had ran the glass factory between 1808-1850. Pohl was not just an expert in the area of glass technology, but he was also an extraordinary administrator and economist. And he showed the same talent as a glass refiner. His exceptional artistic sensibility helped him precisely to figure out the exact proportion, tectonics and refinement of the manufactured products. Of the technological innovations that the glass factory introduced during this period, the most important was the melting of ceramic incrustations into the glass. The factory was already able to handle this perfectly by the end of the 1820s, making it the equal of the French and English glass producers of the time.At the same time, the production of colored glass prevailed over clear glass, because it better served the aesthetic demands of customers, or rather, of buyers and merchants. The Harrachov Glass Factory was among the leaders in this field in Central Europe, as its range of colored molten glasses was respectable....
|
|
|
Baroque glass and its collection in the Older history section of the Czech National Museum
Mádl, Martin
Celá tato práce je výsledkem několikaletého projektu, zaměřeného na studium barokního skla. V jejím prvním dílu se pokoušíme podat vymezení problému barokního skla v obecné rovině. Na začátek zařazujeme nejprve teoretickou úvahu o možnostech pojetí materiálu v dějinách umění. Druhou část prvního dílu pak věnujeme soudobým názorům na sklářství, které nám ve svém literárním díle zanechal německý polyhistor 17. století Johann Joachim Becher. Celý tento úvodní díl není přehledem dějin sklářství, ani přehledem názorů na sklářství. Vychází však z dosud málo známých dobových literárních pramenů, které se snaží nově zhodnotit a vytvořit z nich určitou teoretickou základnu, z níž by bylo možné barokní sklo vnímat a k jeho studiu dále přistupovat. V jeho závěrech se spíše snažíme některé problémy otevřít a vymezit, než na ně s konečnou platností odpovědět. V příloze k tomuto dílu uvádíme ukázky Becherových textů o skle. Na závěr zařazujeme přehled použité literatury, na kterou odkazujeme v statích a v katalogových heslech ve zkratkách. Druhý díl práce je věnován sbírce barokního skla v oddělení starších českých dějin Národního muzea. V jeho úvodu podáváme stručný přehled vývoje této sbírky a jejího odborného zpracování, a její zběžnou charakteristiku. Jednotlivým předmětům sbírky se dále věnujeme v následném...
|
|
|
Authenticity of art works - matter, form, content
Mádl, Martin
Approaches of art historians and restorers to the art work differ remarkably: the art historians deal especially with the conceptual content of the image, while the restorers focus of the material character of the art work. The meaningful restoration of art works should result from the creative dialogue of both professions.
|
|
| |
|
|
Authors of the wall paintigs in the Monastery at Plasy
Mádl, Martin
The article deals with the wall paintings in the Cistercian cloister at Plasy. It tries to specify more precisely their authors – Jakub Antonín Pink, Jan František Müller and Josef Kramolín. The attribution is based on the study of archive materials and on the formal analysis of the painting. The article offers a pendant to the iconographical interpretation of the painting prepared by Štěpán Vácha.
|
|
| |
|
| |
guest ::
