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Author and code
Kreuzzieger, Milan
Chapter is based on the assumption that each historical period is related to a particular stage of technological development, and to a specific means of visual representation. From this perspective it looks at how media relate to the concept of the author, and at the need for a new understanding of the artist’s role, including shifts in the definitions of art and our uderstanding of an artwork. Art projects by Federico Díaz and Jakub Jansa are presented as examples.
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Richard Moest, author-forger of the Klosterneuburg Virgin and Child on a Lion?
Hlobil, Ivo
The paper recapitulates in detail the long debate and the different views on the authenticity of the Klosterneuburg Madonna (National Gallery Prague) as major work of Master of Michle Virgin and Child from around 1345. The paper's author bring new arguments for the carving's authenticity. He believes that the Klosterneuburg Virgin and Child on Lion was originally part of the choir stalls in a church in Moravia or Bohemia.
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Black-and-white men with palettes?
Buddeus, Hana
In an essay published in a special issue of October magazine devoted to black-and-white photography, Matthew Witkovsky asks whether photography studies can serve as a model for art history. Using specific examples from 20th century Czech art (monographs and photographic portraits of artists), I show how we have moved from a belief in the purity of the photographic record to an emphasis on how the photographic image is constructed. Photography unequivocally highlights the need to examine not just artists and their work, but also the circumstances of their creation, distribution and reception.
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Metternich - Nobile - Metternich. Patronage as a relationship with a changing constant
Petrasová, Taťána
This paper examines the authorship of an artwork as the result of patronage in which the social capital of both participants - the artist and his patron - changes. Initially Metternich drew on the symbolic capital held by the Italian architect, who had studied in Rome. Later the balance of their relationship was reversed. The variable element in this patronage was the imbalance between how the patron and artist benefitted from their social capital - one in terms of representation, and the other in terms of success on the art market.
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