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Master Hartmann and the Swabian Woodcarving at the Beginning of the 15th Century
Hladká, Kateřina ; Homolka, Jaromír (advisor) ; Hlobil, Ivo (referee) ; Klípa, Jan (referee)
Master Hartmann and the Swabian Woodcarving at the Beginning of the 15th Century The stonemason Master Hartmann from Ulm is known to art historians already long time, but his role in Swabian woodcarving at the beginning of the 15th century, however, still evokes numerous questions. Although Hartmann is believed to work simultaneously in the hut and the woodcarving workshop, the average quality of his works, and the fact, that he was accepted as a citizen only in the year 1928, more than ten years after we encounter him in Ulm records for the first time, indicates certain complications of this hypothesis. In this doctoral thesis, Master Hartmann is studied from the perspective of social and cultural situation in Ulm at the beginning of the 15th century. Attention is given to his position in the hut organization on the construction of Ulm Minster and his artistic activity on the western façade, which in its iconographical concept reflects also the historical background. The second part of the thesis focuses on the woodcarving workshop, where the Altarpiece of Dornstadt was made, and on the phenomenon of wide distribution of this style around the entire Swabia. The Ulm workshop is presented in the context of the city and its minster hut, former local centers and even more distant regions. Around 1415,...
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Master of the Týn Calvary
Bartuňková, Kateřina ; Ottová, Michaela (advisor) ; Klípa, Jan (referee)
Keywords Master of the Týn Calvary, Beautiful style, wood carving, Prague, restoration works, Crucifiction, The man of sorrows Abstract The bachelor thesis is focused on the topic of Man of Sorrows in the work of Mistr Týnské kalvárie (Master of the Týn Calvary), Prague-based carver working in the first half of the 15th century. The thesis sums up current research and tries to evaluate various opinions by each scholar, concernig periodization, autorship and context of location of the artworks. The thesis is divided into six chapters. The first one summs up the research. Following chapters are focused on Master of the Týn Calvary. The first of them is concenrtated on stylistic origins. Following chapter concerns iconography of Man of Sorrows and presents the decoration of Town Halls and sculptures from Staroměstská and Novoměstská Town Halls. Next chapter is focusing on the iconography of Crucifix and relating artworks including: crucified Christ from St. Vitus Cathedral, Crucified Christ from Dumlose Chapel of Church St. Elizabeth in Wroclaw, Churches of Jilové, Sv. Jan pod Skalou and Panna Marie před Týnem. The penultimate chapter is complementary and deals with the works of Master the Týn Calvary in Wroclaw. In the last chapter I try to sum up my view how did the the Masters workshop looked like.
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The acceptance of works of Lucas Cranach the Elder in painting of the first half of the 16th century in Bohemia
Hamsíková, Magdaléna ; Royt, Jan (advisor) ; Ottová, Michaela (referee) ; Klípa, Jan (referee)
1 Abstract The Acceptance of Works of Lucas Cranach the Elder in Painting of the First Half of the 16th Century in Bohemia The thesis focuses on the personality and works of the Renaissance painter Lucas Cranach the Elder (1472-1553) and the acceptance of his works and works of his workshop in painting in the first half of the 16th century in Bohemia. The art production in Bohemia, analogous to the 15th century, was concentrated in small centres and was mainly directed to the painting of neighbouring, mainly German speaking countries. Traces of Cranach's unmistakable aesthetics could be spotted in the Czech lands from the first decade to the almost seventh decade of the 16th century. The life of Cranach's style was so long because it was prolonged, among others, by his son Lucas Cranach the Younger (1515-1586). We can assert that no other author or his followers was so successful in such a large scale, for such a long period of time nor had customers of broad walks of life as Lucas Cranach the Elder. The reason for this was seen by earlier researchers in mass workshop production and certain "easy acquirement" of his style (Max J. Friedländer) that spread especially from the 1520's outside the borders of the Electorate of Saxony. His works were accepted firstly through his graphic masters, secondly through...
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The Acceptance of Works of Lucas Cranach the Elder in Painting of the First Half of the 16th Century in Bohemia
Hamsíková, Magdaléna ; Royt, Jan (advisor) ; Ottová, Michaela (referee) ; Klípa, Jan (referee)
1 Abstract The Acceptance of Works of Lucas Cranach the Elder in Painting of the First Half of the 16th Century in Bohemia The thesis focuses on the personality and works of the Renaissance painter Lucas Cranach the Elder (1472-1553) and the acceptance of his works and works of his workshop in painting in the first half of the 16th century in Bohemia. The art production in Bohemia, analogous to the 15th century, was concentrated in small centres and was mainly directed to the painting of neighbouring, mainly German speaking countries. Traces of Cranach's unmistakable aesthetics could be spotted in the Czech lands from the first decade to the almost seventh decade of the 16th century. The life of Cranach's style was so long because it was prolonged, among others, by his son Lucas Cranach the Younger (1515-1586). We can assert that no other author or his followers was so successful in such a large scale, for such a long period of time nor had customers of broad walks of life as Lucas Cranach the Elder. The reason for this was seen by earlier researchers in mass workshop production and certain "easy acquirement" of his style (Max J. Friedländer) that spread especially from the 1520's outside the borders of the Electorate of Saxony. His works were accepted firstly through his graphic masters, secondly through...
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The Sunday Christ
Záruba - Pfeffermann, Josef ; Royt, Jan (advisor) ; Kubík, Viktor (referee) ; Klípa, Jan (referee)
The work is a monograph on the late medieval devotional image of Sunday Christ (Feiertagschristus, Christo della Domenica, Svjeta Nedelja, Christ du dimanche, Sváteční Kristus). The main aim of this research was to create a complete catalogue of all examples of the "Sunday Christ" image and explain its origins and development. Origins of this image are found in the various conceptions of the continual Christ's suffering for our sins. The author is using the recent bibliography on this image (Koman, Reiss, and Rigaux) but the concept of the development is based more on the definition by Gertrud Schiller. The origins are seen in the mystical images from the cloister environment.- Sponsus pierced by Sponsa, Mystical nailing, nailing with various tools, Arma Christi, fabrication of Arma Christi, and other motifs found especially in the art of female convents. The pastoral care of nuns was usually practiced by Dominicans and other preaching orders, which probably modified some of the images of perpetual passion for the use of laity. As a certain reflection of this contemplative phase we may consider the Casatanense Manuscript (Rome, MS 1404) and mystical visions of Archbishop John of Jenstein, (1379) which included an ecclesiastical image of Christ attacked by Christians. The mural paintings had been painted in...
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Chapters on panel painting of the beautiful style
Klípa, Jan ; Homolka, Jaromír (advisor) ; Kuthan, Jiří (referee) ; Royt, Jan (referee)
The work has a character of two parts of an intended larger unit. The first part considers the development and the comprehension of the basic terms/conceptions inherent to the arts of the break of the 14th and 15th centuries. It aims to cover general tendencies which crystalized within the frame of the process of the formulation of the following terms: international style, court style, beautiful style and others. The most detailed focus is withal dedicated to the history of the term beautiful style and its meaning in which Czech research had a significant role during the last century. General issues of the style in the fine arts of the late Middle Ages play a substantial role within the frame of the study of art around the year 1400 and no other treatment of this theme can get along without a historiographic reflection which would entitle and accept the contemporary and ideal conditionality of the basic terms. In the conclusion of the first part there are formulated hypothetical views related to the direction of the future studies of the questions of art around the year 1400 on the European and the local levels. The second part of the work is dedicated to the concrete issues of the form of this art in the Viennese painting of the first third of the 15th century and its relations to the Czech art of the...
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The Sunday Christ
Záruba - Pfeffermann, Josef ; Royt, Jan (advisor) ; Kubík, Viktor (referee) ; Klípa, Jan (referee)
The work is a monograph on the late medieval devotional image of Sunday Christ (Feiertagschristus, Christo della Domenica, Svjeta Nedelja, Christ du dimanche, Sváteční Kristus). The main aim of this research was to create a complete catalogue of all examples of the "Sunday Christ" image and explain its origins and development. Origins of this image are found in the various conceptions of the continual Christ's suffering for our sins. The author is using the recent bibliography on this image (Koman, Reiss, and Rigaux) but the concept of the development is based more on the definition by Gertrud Schiller. The origins are seen in the mystical images from the cloister environment.- Sponsus pierced by Sponsa, Mystical nailing, nailing with various tools, Arma Christi, fabrication of Arma Christi, and other motifs found especially in the art of female convents. The pastoral care of nuns was usually practiced by Dominicans and other preaching orders, which probably modified some of the images of perpetual passion for the use of laity. As a certain reflection of this contemplative phase we may consider the Casatanense Manuscript (Rome, MS 1404) and mystical visions of Archbishop John of Jenstein, (1379) which included an ecclesiastical image of Christ attacked by Christians. The mural paintings had been painted in...
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Chapters on panel painting of the beautiful style
Klípa, Jan ; Homolka, Jaromír (advisor) ; Kuthan, Jiří (referee) ; Royt, Jan (referee)
The work has a character of two parts of an intended larger unit. The first part considers the development and the comprehension of the basic terms/conceptions inherent to the arts of the break of the 14th and 15th centuries. It aims to cover general tendencies which crystalized within the frame of the process of the formulation of the following terms: international style, court style, beautiful style and others. The most detailed focus is withal dedicated to the history of the term beautiful style and its meaning in which Czech research had a significant role during the last century. General issues of the style in the fine arts of the late Middle Ages play a substantial role within the frame of the study of art around the year 1400 and no other treatment of this theme can get along without a historiographic reflection which would entitle and accept the contemporary and ideal conditionality of the basic terms. In the conclusion of the first part there are formulated hypothetical views related to the direction of the future studies of the questions of art around the year 1400 on the European and the local levels. The second part of the work is dedicated to the concrete issues of the form of this art in the Viennese painting of the first third of the 15th century and its relations to the Czech art of the...
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