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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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Caspar David Friedrich, The motif of figure at the window, its genesis and evolution.
Hájková, Zita ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee)
The thesis deals with the life and work of Caspar David Friedrich (1774 - 1840) who is considered one of the most important painters and drawers of the German romanticism. His main contribution for painting was the creation of pictures with subjective, later also politically motivated symbolism. The themes of his works in particular included the nature where persons often stand and watch the landscape in distance. The first chapter provides information on the personality and work of the painter who created a new style of landscaping. In nature he discovered the spiritual element that he connected with the picture. The work then describes the influences of the romantic literary movement and religion on his work. The second chapter presents a female figure turned with her back to the viewer in a painting called Woman by the Window from 1822. Various interpretations of art historians connected especially with romanticising visions of individuality and infinity are presented. The origin and development of the female figure turned with her back to the viewer in painting from prehistoric times up to the 20th century is also outlined. The phenomenon of a window in art is explained in the third chapter. A window in interior and a view from a window is also demonstrated as a mean of expression of an artist....
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Mass and Crowd. Multiplicity in works by Ivan Kafka
Bartlová, Anežka ; Konečný, Lubomír (advisor) ; Pospiszyl, Tomáš (referee)
I have paid attention to artworks of Ivan Kafka especially to the problem of multiplicity. On the background of the reseach of Kafka's work I have described some aspects of his art work in more common way: dealing with time, with space and with multiplicity. I have shortly analyzed first two aspects. On the other hand is multiplicity much wider phenomena, I have defined with categories which were created specially for this work. The category of mass is defined by non-living unifique parts of one coplex without any autonomy. The second type labeled as crowd type, typically contains some level of individuality. On such background I tried to create a diagramatic structure, which was postulated according to Rolasind Krauss'es "expanded fields". This should better show the relations between terms like mass, crowd, seriality and serial type of multiplicity. I have also applied these categories on particular Ivan Kafka's artworks, but in the end I suggest to asser this system of multiplicity categories on other artists artworks as well.
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Francesco de Goya: Los Caprichos (The Caprices)
Moučková, Lucie ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee)
The present work Francisco de Goya: Los Caprichos (Caprices) is dedicated to the analysis of the Francisco de Goya's graphical cycle of the same title. The artist, who was influenced by the ideas of his enlightened friends, by the consequences of a disease that undoubtedly changed his perception of the world, the author, who was encouraged by a desire for free expression in art, represents a landmark between traditional and modern Spanish art. Among the contemporary artistic preferences in the second half of the 18th century, we follow the gradual development of Francisco de Goya - graphic artist, its liberation from conventions and his move to the creation which reflects the author's personality and his views of the society. His original and enigmatic graphic work is based on many contrasts: it is technically innovative as Goya uses an unusual technique of etching and aquatints, and it also thematically reflects the ideas of many previous generations. The work is focused the collection Los Caprichos, which not only reflects the views of Goya's Enlightenment ideas, but it also builds on the rich folk traditions and superstitions. Based on studies of selected prints and literature we are looking for links between apparently different topics. The way the prostitution, witchcraft and the donkey figures...
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Paolo Fiammingo in Venice
Koubková Novotná, Věra ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
Thesis on subject of Paolo Fiammingo in Venice focuses on a personality of a Netherlandish painter, who lived in Venice the most important part of his productive life. Text of the thesis resumes knowledge on his origin, regarding existing literature it suggest, that there is not enough documentation of his staying or apprenticeship until he came to Venice. In this regards, it also concludes, that he was not famous until he took part in Tintoretto's workshop in Veneto. Thesis researches possible Tosca and Roma mannerism influences of his later works by an analysis his later work and in the light of existing literature. Main part of the thesis concerns on Paolo's sojourn in Venice, which started probably in Tintoretto's workshop. Within workshop daily praxis, he was contributing in finishing some specific commissions of his Master with his apprentice colleagues. Thesis brings some witnesses concerning workshop life and also way the completed work took from the workshop to commissioner. The other part of this work turns awareness to his independent production in Venice and its close connection to his transalpine commissions. The part concludes in suggestions concerning the case of Fiammingo and his concrete purchasers, the Augsburg merchandiser Hans Fugger and the Emperor Rudolf II. It also mentions a...
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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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Flamish Landscape of 16th and 17th centuries in the Roudnice Lobkowicz Collection
Faltejsková, Zuzana ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
This work is about Flemish landscape of 16th and 17th centuries in the Roudnice Lobkowicz Collection. The Lobkowicz family belongs to one of the oldest Czech noble families. The members of the family were the politicians at Habsburg s court and the great supporters of music and art. They gathered a large art collection during six centuries which is known as the Roudnice Lobkowicz Collection. The next part is about the development of the landscape painting from ancient times through the formal founder of this genre, Joachim Patenier, to early 17th century. In the catalogue there are the descriptions of Flemish landscapes of 16th and 17th centuries and the profiles of their authors.
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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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Issues of questionable attributions of works by Francesco Squarcione
Třešňáková, Alena ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
of the Thesis Bc. Alena Třešňáková 2011 Abstract The thesis in the theme: Issues of questionable attributions of works by Francesco Squarcione The first part of the thesis provides a summary of information about Francesco Squarcione. He is known to have first been a tailor, then an artist (from 1429) and collector of antiquities, an innovative activity in his time, and finally, an entrepreneur who influenced young artists in Padua from the 1430s to 1460s. Squarcione founded (1431) the earliest known private art-school. He educated 137 pupils who had trained or learned through the copying of antiquities in Squarcione's collection. Only two works made by him have come down to us from his artistic era; the De Lazzara polyptych in the Museo Civico in Padova (1449−1452) and the Virgin and Child in Staatliche Museen in Berlin (around 1455). The second part of this work deals with the other works that have been attributed to him over the next centuries. There is a compiled catalog of these works of art. In each of the entry are summarized important opinions about authorship of the work and on the end of which I presented my own opinion. It is difficult to confidently attributed these works to the Master Francesco Squarcione, since on the commissions often collaborated his pupils, who created in his style...
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The Development of the Drawing Art in German Speaking Countries from the 15th to the First Half of 17th Century Regarding its Representation in Czech and Moravian Collections
Volrábová, Alena ; Konečný, Lubomír (advisor) ; Royt, Jan (referee) ; Fučíková, Eliška (referee)
The thesis deals with the development of drawing in German-speaking countries since the early 15 th century, when the late Gothic traditions still echoed, to mannerism in the 16 th and first half of the 17 th centuries, when the Baroque enjoyed its ascent. The introductory chapter is dedicated to the current state of ongoing research, especially in Germany. Eliška Fučíková, in her Candidate of Sciences (CSc.) thesis in 1969, and later Pavel Preiss and today Lubomír Slavíček, have dealt with the subject in Bohemia. The next chapter deals with drawing techniques in the respective periods, with a focus on the pen drawing common in Germany at the time. The chapter that follows summarises the typical characteristics of German drawing, which was usually more confined and firm in volume than the Italian drawing of the time. The section addressing the representation of German drawing in the Czech collections is dedicated to the provenance of the drawings and the resulting repertoire of the museum collections in the Czech Lands. The explored theme is well represented for the most part, despite a painful lack of drawings by Albrecht Dürer. The thesis' main section follows the development of drawing in different art circles in German-speaking regions, illustrating its subject with examples found in public...
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