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The Shape of Orpheus. The sketch of the Iconography of Orfeus in European and Czech nineteenth-century visual arts
Machková, Magda ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee) ; Dykast, Roman (referee)
Who says there is only one Orpheus, the mythical singer, poet, lover, musician, tragedian? The pivotal term of this study 'Orpheus' potential' refers to a set of characteristic datas or qualities, encrypted into the iconography of this theme by the time of c. 3 000 years and deciphered and interpreted by artists for nearly equivalent period. Although the Czech lands of the nineteenth century were both metaforically and literally distant from the Greek antiquity, we are able to trace a surprising volume of comments, receptions or appropriatons of Orpheus' iconography in various fields of arts: visual arts, dramatic arts, poetry, opera. The transformation of typology is discussed on illustrative examples using the genre of micro- stories, the second part of the study focuses on the localy determined shape of 'Slavic Orpheus', the person from the pre-Czech mythology, Lumír, who was gifted by analogic talents like his prototype.
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The Jewish Figural Iconography in the Czech Lands
Janáčová, Eva ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee) ; Pařík, Arno (referee)
The primary aim of this dissertation is the mapping of Jewish figural iconography in the Czech lands, primarily of the Post-Emancipation - end of 18th to 20th century - period. The research focuses mainly on the protrayal of contemporary Jewish figures found in Czech visual culture, following religious as well as gradually secularized Jews through iconopgraphic themes. In dealing with the less observant or even wholly secularized Jewish figures, the aim is to show the iconographic elements by which these differ from the majority of society. In the first part the most important aspects of the evolution of Jewish iconography are analyzed. Among these the most important ones are a liberal interpretation of the Old Testament prohibition of figural representation, Jewish emancipation involving gradual assimilation as well as the Jewish yearning for an authentic visual representation, which most likely was the main factor behind the evolution of Jewish iconography. In addition to medieval and modern Jewish figural representations special attention is given to portrayal of Prague Jews and themes found in Hebrew manuscripts as well as printed materials, where surprisingly enough a much lower number of demeaning signs are found. Furthermore a gallery of portraits showing Czech Jews is shown, including...
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Self-portrait - Vivisection of One's Own Image
Härtelová, Magdalena Jadwiga ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
This bachelor thesis is dealing with self-portraiture as genre with concentration on inner processes regarding the concept of one's own individuality. These take place in the course of creation and manifest themselves in the resulting work of art. The essay contains four case studies analysing self-portraits of four artists throughout art history. A hypothesis is presented in the introductory chapter about two levels of self-portrait - a representational one and a latter one of deviations from original plan, where the self-transformation of creative process shows. The next chapter sums up different types of self-portraits as well as evolution of the genre. Instead of specific art works or artists it focuses on factors influencing perception of self, artists' status and the very self-portraiture as genre. In third chapter, ideological stand points are outlined. It concerns with the limits of objectivity, extent of individuality and temporality. Following is the body of the thesis. It is divided according to the three participants of self- portrait: author, object and viewer. Each chapter is sealed with a section regarding one of the tenses concerning work of art: The Past as a Setting, Visions of the Future and The Presence of Art. The part of the author deals with elements of settings prior to...
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On the Iconography of the Cassone Panels from the National Gallery in Prague
Savická, Pavla ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
At the time when the Middle ages were almost, but not quite, gone and depictions of pagan gods in "high" art were still scarce, relatively common objects were covered with ancient stories and classical myths. On Florentine marriage chests of the Quattrocento reappeared some scenes that were neglected and forgotten for centuries. These chests, so called cassoni, played an important role in the renewal of secular painting in the Renaissance. This research looks at two cassone panels from the National Gallery in Prague, The Judgment of Paris and The Rape of Helen. It is focused on their iconography and its sources. Special attention is paid to the female figure with wings on her head that appears in The Judgment of Paris. She is identified as Venus, who is often depicted with wings in Florentine art of the 15th century. Possible literary sources are also considered.
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Art historian Rudolf Chadraba and his work
Johanidesová, Tereza ; Konečný, Lubomír (advisor) ; Hlobil, Ivo (referee)
The aim of this thesis is to explore and evaluate the scientific work of art historian Rudolf Chadraba who is generally considered to be one of the founders and the most distinctive representatives of an iconological method in czech art history. The Master's thesis doesn't make efforts to survey Chadraba's scientific career from biographic point of view in a clearly and chronologically way, because the main focus of the interpretation lies on starting points of Chadraba's work, specific influences on him, particular motifs and themes, which are penetrating and reflected in his academical works of art historian and which therefore form his peculiar method. Biographical information about Rudolf Chadraba is introduced here only briefly, the text tends to point out Chadraba's transdisciplinary approach and his extensive conception of iconology. Moreover, it pays a lot of attention to influences of such personalities as Max Dvořák, Ladislav Cejp, Alois Dempf, Josef Strzygowski or Herbert Read, who represent important source of inspiration in Chadraba's scientific work. Theories and methods of these scholars in connection with Chadraba's interest in tradition and triumphalism in christian art initiated his pursuing parallels between european and oriental art, which were insufficiently employed in czech art...
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The Medals of the Emperor Francis Stephen of Lorraine.
Kleisner, Tomáš ; Konečný, Lubomír (advisor) ; Vlnas, Vít (referee) ; Vácha, Štěpán (referee)
THE WORK DEALS WITH MEDALS MADE FOR THE EMPEROR FRANCIS STEPHEN OF LORRAINE ((8th DECEMBER 1708 Nancy 18th AUGUST 1765 INNSBRUCK). THEY ARE NOT ONLY DESCRIBED BUT ALSO EXPLAINED AS TOOLS OF POLITICAL PROPAGANDA IN THE TIME WITHOUT TELEVISION AND RADIO BROADCASTING WHEN PAPERS WERE NOT PRINTED DAILY BUT ONCE A WEEK. THE DUKES OF LORRAINE HAD LONG MINTED THEIR OWN COINS. UNLIKE COINS, MEDALS DID NOT HAVE A SET VALUE OR EVEN A MONETARY FUNCTION, AND THEIR PRODUCTION WAS NOT RESERVED FOR THE GOVERNMENT. THE MEDALS SHOW PEOPLE AS THEY WISH TO BE PERCEIVED BY THE PUBLIC. INDIVIDUAL DETAILS ARE NOT FAITHFULL REPRESENTATIONS OF REALITY, THEY ARE SYMBOLS. THE INSCRIPTIONS SUMMARIZED A MAN'S SOCIAL STATUS AND TITLES. THE REVERSE SHOWS THE INTENTION OF THE ISSUER. USING EMBLEMS IT EITHER EXPRESSES GENERAL MORAL PRECEPTS OR CELEBRATES SUCCESSES ACHIEVED. THE IMPERIAL COURT GAVE OFFICIAL MEDALS A UNIFORM CHARACTER. THE VIENNA MINT HAD AN OFFICIAL PORTRAIT OBVERSE AT THEIR DISPOSAL, FOR WHICH THE ENGRAVER CREATED ORIGINAL REVERSES AS REQUESTED. ASIDE FROM THE COURT COMMISSIONS ARTISTS ALSO MADE MEDALS THEY SUPPOSED WOULD SELL WELL. MEDAL MAKERS SOLD THEIR WORK EITHER THEMSELVES OR IN BOOKSHOPS AND PRINTING HOUSES AND THE MEDALS WERE PART OF THE NEWS OF THE DAY. MOST BAROQUE MEDALS WERE COLLECTIVE WORKS. THE THEME, MOTTO,...
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The Medals of the Emperor Francis Stephen of Lorraine.
Kleisner, Tomáš ; Konečný, Lubomír (advisor)
THE WORK DEALS WITH MEDALS MADE FOR THE EMPEROR FRANCIS STEPHEN OF LORRAINE ((8th DECEMBER 1708 Nancy - 18th AUGUST 1765 INNSBRUCK). THEY ARE NOT ONLY DESCRIBED BUT ALSO EXPLAINED AS TOOLS OF POLITICAL PROPAGANDA IN THE TIME WITHOUT TELEVISION AND RADIO BROADCASTING WHEN PAPERS WERE NOT PRINTED DAILY BUT ONCE A WEEK. THE DUKES OF LORRAINE HAD LONG MINTED THEIR OWN COINS. UNLIKE COINS, MEDALS DID NOT HAVE A SET VALUE OR EVEN A MONETARY FUNCTION, AND THEIR PRODUCTION WAS NOT RESERVED FOR THE GOVERNMENT. THE MEDALS SHOW PEOPLE AS THEY WISH TO BE PERCEIVED BY THE PUBLIC. INDIVIDUAL DETAILS ARE NOT FAITHFULL REPRESENTATIONS OF REALITY, THEY ARE SYMBOLS. THE INSCRIPTIONS SUMMARIZED A MAN'S SOCIAL STATUS AND TITLES. THE REVERSE SHOWS THE INTENTION OF THE ISSUER. USING EMBLEMS IT EITHER EXPRESSES GENERAL MORAL PRECEPTS OR CELEBRATES SUCCESSES ACHIEVED. THE IMPERIAL COURT GAVE OFFICIAL MEDALS A UNIFORM CHARACTER. THE VIENNA MINT HAD AN OFFICIAL PORTRAIT OBVERSE AT THEIR DISPOSAL, FOR WHICH THE ENGRAVER CREATED ORIGINAL REVERSES AS REQUESTED. ASIDE FROM THE COURT COMMISSIONS ARTISTS ALSO MADE MEDALS THEY SUPPOSED WOULD SELL WELL. MEDAL MAKERS SOLD THEIR WORK EITHER THEMSELVES OR IN BOOKSHOPS AND PRINTING HOUSES AND THE MEDALS WERE PART OF THE NEWS OF THE DAY. MOST BAROQUE MEDALS WERE COLLECTIVE WORKS. THE...
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Baroque as a style in a concept of Vojtěch Birnbaum
Murár, Tomáš ; Konečný, Lubomír (advisor) ; Hlobil, Ivo (referee)
This thesis Baroque as a Style in the Concept of Vojtěch Birnbaum is dealing with the formulation of an important theoretical work Baroque Principle in History of Art (1924) of Czech art historian Vojtěch Birnbaum (1877-1934). In five chapters it deals with this exceptional work of Czech art history. After a brief introduction of Vojtěch Birnbaum it looks into the formulation of Baroque Principle in History of Art. It then sets this work into the historical context of Czech art history in the beginning of the 20th century. The thesis also sets this work into theoretical range of thinking about baroque from its origins up to this day. At last but not least it interprets Birnbaum's concept of baroque style in history of art.
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Modern History and Heritage Preservation in Central-East Europe
Krejčí, Marek ; Konečný, Lubomír (advisor) ; Hlobil, Ivo (referee) ; Biegel, Richard (referee)
Czech born art historian Max Dvořák is known as one of the leading persons of modern heritage protection in Central-East Europe. He formulated, similarly as his own teacher Alois Riegl, position in manner of science work typical for Vienna School of Art History. Main purpose and contribution of this work lies in a comparison of some parallels of phenomens including reception of his ideas in other states of Central-East Europe: former Czechoslovakia, Poland, and Hungary or Slovenia from the early organized conservation efforts in former Austrian Empire in 19th century to presence. On a theoretical level, in former Czechoslovakia, the Dvořák's modern conservation principles were accepted as universal. Unfortunately, in practice, this dominant discourse was changed by conformity in a conflict with political reality. The 1950's mean a stage of expansion of the state heritage protection, but a bitter price was paid by superordination of the political criteria to the professional ones. The moral ethos suffered also a lot of injuries. This resulted in preferring bureaucratic formalism over factual approaches, voluntarism, in compromise ability and in unwillingness to risk ones position for getting involved in fundamental questions of the preservations of monuments without any deeper interests in...
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Venetian influances on the Boccaccio Boccaccino's work
Jiráková, Hana ; Zlatohlávek, Martin (advisor) ; Konečný, Lubomír (referee)
(in English) The key theme of my thesis are venetian influences on the Boccaccio Boccaccino's work, who was one of the most important exponents of the Cremonese school of painters. Initially he worked in Genoa, Cremona and Milan and he was influenced by the painters as Leonardo, Bramantino and Boltraffio. In the years 1497-1500 Boccaccino is documented in Ferrara. In this period he executed so-called tondo Gronau, The Christ on the way to Calvary, The Virgin and Child, now in Boston, The Virgin and Child, now in Padua, The Adoration of the Shepherds, now in Naples and Dead Christ supported by an Angel. This works show the influence of Bramantino, umbrian school but also early influence of venetian art. In 1500 or 1501 he painted the altarpiece with Virgin and Child with Sts Peter, Michael, John the Baptist and John the Evangelist for the church of S. Giuliano in Venice. Models of this composition are the S. Cassiano altarpiece of Antonello da Messina and Virgin and Child with Saints which Giovanni Bellini executed for the church of S. Giobbe. Boccaccino's image in S.Giuliano is also inspired by Ercole de'Roberti and Lorenzo Costa. His colours show the influence of Giorgione. In 1506 is Boccaccino documented in Venice but also in Cremona. In the years 1500-1506 he stayed probably in Venice, but he...
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