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Bartholomeus Spranger in the collections in Czech Republic
Liška, Jan ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
Diploma work contains the description of the personality of the painter Bartholomeus Spranger and his work in the Czech collections. The portrait painter Bartholomeus Spranger lived from the year of 1546 to the year of 1611. He was born in Antwerpen and afterwards he was travelling around the Europe. At first he was going to the France ( Paris and Lyon ) and then he was going to the Italy ( Parma, Milano and Roma ). In the year 1575 he is called up to the Vienna and afterwards in the year 1580 to the Prague. The object of this work is an analyse of production in Czech collections and evaluate of their authorship. Futher on then the object of this work is exploration the sources of Documentary and also a critical evaluation of the used literature.
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Personal and family representation of Zacharias of Hradec in the Telc Chateau.
Salava, Jan ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
The castle in Telc is one of the few buildings in the Czech republic whose interiors from the second half of the 16th century have been preserved almost unaltered. Owner dominion Zacharias of Hradec had the castle enlarged and its interiors splendidly decorated. The decorations reflect the personal taste of the castle lord. The early designs were taken from a production of Nurnberg workshops. Later the Dutch influence prevailed. The inspiration by the Dutch engravers Cornelis Cort, Frans Huys and Swiss Rudolf Wyssenbach can be traced. Later, but not less important source of inspiration, is book Imagines gentis austriacae by the Italian painter and draughtsman Francesco Terzio. Various crypto-portraits, mainly in the Rooms that were opened to the public, may be attributed to personal representation as well. Another very specific form of representation are the bears who support the coat of arms of the castle lord and his first wife Kateřina of Wallenstain. The bears point out to a legend, according to which the castle lord's family descends from house Ursini, an ancient Italian family. The imperial chamber served for family representation as well. The chamber is decorated with portraits medallions of the roman kings and queens and several unidentifiable portraits. Although I was not able to prove...
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Hieronymus Bosch and Venice
Novotná, Věra ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
This (bachelor) thesis concerns the phenomenon of Hieronymus Bosh and its possible links to art and life of Venice and Veneto in the sixteen century. The title of it is: Hieronymus Bosch and Venice. It is trying to set up tangible hypothesis based on broad study on literature concerning Bosch, especially his paitings, accommodated now in Palazzo Ducale in Venice,. Further it concerns on the sixteen century Veneto and, specifically and most importantly the mighty and beautiful art of the Serenissima. It is describing eventually indicated links if in at least two sources. It finally synthetizes the literature and concludes: there are no such confirmed indications in serious literature. It is further trying to include the panels in venezian contemporary art and its development, and is looking for any descendents of the Master in Veneto and in wider Europe, too. It gathers all Venetian donors and supporters, who had connections or knowledge on Bosch, Mainly it outlines the collection of Bosch's paintings owned by Cardinal Grimani; in comparison, too, other European noted collections, and their results. This work reveals importance of the works of Bosch and interest among the historians of arts since modern age, including last issues, on the other hand, the lack of serious studies on this specific...
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The Renaissance Altar at Zbraslav. The Tree of Jesse - the Family Tree of Jesus Christ
Valentová, Klára ; Royt, Jan (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
Klara Valentova The Renaissance Altar in Zbraslav English abstract In the first half of 16. century an altar dedicated to St. James was ordered by the Cistercians for their monastery church of St. James.It was the first work of woodcarving in our country to show features of the Renaissance.This altar is very interesting both in terms of its realisation and of its iconographic meaning.It is made like a flat carving and the whole surface is covered with polychrome, gilding and silvering.It is 7 metres high and mobile.It consists of a predella and three altar extensions.The predella is crossed by an epistyle which supports the first altar extensions with four columns. On the two inner columns there is a square extension with another two columns and on it is the highest semi-circular extension.The main plan of this altar is a trunk, which shoots forth from the body of Jesse and grows up from below to the top, bearing the fruits of the line of David through the altar's architectural structure. On the altar there are eight Jewish kings, six from before the exile and two after the exile. The family tree culminates with Joseph and the Virgin and the whole altar with the throne of mercy, the four symbols of the evangelists, the child Jesus and the dove. In the centre of altar stands the Virgin in the guise of the...
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Renaissance Painted Epitaphs in Bohemia
Zborníková, Tereza ; Nespěšná Hamsíková, Magdaléna (advisor) ; Royt, Jan (referee)
Renaissance painted epitaphs in Bohemia This bachelors work deals about renaissance painted epitaphs in Bohemia. First part speaks about the view of death of the renaissance people. Attention is paid to the books of good death or Ars Moriendi, which the society of the early new age favored, and to the burial ceremonies of the new age aristocracy. The central part of the work is devoted to the renaissance painted epitaphs that are firstly generally characterized. The very first pages of the work speak about the early epitaphs like the Epitaph of Jan z Jeřeně, Votive painting from Pšovka near Mělník, Zlíchov epitaph and an important mural painting in the monasterial church of Fourteen Saints in Kadaň. The main part is centered to the renaissance painted epitaphs in Bohemia. There the work is divided to two type lines. In the first part are described the non-Catholic epitaphs that accent the historic (biblical) and narrative-moralizing substance. Good example may be the Žerotín epitaph and the collection of works from Jáchymov. Conversely, the Catholic works are centered to the strong Marian cult and devotion to the Saints that is visible mainly on the Epitaph of Karel Kokořovec from Kokořov. There the kneeling chevalier is portrayed in his armour adoring Virgin Mary and asking for the salvation of...
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Renaissance books decoration after the book-printing rise in Bohemia
Vlášková, Barbora ; Nespěšná Hamsíková, Magdaléna (advisor) ; Zlatohlávek, Martin (referee)
Renaissance books decoration after the book-printing rise in Bohemia Barbora Vlášková In my Bachelor Thesis, I am dealing with the book culture during the Renaissance Era in Bohemia. My review is focused to both the transformation and qualitative development of the book illustration approaches after the book-printing advent, and all this I am evidencing by the most important publications issued since the end of the 15th to the end of the 16th centuries. In my Bachelor Thesis, I firstly focus on the personality of Johannes Gensfleisch, the inventor of book-printing called Gutenberg, and the printing technique. In addition, I deal with the graphic techniques that are used in early press processes. However, my greatest attention here is devoted to the Prague press before 1500, where the greatest printing personalities are mentioned, who deserved the most in view of the development of the book culture. I am describing individual printing houses and their most interesting publications produced with a rich graphical decoration. Individual chapters are devoted in this section to prints of Jonathan of Vysoké Mýto, Severín-Kampa's printing house or to printer Beneda. Then I examine printing houses that developed their activity after the year 1500 and prints reaching higher qualitative values due to their woodprint...
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Allori's Portrait of Maria de Medici in Kunsthistorisches Museum in Vienna
Kunešová, Veronika ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
Allori's portrait of Maria de'Medici in Kunsthistorisches Muzeum in Vienna SUMMARY The main theme of my thesis is a portrait of Maria de'Medici(1540-1557),which is now part of collections in art gallery Kunsthistorisches Muzeum in Vinna.Maria de'Medici is portray here in approximately fifteen years old,at that time she had already been betrothed to Alfonso II. d'Este and she had become Duchess of Ferarra.She died when she was seventeen years old,cause of death was probably malaria.Her premature death is probably the reason why we have so little mentions about her life.In my thesis I did not just occupy by the portrait,but I tried to evaluace it in relation to other portraits of women from the circle of florentine Medici court which Alessandro Allori created and in connection with Maria's life and era in which she lived.I devoted special chapter to Allori's creation of miniature portraits,which were very popular in florentine court of Cosimo I. de'Medici. Alessandro Allori was one of the most important artists in Florence in second half of sixteen century.Since his youth,the Medici in Florence set him important contracts and in 1572 after his master's death he became the main court artist of Medici florentine court.Therefore I include the important milestones in life and work of Alessandro Allori in my...
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The Humanists' Portraits in Saxony of the First Half of the 16th Century
Chigladze, Kateřina ; Royt, Jan (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
Title: The humanists' portraits in Saxony of the first half of the 16th century In my work I tried to create an overview of the humanists' portraits in Saxony of the first half of the 16th century. I dedicated the bigger part of it to the court painters Albrecht Dürer, Hans Holbein, Lucas Cranach. Dürer's first portraits of Erasmus was charcoal-drawing, his second piece - a cupper engraving of Erasmus. Like Dürer Hans Holbein painted divers Erasmus portraits in different styles. Cranach painted the Cardinal Albrecht von Brandenburg not only within an open landscape, but also sitting on a desk the same way as Dürer did with his painting "Hieronymus im Gehäus". His first pictures Cranach responded to Dürer's cupper engraving of the cardinal A. von Brandenburg. All pictures have in common that they show different iconographic symbols. Other ones show the figure sitting at a table and writing letters, in the middle of a landscape or in a room. Key Words Portraitist - 16th century - Saxony - Lucas Cranach - humanists
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Stuccoed ornamentation by Santino Cereghetti at Svatá Hora
Hovorková, Eva ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
The bachelor work deals with the work of Santino Cereghetti (about 1640 - 1791), stucco worker of Italian origin, in Svatá Hora. The first part deals with the technique concerning the stuccoed decoration. The second part concerns the Italian artists who came from the area surrounded by the lakes at the today's border between Italy and Switzerland and who worked as architects and stucco workers in the whole Europe. The third part of the bachelor work follows the changes in the stuccoed decoration and its form in Bohemia in the baroque time. The core of the bachelor work is in the fourth part in which the stuccoed work by Santino Cereghetti in Svatá Hora is described. The determination of the stuccoed decoration made by Cereghetti results from the contracts which prove his work and from the similarity of elements present in his form of the stuccoed decoration. Cereghetti's stuccoed decoration is embedded in the early baroque architecture. Changes in his stucco work are obvious. His first stuccoed decoration is of early baroque character. Later his stuccoes have typical high baroque features: Bernini's influence is reflected especially in the figures because Cereghetti's figures are moving, a concrete moment is displayed from which the direction of the movement and its intention are to be...
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