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Carlo Valmadi (approx. 1550 - 1620) - a Renaissance Architect in Trutnov Area
Mach, Pavel ; Zlatohlávek, Martin (advisor) ; Kropáček, Jiří (referee)
Carlo Valmadi (about 1550 - 1620) - a Renaissance architect in Trutnov region Theme of this bachelor work is a summary of Carlo Valmadi's building activities. This Italien Renaissance architect worked on Valdštejn lordship - Hostinné steam - from 1572 to 1620. This bachelor work is devided into several chapters. The first chapter describes a coming of Northern Italien builders to Bohemia, in the concrete to Prague. It speaks also about situation in Italy, which starved inhabitants of Northern Italien region into migration to Middle Europe. Next chapter discourses Carlo Valmadi's life. His life is still very unclear and we don't have enough information about him. The second part of this chapter describes Valmadi's coming to Bohemia. Another part speaks about building conditions in Renaissance Prague, especially about Rožmberk and Lobkovic palaces. These two remarkable buildings are connected mainly with Italien builders. And also Carlo Valmadi probably joined in building of Lobkovic palace. Then the chapter discusses coming of this builder to Hostinné region. He came there during rule of Jiří Valdštejn. Jiří Valdštejn's wife Marie Magdalena Lobkovic probably knew Walmadi's work and it's possible, that she invited Valmadi into this region. Marie Magdalena's father was a builder of Lobkovic palace...
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"The Grünes Gewölbe -between Art Repository and Baroque Museum. The Collection's History up to 1733."
Hlušičková, Pavla ; Zlatohlávek, Martin (advisor) ; Otavský, Karel (referee)
121 Anglická anotace The Green Vault is among Europe's most exquisite and most famous treasure chambers. It was established as a baroque museum by the Saxon elector and Polish king August the Strong (1670-1733) between 1723 and 1730. During that period, the Wettin dynasty's sumptuous collection of Renaissance and Baroque treasures was placed on view for the first time in eight presentation rooms of the Royal Palace. The inventories of 1733 have survived and form the basis for the present reinstallation of the treasure chamber. In those documents, this group of rooms is referred to as the "Secret Repository of the Green Vault of Dresden. The malachite-green hue of various architectural elements in the rooms of the secret repository probably led to their colloquial designation as the "Green Vault" from as early as 1572. Between 1723 and 1730 August the Strong realized his vision of a Baroque synthesis of the arts as an expression of wealth and absolutist power. In harmony with the festive architecture, 3,000 artworks were presented standing freely against a background of richly embellished and mirrored display walls and on ornamental tables. In this incomparable Baroque setting, the individual artwork receded behind the overflowing abundance of the whole. The rooms themselves have their origins in palace...
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German and Austrian paintings of the 17th century in the National Gallery in Prague
Jandlová Sošková, Martina ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee) ; Vlnas, Vít (referee)
The collection of German and Austrian painting of the 17th and 18th centuries includes over 600 paintings. Out of this number, seventeenth-century painting totals 190 works reflecting the various stages of the development of painting in Austrian and German lands. At the same time, this ensemble mirrors the development of collectorship from the 17th to the 20th centuries. The aim of the textual part of the presented catalogue is to briefly define the turning points in the development of art in Germany and Austria. The catalogue does not want to summarize the history of German art, it rather focuses on some tendencies that are deemed important in view of the artistic contribution of selected painters in the context of the National Gallery in Prague collection. One of the tasks of the catalogue was to revise the circle of works traditionally attributed to 17th-century German and Austrian schools and delimit the group of the paintings included in the catalogue. It is thus divided into three sections, namely: "Paintings by Known Artists", "Paintings by Anonymous Artists", and "Supplements". The last named part contains paintings formerly considered works of German painters. Those are paintings that with all probability came into existence within the frame of other schools, and also copies after models from other...
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The Artistic Work of the Süssner Family in Germany and Bohemia in the Second Half of 17th Century
Sehnal, Jiří ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
This thesis outlines the artistic work ofthe German extended Stissner fami1y, which originated from Nortwest Bohemia. In the work we find (as many as) eight members ofthe Stissner family, as many as five ofwhom were artistically active. The most significant figures within this family are Jeremias Stissner (1653-1690), the Brandenburg (Saxon) court sculptor from the West Bohemian town ofOstrov, who was active in Dresden and Berlin, and his brother Conrad Max Stissner (1665-after 1696). These artist workedpredominantly within a German environment and their artistic contribution to the Czech scene was a "mere" import (six sculptures for the knights' church of St. Francis /kostel sv. Františka! in Prague's Old Town in 1689 and 1691), assumed to be from the Dresden studio. The greater part ofthis thesis is devoted to both brothers, in which the more significant Jeremias Stissner is to a certain extent ofregional importace. Unfortunately, due to the fragmented nature ofthe records, information about these attists is incomplete. Their work reflects both the classicist Flemish school, as well as radical Roman baroque, which was close to the works of Giovanni Lorenzo Bemini or Alessandro AIgardi. The work of the Flemish school is connected to the master Johann Heinrich senior, ofwhom Jeremias Stissner was a...
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Baroque Monuments in Lysá nad Labem with a View to Architecture and Sculpture
Fojtů, Petra ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
Baroque monuments in Lysá nad Labem The final thesis deals with the theme Baroque monuments in Lysá nad Labem. This town is called "baroque pearl of Polabí" because there is the unique complex of baroque monuments in this town. We deal with the largest monuments: castle, garden by the castle with the sculptural decoration, building of the former monastýry and church of st. John Baptist. Mostly we resolve their an architecture and a sculpture less a painting. This monuments have a complicated history which we deal with too. The greatest bloom of the town and monuments was in a time of earl František Antonín Špork who was a maecenas of arts and rebuilt or built some part of these monuments. His time was a very great for the Lysá nad Labem. Lysá nad Labem Earl František Antonín Špork Baroque sculpture Matyáš Bernard Braun Baroque architecture Anselmo Lurago
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Painter František Jakub Prokyš and his sacral works
Velflová, Lenka ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
Painter František Jakub Prokyš and his sacral works There were two historians of art who were profoundly interested in painter František Jakub Prokyš. The first one František Matouš prepared an intensive study before World War II, but he did not finish it. Pavel Zadražil was the second and he wrote his diploma about this subject in 1985. Prokyš is mentioned in some other books as well. We hardly know anything about František Jakub Prokyš's childhood and his teenage. He was probably born in the town of Slaný in 1713. The first proper information about him is from Borovany, where he worked in 1746 for the Augustinian's monastery. Prokyš painted frescos in the church and in the new built chapel and made some pendent pictures. In the year 1748 Prokyš worked for the Augustinian's monastery in Třeboň and in a short time he moved from the north Bohemia to Třeboň. Living in Třeboň was a good time for him, because he got married and two of his children were born there. He began to work for local princely family of Schwarzenberg in Český Krumlov. And in 1760 he was solvent enough to buy a house on the České Budějovice's square. His best work was done during the 60's and 70's. In České Budějovice he decorated walls and vault in the Holy Trinity's church. For the Dominicans he painted the picture of Our Lady of the...
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Italian renaissance drawings of 1500-1520 in the national collections of the bohemian crown lands
Benčová, Monika ; Zlatohlávek, Martin (advisor) ; Kropáček, Jiří (referee)
The work focuses on "Italian Renaissance Drawings from Years 1500-1520 in the Public Czech Collections". It describes the situation at the beginning of 16th century, including first two decades of the time. During those years the position of particular towns changed especially due to political situation. For a short time, Rome came on the top, too. It was under the pope Julius II., who tried to form and collect a unique set of artistic works. This ambition requested the presence of many significant artists. There are 16 drawings by 13 artists from that period in the Czech collection. These artists belonged to the different artistic schools: Filippino Lippi and Andrea del Sarto are from the Florentine school; Boccaccio Boccaccino, Francesco Casella and Tommaso Aleni from Cremona; Giovanni Bellini and Sebastian del Piombo from Venice; Amico Aspertini, Marcantio Raimondi and an anonymous artist came from the North Italy (Bologna); the last artists came from Rome: Raffael and Baldassare Peruzzi. In the end, two drawings of female figure (never published before) by an unknown author (called drawer of the first half of 16th century) are described. The main concern is set to a study of drawings (for a complete review it is supplied with a short biography of each artist), which are sorted according artistic...
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Sgraffito ornamentation of the house U Minuty in the oldtown square
Bulínová, Kristýna ; Zlatohlávek, Martin (advisor) ; Kropáček, Jiří (referee)
Sgraffito ornamentation of the house U Minuty (By the Minute) in the Old Town Square It is sure, that at the house U Minuty we can see two kinds of sgraffitos and therefore the decoration was done in two phases indeed. The sgraffitos are sorted out in the firs two floors and into the third floor with the lunet ledge. We know that the sgraffitos of the third floor were not completed sooner than 1576. In this year the wood-cuts were printed by Jost Amman in Norimberk. It seems that the sgraffitos at the first two floors are younger. 1610 is the important year, when the house is sold for marked higher price then it had been bought in 1601. The creation of both phases of ornamentation can be probably dated between 1576-1610, however, there is also the possibility that the sgraffitos can be dated also later on. Reffering to the iconographic study, we can see in the first two levels scenes from Old Testament, New Testament, stories from ancient mythology, one scene is based on telling from collection of Gesta Romanorum and Allegoric persons of Moralities. All scenes can be read as guides to moralities or to vices. The lunet ledge of the third floor is decorated by medallions of French kings, started by Philip V. up to Henry II.. As was already said these decorations are based on wood-cuts of Jost Amman...
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Portrait of Eleonora di Toledo in the Collection of the National Gallery in Prague
Táborská, Eva ; Zlatohlávek, Martin (advisor) ; Přibyl, Petr (referee)
Portrait of Eleonora di Toledo in the collection of National Gallery in Prague The main theme of my thesis is the study of one of the finest renaissance paintings in the collection of The National Gallery in Prague - Bronzino's Portrait of Eleonora di Toledo. Beside the main theme, the thesis also focuses on painting's context such as family relationship in which Eleonora had lived including a brief outline of general conditions in Florence around 1550. The thesis is set together on basis of secondary literature, which is noticed in the quotes. There is not a lot of information remained about Eleonora's own life, however we are able to develop a concrete idea about her personal life - a young lady from a distinguished Spanish family married the Duke of the one of the most significant Italian city states - Florence. She became a wife of Cosimo di Medici, she was a fine woman and a carefull mother, but also a lovely lady as shown in the portrait. When Agnolo Bronzino came up to produce Eleonora's portrait, he had been already treated as an accounted and acclaimed artist. Also Giorgio Vasari depicted his talent with honourable mention in his works. Particularly in Florence, he started his career of successful Medici portrait painter. As a turning point of his works, it is considered his painting 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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