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Landscape in Roelant Savery's work and his significance for Czech painting
Švrčinová, Šárka ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
Anotattion: Landscape in Roelant Savery's work and his significance for czech painting Roelant Savery is one of the most famous landscape painters, who came from Flanders where was experienced in Paul Bril's and above all in Brughels's work and his brother Jakob. Rudolf II. the Emperor was deeply interested in Savery's style of painting, for that reason he deceded to invite him to Prague, where he appeared in 1604 and lived there to draw and paint landscapes behind Prague usually, where found out wild nature, that influenced the theme of his works. He also attended to picturesque but veritable Prague rutes and houses. Thanks to him were made several drawings with waterfalls, rocks and virgin Alps. During early Baroque period landscape painting wasn't so usual, because requirements changed and landscape had to recede into the background. There prevail figural motive, both We can find in the work of Matyáš Mayer, Jan Jiří Hering, Jan Jiří Heinsch. Realism is also obvious for Karel Škréta. Famous was also Václav Hollar thanks to his cityscapes. Michal Leopold Willmann and his mythic figure Orfeus inspired Václav Vavřinec Reiner also. In 18. century Hartmanns' family works was making up landscapes in historical style, similar to Jan Brueghel and Roelant Savery mainly. We can admire animals by Wenzel Peter, who...
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The theme of moralities and depravities in reneissance decoration of sgraffitos in the Czech and Moravia architecture
Bulínová, Kristýna ; Nespěšná Hamsíková, Magdaléna (advisor) ; Zlatohlávek, Martin (referee)
THE THEME OF MORALITIES AND DEPRAVITIES IN RENAISSANCE DECORATION OF SGRAFFITOS IN THE CZECH AND MORAVIA ARCHITECTURE The thesis is focused on decoration of fronts in the renaissance architecture, there is special consideration to the theme of moralities and depravities and their iconography. Firstly, the theme is in general. There is decribed the sgraffitos technique and it's previous phases in Italy. Hereinafter, there is charakterised the slow perforation to our teritory with the oldest examples and later on with other pieces, and also the splitting of sgraffitos in two units. Thereafter, there is mentioned the sense of humane thinking in previous period, which came to our teritory, and extended idea of the influance of humane literature in our country over the morality tendency in the society. Those chapters are very important base to understand the meaning of popularity of the theme of moralities and depravities in illustrations at that time. Furthermore, there is underlined the signification of the graphic masters for creating sgraffitos decoration of fronts, there are also mentioned the most used themes, that were taken over the sgraffitos later on. After that follows the elaboration about iconography, mainly personification of moralities and depravities from their first illustration till the period...
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Life and Work of High Baroque sculptors and Heermann's and Süssner's from the 17th to 18th century German and Czech environment
Sehnal, Jiří ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
This thesis outlines the artistic work of the German extended Süssner family, which originated from Northwest Bohemia, and the artistic work of the German Heermann family, which originated from Saxony. The most significant figures within these families are Jeremias Süssner (1653-1690), the Brandenburg and Saxon court sculptor (originally from the West Bohemian city Ostrov, active in Dresden and Berlin), his brother Conrad Max Süssner (1655/60-after 1696), Johann Georg Heermann (1645/46-after 1701), the Saxon court sculptor, who was active in Dresden, Praha and Görlitz, and his nephew Paul Heermann (1672/73-1732), the Saxon court sculptor too. Their work reflects both the classicist Flemish school, as well as radical Roman baroque, which was close to the works of Giovanni Lorenzo Bernini or Alessandro Algardi. The work of the Flemish school is connected to the master Johann Heinrich Böhm senior, whose pupils were Johann Georg Heermann, Jeremias Süssner and Conrad Max Süssner. Life and Work of High Baroque sculptors and Heermann's Süssner's in the 17th to 18 century German and Czech environment
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Influence of Baroque in the Provost's Church of the Nativity of Our Lady in Roudnice nad Labem
Zentner, Jakub Václav ; Zlatohlávek, Martin (advisor) ; Horyna, Mojmír (referee)
This thesis speaks about the progression of building of the church of the Nativity of Our Lady at the former Augustinian cloister in Roudnice nad Labem in the context of the regional history from the middle ages to the baroque-gothic rebuilding of this church between the years 1725-1733. The work also deals with the influence of the baroque on the adaptation of the church's interior during the 18th century. The study resolves the question of the authorship of the baroque-gothic renovation, the costs and other historical and cultural aspects of the baroque-gothic rebuilding. Keywords: Roudnice nad Labem - Augustinian cloister - baroque-gothic architecture - Oktavián Broggio - František Maxmilián Kaňka.
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German painting 1540-1650. Art of painting in German speaking countries between renaissance and baroque
Volrábová, Alena ; Zlatohlávek, Martin (referee) ; Konečný, Lubomír (referee)
Badatel, který se ujme svého odborného úkolu, nezřídka zjistí, jak bylo původní zadání ošidné. Dvojnásob to platí při práci o německém umění z období odeznívající renesance a přicházejícího uměleckého proudu směřujícího k baroku, zvaného manýrismus. Pokud chceme hovořit o "německé kresbě" té doby, nebo lépe řečeno o kresbě v německy mluvících zemích kolem roku 1600, vyvstane problém, kdo toto "německé umění" vlastně reprezentuje. Časté putování umělců a hostování mnoha Nizozemců nebo Italů ve významných uměleckých centrech tehdejší Evropy s sebou nese při vymezování daného okruhu jistou potíž. Kolem roku 1500 umělci svá působiště měnili méně a dá se říci, že se přidržovali míst svého původu. Okolo roku 1600 ale přicházeli lidé ze vzdálenějších míst Evropy. Hovoříme-li tedy o "německé kresbě" nebo lépe o "kresbě v Německu" kolem roku 1600, nemůžeme se držet národnostního hlediska v dnešním slova smyslu. Heinrich Geissler do svého obsáhlého katalogu z roku 1979 o německých kreslířích zahrnul všechny významné umělce, kteří v té době v Německu působili, takže zde nalezneme nejen široký okruh německých jmen, ale i mnohé světoběžníky od Jorise Hoefnagela, přes Antonia Maria Vianiho až po Václava Hollara.1 Pochopitelně každý z nich ve střední Evropě zanechal svou stopu a naopak si odtud odnesl své, přesto je...
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