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National Repository of Grey Literature 2 records found  Search took 0.00 seconds. 
Naked perspectives
 Škodová, Radka ; Spáčilová Blažková, Kateřina (referee) ; Rathouský, Luděk (advisor)
Depiction of the female body, including physical and psychological aspects that penetrate the intimate sphere. The physical and psychological struggles associated with the everyday realities of women's lives. The depictions of women within this project highlight their strength, but also reflect a personal depth of expression, adding a new dimension to the theme of femininity in art. Although the figures are perceived as universal beings, they gradually take on the form of the female students themselves as a result of the transmission of their own thought patterns. In the contrast between the personal and the universal, they create works that reveal a new perspective on the female nude, moving away from the historical narrative created by the male gaze. A theoretical treatment of the vast subject of the female nude in art from multiple perspectives and an attempt to link theoretical knowledge with practical representation in painting.
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The Female Nude in Paintings at the Beginning of the Modern Age in Over-Alps
 KLIMTOVÁ, Eva
This bachelor work The Female Nude in Paintings at the Beginning of the Modern Age in Over - Alps deals with the artistic canon portrayal of women from antiquity to the Baroque. I focus on paintings of mannerist painter Hans von Aachen, who with his works brings significant innovation against the established acts iconography. My intention is to refute the traditional perception of female act models as prostitutes and point out to the fact that in this genre, there are also paints of women from higher social strata. The main emphasis is placed on the identification of the persons portrayed, the artist's family members, primarily for the wife of H. von Aachen, Regina di Lasso. Pictures of the acts are divided by themes into two sections. The first category includes genre paintings of private character. Mythologies and allegories intended for the Emperor Rudolf II. Hasburg are listed in the second part. The aim of this work is to explain the display of acts of married women - wives of artists - in the Mannerist art who with their presence in the paintings and their undisguised identity openly contrast with the ideal of Christian exemplary wife, as it was formulated by the contemporary moral literature.
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