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Martin Anton Lublinský (1636-1690) as a designer of prints: views into baroque graphics of the latter half of the 17th century
Zelenková, Petra ; Horyna, Martin (advisor) ; Preiss, Pavel (referee) ; Royt, Jan (referee)
This work deals with one of the most important central European print designers of the latter half of the 17th century, the painter and draftsman Martin Anton Lublinský (1636- 1690). A native Silesian, who settled in Olomouc, where in 1664 he entered a cloister of the Augustinian canons, and then devoted the rest of his life to the creation of art. Lublinský has been at the forefront of Bohemian art history research in the last decade. This was due to several reasons. One of them is Lublinsky's scattered and in some ways founding role in the baroque painting and drawing of 17th century Moravia. Another is an increasing number of Lublinsky's known art realizations. Especially engaging is the profusion of iconography in Lublinsky's works. The main aim of this work was twofold, to assemble a comprehensive catalogue of all known prints drafted by Lublinsky, including related drawings and drafts, and secondly, to provide a thorough interpretation of these prints. Each catalogue note offers a detailed iconographic analysis; also provided are any known commission details and specifics relative to the historical and art historian context. The catalogue's main thrust is the thesis prints drafted by Lublinsky. The ambitiousness of composition and the sheer amount of these prints represent the apex of Lublinsky's...
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Iconographic Programme of the St. Carolus Borromeus Church in Vienna
Pučalík, Marek ; Royt, Jan (advisor) ; Preiss, Pavel (referee)
Iconographic programme of cathedral St. Carolus Boromaeus in Vienna The Diploma Thesis deals with the iconographic programme of cathedral St. Carolus Boromaeus in Vienna (known as Karlskirche). The author begins with the outline of the curriculum vitae of Cardinal Charles, the Archbishop of Milan, and the life of the Emperor Charles VI. It was Charles VI of Hapsburg (anglicized Habsburg) who had the monumental votive cathedral built in the capital of the monarchy as thanksgiving for the end of plague. The corner stone was laid in 1713 and in 1737 only the construction was built according to the plans Johann Bernhard Fischer of Erlach. In 1733 brought to the church were the Knights of the Cross with Red Star, Czech Order from Prague. Their task there was to conduct spiritual administration for all time and found the hospital which they did immediately in 1739. The task of the writer of the Diploma Thesis was to elaborate the history and, mainly, the iconographic programme of the exterior and, first of all, of the interior of the House of God. He outlined there also the potential cooperation of the Knights' Fathers on the final programme of decoration. The work set as its task the extension of knowledge of that significant Baroque jewel of European architecture in the direction of revealing new facts found in...
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Martin Anton Lublinský (1636-1690) as a designer of prints. Views into baroque graphics of the latter half of the 17th century
Zelenková, Petra ; Horyna, Martin (advisor) ; Preiss, Pavel (referee) ; Royt, Jan (referee)
This work deals with one of the most important central European print designers of the latter half of the 17th century, the painter and draftsman Martin Anton Lublinský (1636- 1690). A native Silesian, who settled in Olomouc, where in 1664 he entered a cloister of the Augustinian canons, and then devoted the rest of his life to the creation of art. Lublinský has been at the forefront of Bohemian art history research in the last decade. This was due to several reasons. One of them is Lublinsky's scattered and in some ways founding role in the baroque painting and drawing of 17th century Moravia. Another is an increasing number of Lublinsky's known art realizations. Especially engaging is the profusion of iconography in Lublinsky's works. The main aim of this work was twofold, to assemble a comprehensive catalogue of all known prints drafted by Lublinsky, including related drawings and drafts, and secondly, to provide a thorough interpretation of these prints. Each catalogue note offers a detailed iconographic analysis; also provided are any known commission details and specifics relative to the historical and art historian context. The catalogue's main thrust is the thesis prints drafted by Lublinsky. The ambitiousness of composition and the sheer amount of these prints represent the apex of Lublinsky's...
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Baroque architect Václav Špaček (1689-1751)
Macek, Petr ; Horyna, Martin (advisor) ; Preiss, Pavel (referee) ; Kroupa, Jiří (referee)
The first half of the eighteenth century found the Czech architecture at one of its heights. It is therefore surprising that there are many buildings of unquestionable qualities which authorship was never definitely established. One particular group of these was at the centre of this thesis' attention. The architects mentioned in connection with them included over the times the likes of Oktavian Broggio, Jan Blažej Santini-Aichel, Kylián Ignác Dientzenhofer and other less significant authors. The records of the Prague based guild of architects mention a well established architect named Ferdinand Špaček and list a number of buildings. However the records are erratic and do not provide a reliable source of information so the role of this supposedly prominent artist remained unclear for a long time. Now a definitive list of eighty buildings resulted from a long and extensive research. These show Václav Špaček (in the records mistakenly named 'Ferdinand') to be an important and influential artist of his time. Václav Špaček, son of an established builder, was born in Prague in the year 1689. His education remains unclear but he was probably an apprentice to, at that time the most successful, architect František Maxmilián Kaňka. Most likely it was here where he met the most original of the architects working in...
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Johann Hiebel, the painter of frescoes
Fronek, Jiří ; Horyna, Martin (advisor) ; Preiss, Pavel (referee) ; Mádl, Martin (referee)
The painter Johann Hiebel (1679/1681 - 1755), who came from Schwaben (South Germany), was one of the many foreign artists who became residents in Bohemia and significantly influenced the Bohemian baroque art. He arrived in Prague at the end of the year 1707 and his arrival was very seasonable. He has acquired a reputation as a painter of frescoes educated by the famous painter Andrea Pozzo. In a short period of time he started working on projects organized by the most important investors in Bohemia, especially by the Societas Jesu of the Bohemian province, where he realized his most significant frescoes in their churches, chaples and libraries, employing his best abilities. Johann Hiebel established the long-term, close relations with the Jesuits and gained fame by realizing his first important and successful contract in the St.Climent's church in Prague (1714-1715). Consequently he made for them other works in fresco that are counted as his masterpieces - the frescoes in one of the order's churches SJ in Klatovy in 1716, then again in the Klementinum in Prague (Oratorium Congregationis Latinae Maioris 1723 and the Bibliotheca Maior 1724), and finally in Świdnica (Schweidnitz) in the Silesia - the chapel Beatissimea Virgins in Sole of the parish church JS (1726). Other focal point of Hiebel's creation...
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Knights of the cross with the red star and iconographic programme of the St. Carolus Boromaeus cathedral in Vienna
Pučalík, Marek ; Preiss, Pavel (advisor) ; Mádl, Martin (referee) ; Preiss, Pavel (referee)
The Rigorous Thesis deals with the iconographic programme of the St. Carolus Boromaeus cathedral in Vienna (known as Karlskirche). The author begins with the outline of the curriculum vitae of Cardinal Charles, the Archbishop of Milan, and the life of the Emperor Charles VI. It was Charles VI of Hapsburg (anglicized Habsburg) who had the monumental votive cathedral built in the capital of the monarchy as thanksgiving for the end of plague. The corner stone was laid in 1713 and in 1737 only the construction was built according to the plans Johann Bernhard Fischer of Erlach. In 1733 brought to the church were the Knights of the Cross with Red Star, Czech Order from Prague. Their task there was to conduct spiritual administration for all time and found the hospital which they did immediately in 1739. The task of the writer of the Rigorous Thesis was to elaborate the history and, mainly, the iconographic programme of the exterior and, first of all, of the interior of the House of God. He outlined there also the potential cooperation of the Knights' Fathers on the final programme of decoration. The work set as its task the extension of knowledge of that significant Baroque jewel of European architecture in the direction of revealing new facts found in the archives. It is interesting to observe the personality of...
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