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Renaissance Appearance of Melnik Castle
Čermáková, Lucie ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
Renaissance appearance of Mělník chateau Bakalářská práce - Lucie Čermáková The appearance of Mělník chateau has been developed for centuries. We cannot tell it is a typical Renaissance building structure but the most significant reconstruction took place in a Renaissance era. At that time, its horizontal projection was L-shaped. A person in possession, at those times, Zdislav Berka z Dubé had merit in most extensive treatments of the chateau in mid-1600. He invested considerable amount of money into building-up of the northern arcade wing-wall and a sgraffito decoration of the courtyard. Building treatments got under way in 1542 when Berka acquired the chateau and its finalization is assumed to have come between 1554-1555, also according to extant bills and engraven style found in sgraffito decoration. Sgraffito decoration came into existence in connection with a new build-up of the northern wing-wall and a staircase tower, and it also dates back to the same period. Mělník's sgraffito was considered as the oldest dated sgraffito decoration for a long time. However, we know about older examples of dated sgraffitos nowadays which cannot change the fact that Mělník's arcades, including its decoration, still belong to one of the oldest. The structure of Mělník's arcades are not to be found anywhere...
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Perugino and Cremona
Jiráková, Hana ; Konečný, Lubomír (referee) ; Zlatohlávek, Martin (advisor)
A key theme of this study is the painting with Madonna and Saints in the church of Sant'Agostino in Cremona by Pietro Perugino in the context of his work in the North Italy. After characterization of Perugino's art ensues description of his North Italian commissions and of his painting in Cremona. In the next chapters I define the development of art in Cremona and I investigate the influence of this painting and of the Perugino's style on the art in Cremona in the period around the turn of 15th and 16th century. A target is to detect these connections in works of artists Boccaccio Boccaccino, Tommaso Aleni, Galeazzo Campi, Francesco Casella and Marco Marziale, who worked in this time in Cremona.
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Chateau Kratochvíle - stucco and painting decorations
Rabenhauptová, Hana ; Zlatohlávek, Martin (advisor) ; Nespěšná Hamsíková, Magdaléna (referee)
Hana Rabenhauptová - Chateau Kratochvíle - stucco and painting decoration The bachelor thesis "Chateau Kratochvíle - stucco and painting decoration" deals with the actual state of the stucco relief decorations, mural and ceiling paintings and paintings in exteriors. The author describes the individual scenes as they can be seen today including individual parts of these scenes and the figures painted as well as what has been preserved only as hardly identifiable fragments. As for the most relief decorations and paintings, the author found in the literature their iconography and mentioned also several significant models according to which the decoration in Kratochvíle was made. The renovation works held in Kratochvíle which influenced the actual look of Kratochvíle were also the issue of this thesis. During last thirty years, significant works have been held in Kratochvíle which gave the Chateau its original splendour. The renovation works were undertaken in a highly sensitive and regardful way in order to protect the original stucco and painting decoration. renaissance chateau Kratochvíle painting stucco decoration restoration
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Painter Frantisek Jakub Prokys
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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Giovanni Pietro Tencalla - The Church of St Anne and St James Major in Stara Voda in Libava
Lepíková, Dagmar ; Zlatohlávek, Martin (advisor) ; Horyna, Mojmír (referee)
Giovanni Pietro Tencalla -The Church of St Anne and St James Major in Stara Voda in Libava This diploma thesis deals with the construction development of the Church of St Anne and St James Major in Stara Voda in Libava from the original project made by G. P. Tencalla to the present time. This church was built on the oldest pilgrimage place of St Anne in Bohemia under the episcopal rule of Charles II. of Liechtenstein-Castelcorn, Bishop of Olomouc. It was permanently damaged during the second post-war period in the 20th century. The cause of this situation was the establishment of the Military Training Space in Libava. The church started to dilapidate and the pilgrimages were stopped. There was the damage on purpose to this church and its existence was even threatened. The effort of the public authorities to destroy it or to save it on the contrary is described in detail. The last chapters of the diploma thesis describe the restoration of the church after 1989 and include thoughts of its future use and the way of it is repaired. Keywords: Church of St Anne and St James Major in Stara Voda Giovanni Pietro Tencalla Charles II. of Liechtenstein-Castelcorn, Bishop of Olomouc Destruction Restoration
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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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