Academic literature on the topic 'Bohemia Painting'
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Journal articles on the topic "Bohemia Painting"
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Farkaš, Patrik, and Eliška Zlatohlávková. "Georg Bernard Verbeeck a jeho Vanitas ze šternberské sbírky na zámku v Častolovicích." Opuscula historiae artium, no. 1 (2023): 76–87. http://dx.doi.org/10.5817/oha2023-1-5.
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The article deals with the cabinet picture Vanitas from the Sternberg collection, exhibited at the château in Častolovice in eastern Bohemia. This still life on copper plate was painted by Georg Bernard Verbeeck (†1673), a portraitist from the German town of Emmerich near the Dutch border. He moved to Prague with his nephew Jodokus Justus (1646–1700) and worked for the Lobkowitz family in Roudnice nad Labem and the Kolowrat family in Rychnov nad Kněžnou. The only painting attributed to Verbeeck that is not a portrait is an exploratory still life that has survived in relatively good condition. The work is signed and partially dated. The painting was in the possession of the Sternbergs at least from the time of Adolf Wratislaw of Sternberg (1627?–1703) and in the family asset inventories in Zásmuky and Častolovice it was designated Ein Todtenkopf The painting demonstrates exceptional realism and attention to detail. It combines many artistic symbols typical of the 17th century, expressing the themes of the finiteness of life and profligacy. This study, which is an addendum to our knowledge of the work of the almost unknown author of this painting, may help art historians in the future in the attribution of other paintings by Verbeeck, or more exactly, his circle.
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Pacholski, Jan. "„Nasze śląskie Alpy”, a skały „jak ruiny Palmiry czy Persepolis” — albo różne optyki karkonoskich podróżopisarzy." Góry, Literatura, Kultura 13 (September 22, 2020): 343–55. http://dx.doi.org/10.19195/2084-4107.13.27.
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The present article focuses on eighteenth-century German-language descriptions of the Giant Mountains and Izera Mountains included in selected eighteenth-century accounts of trips to the high est mountains of Silesia and Bohemia by travellers from various German-speaking countries. The analysed fragments refer primarily to sites on the Silesian side of these mountain ranges, although the Bohemian part is mentioned in one case. Differing in terms of their countries of origin, the authors of these works — who included Silesians, a German from Bohemia as well as a man from Berlin and a man from Saxony — liked to refer in their accounts to well-known Swiss models, primarily to the poetic works of Albrecht von Haller and scholarly works of Johann Jakob Scheuchzer, comparing the Giant Mountains to the Alps and using in their descriptions of nature metaphors inspired by the famous Swiss authors, whose oeuvres were quite popular across the entire civilised Europe. The present article provides a detailed analysis of the descriptions of the various natural sites and phenomena, in which the authors use the vocabulary of the history of art and culture, comparing, for example, the view of valleys seen from a mountain top to miniature painting, a waterfall to a performance and music, and rock formations to architectural objects and ancient ruins.
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Frederick, Michele L. "Affectionate sister, most faithful friend." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 70, no. 1 (November 16, 2020): 160–91. http://dx.doi.org/10.1163/22145966-07001008.
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In May of 1630, the exiled Queen of Bohemia, Elizabeth Stuart, sent a large painting to her brother, King Charles I of England. The work, a now-lost family portrait known since 1966 as Seladon and Astraea, was completed by the Dutch artist Gerrit van Honthorst. That this painting took Honoré d’Urfé’s pastoral romance L’Astrée as its source material has been proposed since the 1960s. This article argues for L’Astrée as an important part of Elizabeth and her husband’s self-identity in exile, and for Honthorst’s painting as a vital and overlooked token of friendship between both Elizabeth and her husband and Elizabeth and her brother. Drawing on early modern and ancient theorizations of friendship, kinship, and marriage as well as Elizabeth, Charles, and her husband Frederick’s letters, this article places Honthorst’s painting at the center of a complex network of reciprocal affection, political machinations, and court culture in the seventeenth century.
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L’occaso, Stefano. "Thomas De Coloswar. On The Esztergom Altarpiece and An Addition to His Oeuvre." Acta Historiae Artium 61, no. 1 (December 18, 2020): 55–67. http://dx.doi.org/10.1556/170.2020.00003.
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AbstractThe large triptych in the Esztergom Christian Museum, painted in 1427 by Thomas de Coloswar, is a work of art typical of the International Gothic style, and includes formal elements that can be related to the schools of Bohemia, or better to the school of Nuremberg. The painting is analysed from an iconographic point of view, pointing out the most peculiar features, that may lead to an interpretation of the altarpiece also as an affirmation of the Catholic Eucharist doctrine. A new panel painting is added here to Thomas’ catalogue: a Vir Dolorum with Saint Francis receiving the stigmata in Cologne (Wallraf-Richartz-Museum), formerly attributed to the Master of the Lindau Lamentation (Meister der Lindauer Beweinung).
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Janišová, Jana, and Dalibor Janiš. "K heraldické výzdobě kaple sv. Barbory na hradě Grabštejně." Fontes Nissae 24, no. 1 (2023): 52–59. http://dx.doi.org/10.15240/tul/007/2023-1-004.
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The study is devoted to the heraldic monuments preserved in the Renaissance chapel of St. Barbara at the Grabštejn / Grafenstein Castle in northern Bohemia. The chapel, including the painting, was created during the rebuilding of the castle under Jiří Mehl of Střelice / Georg Mehl von Strelitz. Part of the coat of arms gallery is related to the royal majesty, other coats of arms are related to the owners of the castle in the second half of the 17th century.
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Steckerová, Andrea. "Petr Brandl – rukopis jeho podpisem : poznámky k Brandlovu malířskému rukopisu." Opuscula historiae artium, no. 1-2 (2022): 136–47. http://dx.doi.org/10.5817/oha2022-1-2-11.
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In the field of hanging paintings of the second half of the 17th and the first half of the 18th century in Bohemia, the work of Peter Brandl (1668–1735) stood out for its stylistic and brushwork concept. From the beginning of his work, the painter gravitated above all to an energetic very dynamic presentation expressed through a divided brushwork and lively work with a brush. From the beginning, he applied dense layers of paint only to some parts of a painting – he tested his technical approaches on compositions with figures of old people – similar to Rembrandt. Since the 1720s whole compositions have been formed using the impasto technique – also evident is engraving with the brush handle or fingernail and the touch of fingers on the still-drying layer of paint. The study tries to answer questions about Brandl's brushwork style, which has always been valued by art historians as original and modern – but could it also have been perceived as such in its own time? The brushwork style was already connected by historiographers of the 17th century with an artist's nature and his "spirit", but the very topic of the work could also have had an effect on it. The point of view of the client, who may have required a certain style of brushwork, cannot be ignored either. These and other aspects are addressed in this study, which focuses mainly on the works of Brandl's peak period – that is, on the 1720s.
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Herrmann, Christofer. "Mistrz Jan – architekt Pałacu Wielkich Mistrzów na zamku malborskim. "Oeuvre" i oryginalny styl wybitnego mistrza budowlanego działającego między 1375 a 1406 r." Studia z Dziejów Średniowiecza, no. 26 (November 23, 2023): 61–85. http://dx.doi.org/10.26881/sds.2023.26.03.
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On the basis of historical sources and stylistic construction comparative studies, the following hypothetical statements can be formulated about the biography of Master John. He was born around or before 1350 and probably trained as a stonemason in Bohemia. About 1374 he was probably appointed by bishop Henry (of the diocese of Ösel Wiek in Livonia) to build the residence in Arensburg, where there can be found numerous stylistic and conceptual parallels to the Grand Master’s Palace. After the capture and later murder of the bishop in 1380, in which the Teutonic Order was involved, Master John moved to Malbork Castle, where he was commissioned by Winrich von Kniprode to build the new Grand Master’s Palace. He supervised this building process until its completion (the painting of the interiors in 1397) and, at the same time, designed the town hall of Malbork. Also the secondary residence of the Grand Master in Sztum could have been a creation of Master John. From 1398 to 1406 Master John was the architect of the Teutonic Order’s castle in Bytów. With his unconventional architectural creations in the field of castle building, Master John occupied an outstanding position within the Central European “Reduction Gothic”. His was an independent and highly creative artistic personality, able to go beyond existing traditions and find new individual ways of doing things. Master John can thus be put on a par with other exceptional architects of his time (Peter Parler, Ulrich von Ensingen, Hans von Burghausen, and Madern Gerthener).
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Haxen, Ulf G. "An Artist in the Making. Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769." Fund og Forskning i Det Kongelige Biblioteks Samlinger 59 (January 4, 2020): 43. http://dx.doi.org/10.7146/fof.v59i0.123730.
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Ulf G. Haxen: An Artist in the Making – Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769
‘Eclecticism’ as an artistic term refers to an approach rather than a style, and is generally used to describe the combination of different elements from various art-historical periods – or pejoratively to imply a lack of originality. Proponents of eclecticism argue more favourably, however, with reference to the 16th century Carracci family and their Bolognese followers, that the demands of modernity (i.e. the new Baroque style) could be met by skilful adaptation of art features from various styles of the past.
The essay concerns the eighteenth century scribe and miniaturist Yehuda Leib ben Eliyah Ha-Cohen’s illustrated Haggadah liturgy of the second book of the, Old Testament Exodus, which represents a shift of paradigm away from the traditional Bohemia-Moravian school of Jewish book-painting towards a new approach. Our artist experiments freely, and to a certain extent successfully, with a range of different styles, motifs, themes, and iconographical traits, such as conversation pieces.
Yehuda Leib Ha-Cohen may have abandoned his home-town, the illustrious rabbinic center Lissa/Leszno in Poland, after a fire devastated its Jewish quarter in 1767. He migrated to Denmark and lived and worked in Copenhagen for at least ten years, as indicated by two of his extant works, dated Copenhagen 1769 and 1779 respectively. He was thus a contemporary of another Danish Jewish master of the Bohemia – Moravian school, Uri Feibush ben Yitshak Segal, whose iconic miniature work The Copenhagen Haggadah (1739) is well-known by art historians in the field.
Yehuda Leib Ha-Cohen drew some of his Haggadic themes from two main sources, the Icones Biblicae by Mathäus Merian and the Amsterdam Haggadot 1695 and 1712 (e.g. Pit’om and Ramses, The Meal Before the Flight). He never imitates his models, however. He adapts the standard motifs according to his own stylistic perception of symmetry and perspective, furnishing the illustrations with a muted gouache colouring.
Several of his Haggadic themes are executed with inventiveness, pictorial imagination, and a subtle sense of humour, such as The Seder Table, The Four Sons, The Finding of the Infant Moses, Solomon’s Temple, and Belshazzars Feast.
Yehuda Leib’s enigmatic reference to the ‘the masons’ (Hebrew הבנאים ) in the manuscript’s colophon has until now hardly been satisfactorily interpreted. Incidentally, however, another Hebrew prayer-book written and decorated by Mayer Schmalkalden in Mainz in 1745, recently acquired by Library of Congress, bears the same phrase (fi ‘inyan ha-bana’im = according to the code of the Masons). Dr. Ann Brener, a Hebrew specialist at the Oriental Department of Library of Congress, suggests in an unpublished essay, that the reference may be an allusion to ‘the Talmudic scholars who engage in building up the world of civilization’, (The Babylonian Talmud, Shabbat 114a). However that may be, Yehuda Leib Ha-Cohen’s miniatures constitute a veritable change of paradigm as far as eighteenth-century Hebrew book illustration is concerned.
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Lacina, Jan, and Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape." Journal of Landscape Ecology 8, no. 2 (November 1, 2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.
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Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.
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Lejman, Beata. "O niebezpiecznych związkach sztuki i polityki na przykładzie „żywotów równoległych” Michaela Willmanna i Philipa Bentuma." Porta Aurea, no. 19 (December 22, 2020): 114–34. http://dx.doi.org/10.26881/porta.2020.19.05.
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Michael Lucas Leopold Willmann (1630–1706) was born in Königsberg (now Kalinin grad in Russia), where his first teacher was Christian Peter, a well -off guild painter. After years of journeys of apprenticeship and learning in the Netherlands, the young artist returned to his homeland, after Matthias Czwiczek’s death in 1654 probably hoping for the position of the painter at the court of Great Elector Frederick William (1620–1688).What served to draw the ruler’s attention to himself was probably the lost painting, described by Johann Joachim von Sandrart as follows: ‘the Vulcan with his cyclops makes armour for Mars and a shield and a spear for Minerva’. The failure of these efforts led the future ‘Apelles’ to emigrate to Silesia, where he created a family painting workshop in Lubiąż (Leubus), and following the conversion from Calvinism to Catholicism, he became a Cistercian painter, creating famous works of art in religious or secular centres of Crown Bohemia. What connects him to Prussia is another painting of great importance in his career, the little -known ‘Apotheosis of the Great Elector as a Guardian of Arts’ from 1682.
The successor to Great Elector Frederick III (1657–1713) was crowned in 1701 as the ‘king of Prussia’. The ceremony required an appropriate artistic setting, which prompted many artists to flock to Königsberg, including a Dutchman from Leiden, the painter Justus Bentum, a pupil of Gottfred Schalken, who reached the capital of the new kingdom together with his son Philip Christian. After studying from his father, Philip Christian Bentum (ok. 1690 – po 1757) followed in the footsteps of the famous Willmann, and went on a journey, from which he never returned to Prussia. He went first to imperial Prague, where he collaborated with Peter Brandl and converted to Catholicism, following which he travelled to Silesia. After 1731, he took part in the artistic projects of Bishop Franz Ludwig von Pfalz–Neuburg of Wrocław (Breslau) and Abbot Constantin Beyer, who completed the project begun by Freiberger and Willmann: the extension and decoration of the Cistercian Abbey in Lubiąż. It was there that he made the largest in Europe canvas -painted oil plafond of the Prince’s Hall and completed his opus magnum: covering all the library walls and vaults with painting. Those pro -Habsburg works were finished two years before the death of Emperor Charles VI (1685–1740) and the military invasion of Silesia by Frederick II Hohenzollern (1712–1786), great - -grandson of the Great Elector.
The fate of the artists mentioned in the title was intertwined with Königsberg and Lubiąż. Both converts set off for the professional maturity from the Prussian capital via Prague to Silesia. They can be compared by the Dutch sources of their art and a compilation method of creating images using print ‘prototypes’. Their inner discrepancy can be seen in the choice of these patterns, as they followed both the Catholic Rubens and the Protestant Rembrandt Van Rijn. They were connected with the provinces playing a key role in Central -European politics: here the Hohenzollerns competed for power in Central Europe with the Habsburgs. They were witnessesto the game for winning Silesia, and even took part in it by creating propagandistic art. Both of them worked for Bishop Franz Ludwig von Pfalz–Neuburg (1664–1732), associated with the Emperor, a kind of the capo di tutti capi of the Counter -Reformation in Silesia. Bentum eagerly imitated selected compositions of his predecessor and master from Lubiąż, and I think he even tried to surpass him in scale and precision. The artistic competition with Willman is visible in the paintings of the library in Lubiąż. There, he presented an Allegory of Painting, which shows the image of Willmann carried by an angel, while the inscription praising the qualities of his character calls him ‘Apelles’.
The work of both painters, who took their first steps in the profession as Protestants in Königsberg, but became famous through their work for Catholics, provides an interesting material for the analysis of the general topic of artistic careers on the periphery of Europe, the relationship between the centres and the periphery, as well as for two stages of re -Catholisation in Silesia treated as an instrument of power. It was usually pointed out how much separates the two painters, but no one has ever tried to show what unites them. The comparison of the sources, motifs, and outstanding achievements of both of them, especially in Lubiąż, gives a more complete picture of their activity deeply immersed in the politics of their times. This picture is not as unambiguous as it has been so far, highlighting the political and propaganda aspects of their career spreading out between the coastal Protestant north and the Catholic south. The drama of their lives took place in Silesia, where the multiple dividing lines of Europe intersected.
The idea of narrating the parallel fates of two artists with great Politics in the background (as in he case of Plutarch’s ‘Parallel Lives’) came to my mind years ago when I curated the Exhibition ‘Willmann – Drawings. A Baroque Artist’s Workshop’ (2001, National Museum in Wrocław, in cooperation with Salzburg and Stuttgart). The present paper was to be included in the volume accompanying that project initiated by Andrzej Kozieł (Willmann and Others. Painting, Drawing and Graphic Arts in Silesia and Neighbouring Countries in the Seventeenth and Eighteenth Centuries, ed. A. Kozieł, B. Lejman, Wrocław 2002), but I withdrew from its publication. I am hereby publishing it, thanking Małgorzata Omilanowska for her presence at the opening of this first great exhibition of mine in 2001, as well for the excellent cooperation with my Austrian, Czech, German, and Polish colleagues. This text, referring to the topic of our discussions at the time – as on the event of the above -mentioned exhibition I spoke at a press conference in Stuttgart’s Staatsgalerie, where the curator of the German exhibition was Hans Martin Kaulbach, exactly two days after the attack on WTC.
Dissertations / Theses on the topic "Bohemia Painting"
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Kovács, Itaï. "L'art de la bohème. L'art des Buveurs d'eau (1835-1855)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL155.
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La présente thèse propose la première monographie sur la société des Buveurs d’eau. Cette association artistique de secours mutuels rassembla dans le Paris des années 1840 onze peintres, sculpteurs et écrivains débutants qui, pour la plupart, allaient entrer dans l’histoire non pas grâce à leurs œuvres, mais parce qu’ils allaient devenir les exemples d’un type de créateur : l’artiste ou l’écrivain bohème. Ce fut leur sort à cause d’un livre que l’un d’eux publia en 1851, et ce fut à leur grand dam et au dam de l’histoire. Les Scènes de la vie de bohème d’Henry Murger fondent depuis plus d’un siècle et demi l’idée que l’on se fait de la première bohème parisienne. Elles doivent leur popularité originale à leur adaptation au théâtre de boulevard en 1849 et leur popularité durable à leur adaptation à l’opéra en 1896, dans La Bohème de Puccini. Elles doivent leur place dans les travaux universitaires aux qualités de document et de tableau de mœurs qu’on leur attribue depuis leur parution. Ce sont d’abord ces qualités du livre de Murger, largement admises sans être historiquement vérifiées, et souvent amplifiées depuis trente ans par l’histoire des représentations et par la sociologie, qui rendent les Buveurs d’eau aussi illustres qu’inconnus. C’est également l’obscurité des œuvres de ces hommes, majoritairement artistes, qui éloigne les chercheurs – et en premier lieu les historiens de l’art – de l’histoire de cette société. Or, il est possible de faire cette histoire, à l’aide des outils de l’histoire de l’art d’abord et de l’histoire littéraire ensuite. Ses fondements sont jetés ici et ils répondent à une question trop rarement posée : quel est l’art de la bohème ?This thesis is the first monograph on the artistic brotherhood of the Water Drinkers, a mutual aid association that united eleven young painters, sculptors and writers in 1840s Paris. Most of these men were to enter history not thanks to their art but because they were to exemplify the bohemian artist or writer. That was due to a book published by one of the group members in 1851—to the disservice of the Water Drinkers and history alike. For more than a century and a half, Henri Murger’s La Vie de Bohème has been the basis of our notion of bohemian Paris. This book owes its initial fame to its theatrical adaptation in 1849 and its lasting fame to its operatic adaptation in 1896, in Puccini’s La Bohème. It owes its place in academic research to its reputation as a historical document and a novel of manners. It is first and foremost this reputation—widely accepted though historically unverified, and frequently enhanced by cultural historians and sociologists over the past three decades—that is responsible for the Water Drinkers being unknown as artists, and famous as bohemians. It is additionally the obscurity of the works of the group members, chiefly visual artists, that is responsible for scholars and especially art historians not studying their history. Yet their history can be studied, by means of art history first and literary history second. This thesis lays the foundation for this study and answers a question too seldom asked: what is bohemian art?
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Lisničková, Emma. "Nástěnná malba 13. a 14. století v severozápadních Čechách." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-434214.
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This diploma thesis deals with mural painting of the 13th and 14th centuries in the northwest Bohemia. The first part describes a brief history of medieval mural painting in the region. The most important part of the thesis consists of separate essays on places with surviving murals, i.e. mural cycles from Krupka, Brozany, Slavětín, Dobroměřice, Bedřichův Světec, Židovice, Radonice, Černochov, Volyně, Roudníky, Bečov nad Teplou and Potvorov. These chapters always have two parts: first existing literature on a particular location is critically evaluated and then a description and style and iconographic analysis are conducted. The thesis is specifically concerned with those who ordered the murals, including both famous aristocratic families and monastic communities. For this reason, even localities beyond the borders of the specified region are included, because they are connected with the topic by the donors.
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Henslová, Barbora. "Renesanční malířská výzdoba kazetových stropů ve vybraných zámcích v Čechách." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336223.
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Diploma thesis "Renaissance Painting Decoration of Coffered Ceilings in Selected Castles in Bohemia" first briefly introduces the most important examples of aristocratic residences with painted coffered ceilings in Bohemia. Painted coffered ceilings in Bohemia primarily occurred in the main halls of castles and palaces in the second half of the 16th century. The main part of thesis deals with two noble residences with painted coffered ceilings. Deal with detailed ceiling paintings Knights' Hall in the castle Telč and ceiling paintings of four halls Častolovice chateau. Attention is focused on themes ceiling paintings, their description and comparison with graphic templates. To the present day we have original coffered ceiling Knight Hall Castle in Telč with subjects from classical mythology (Hercules deeds). The author of the iconographic program was probably Zacharias of Hradec (1527-1589), who was one of the most powerful aristocrats in the Kingdom of Bohemia, and had the opportunity during his trip to northern Italy in 1551 acquainted with Italian art. The pride of the Častolovice chateau is especially large main hall with a coffered ceiling with 24 scenes from the Old Testament and other smaller hall with biblical scenes. This hall adjoin two smaller rooms with painted coffered ceilings with...
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Hamsíková, Magdaléna. "Recepce díla Lucase Cranacha st. v malířství první poloviny 16. století v Čechách." Doctoral thesis, 2011. http://www.nusl.cz/ntk/nusl-299632.
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1 Abstract The Acceptance of Works of Lucas Cranach the Elder in Painting of the First Half of the 16th Century in Bohemia The thesis focuses on the personality and works of the Renaissance painter Lucas Cranach the Elder (1472-1553) and the acceptance of his works and works of his workshop in painting in the first half of the 16th century in Bohemia. The art production in Bohemia, analogous to the 15th century, was concentrated in small centres and was mainly directed to the painting of neighbouring, mainly German speaking countries. Traces of Cranach's unmistakable aesthetics could be spotted in the Czech lands from the first decade to the almost seventh decade of the 16th century. The life of Cranach's style was so long because it was prolonged, among others, by his son Lucas Cranach the Younger (1515-1586). We can assert that no other author or his followers was so successful in such a large scale, for such a long period of time nor had customers of broad walks of life as Lucas Cranach the Elder. The reason for this was seen by earlier researchers in mass workshop production and certain "easy acquirement" of his style (Max J. Friedländer) that spread especially from the 1520's outside the borders of the Electorate of Saxony. His works were accepted firstly through his graphic masters, secondly through...
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Rajdlová, Lenka. "František Jakub Prokyš. Českobudějovický malíř 18. století." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-326916.
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The aim of this thesis was to write a monograph of the painter František Jakub Prokyš, who lived and worked in 18th century in the south of Bohemia. The first part is text put together from thoroughly examined archival sources and literature. It deals with the painter's private and professional life. The text is separated into compact chapters. The events are arranged chronologically. There are also included notes explaining in more detail the profiles of his customers. The main part of the text is the thorough cataloguing of Prokyš's works of art. The works are separated into groups according to the type of work such as pendant pictures, wall paintings, no longer existing works of art and other attributed works. Each catalogue entry has a unified structure. There is the title, technique, dating and origin at the beginning. Then follows the list of the archival sources and literature. In cases where it was possible, historical information about the works of art is included. An important part of the text is the description of the art piecework of art and its comparison with the painter's other works. There are mentioned the patterns of the works, if they were discovered during the research for this thesis. A separate part deals with the topic of iconography. The appendices contain the collection of...
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Ždychová, Dagmar. "Francouzské a české moderní umění v karikatuře v letech 1911 - 1918." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-343742.
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This thesis analyses caricatures of modern art in France and Bohemia in the period from 1911 to 1918. The author has set a goal to show diverse perspectives on modern art and artists on the basis of caricatural drawings that were published in humoristic magazines during the targeted period. Specifically, the aim of this study is to understand the actual perception of avant-garde art, especially of cubism, in Bohemia and France. At first the thesis overviews the available literature referring to this topic to later discuss the evolution of caricature. Thought the study the focus is drawn to development of one specific genre within caricature art - caricature of visual arts - plus the tradition of "caricatural salons" in the 19th century. The following chapter deals with the meaning of an image and chosen humoristic periodicals in the years of 1911-1918. The body of this paper, however, aims to present general chronological background together with major topics present in modern caricature both before the First World War and during the changes resulting from wartime. At the same time this chapter compares and contracts Czech and French caricature of modern art. The following chapter devoted to the interpretation of caricatures on the basis of the theory of laugh by Henry Bergson and Sigmund Freud's...
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Fiřt, Jan. "Recepce nizozemského realismu v pozdně gotické deskové malbě v Čechách." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-353532.
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The dissertation deals with the reception of Dutch realism in the late Gothic panel painting in Bohemia. Its aim is to examine the principles of reception of new artistic forms and ideas that originated in the Dutch art centers in the 15th century. The Czech painting of the 15th century was adopting these innovative trends exclusively from the neighbouring countries. Therefore, the work addresses mainly issues related to artistic exchanges between Bohemia and the surrounding - mostly German-speaking - regions. It looks into the specific ways in which artistic exchange took place - the mobility of artists, art imports, the importance of graphic and other models. The dissertation focuses on the most important examples that show the reception of Dutch realism: The Ark of Grand Master Puchner, The Křivoklát Altarpiece, and works associated with it. These matters are addressed mainly through a formal stylistic analysis and formal comparison. In the case of the Puchner Ark, via these methods, it has been possible to point out a possible artistic basis of the author in Swabia - within a circle of the followers of the Master of the Sterzing Altarpiece. The dissertation has tried to prove the artistic origin of the Master of the Litoměřice Altarpiece within the circle of the Ulm painter B. Zeitblom. These...
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Dobešová, Michaela Filipa. "Sbírka vlámského a holandského malířství Vlastislava Zátky." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-323034.
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Art collection of Flemish and Dutch paintings collected by Vlastislav Zátka Dr. Vlastislav Zátka, a lawyer and businessman, was important in bringing together and organising a diverse art collection. This thesis discusses his approach to art, his perception of the artwork as well as the overlap with the Flemish and Dutch paintings in the collections of the Aleš South Bohemian Gallery in Hluboka , the National Gallery in Prague and private collectors of this circuit , but it also deals with the efforts of Vladislav Zátka to verify purchased art and to, then, include the expert's opinions. The focal point is the carefully charted correspondence of Vlastislav Zátka in the archives of the Aleš South Bohemian Gallery in Hluboka and its analysis. Keywords: Dutch and Flemish paintings Collecting Vlastislav Zatka Landscape painting Still life painting Maritime painting Maecenas / Benefactor Correspondence Art expert authentification Gallery / Art museum
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Faktor, Ondřej. "Středověká nástěnná malba v jihozápadních Čechách. (okresy Klatovy, Prachatice, Strakonice)." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-349688.
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Medieval Mural Paintings in Southwest Bohemia (Districts Klatovy, Prachatice, Strakonice) ABSTRACT The thesis focuses on medieval mural paintings preserved in the forty five monuments in the region of southwest Bohemia, i.e. in the three main districts: Klatovy, Prachatice and Strakonice. The core of the thesis is an extensive catologue of the paintings covering the period from the 13th to the 16th centuries which represents first comprehensive treatment of the matter of the region in question. The main focus of the thesis is description of the paintings, their art historical evaluation and complex reconsideration of the literature to the subject including revision of the older proposals. In addition, an introduction of so far neglected, wrongly interpreted and newly discovered paintings contribute to the wide art-historical discussion. Keywords Gothic art, mural paintings, church, castle, chapel, southwest Bohemia, Prácheň region, donor, Bavors of Strakonice, Švihovský of Rýzmberk, Rosenbergs, Knights Hospitallers of St John, Knights of St. John Commendam in Strakonice
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NAUŠ, Stanislav. "Tvorba mnichovského malíře Jana Polacka v kontextu dobové výtvarné produkce v Bavorsku a možný ohlas v českém malířství kolem roku 1500." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-390145.
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In comparison with the art production at Nurnberg or at the cities of the so-called Danube School at the end of 15th century stands the simultaneous painting at Munich in the background. Therefore is sometimes forgotten, that there, in this period, a painter Jan Polack with his workshop was active. To his important customers/patrons belonged the dukes Sigmund and Albrecht of Wittelsbach and the Bavarian monasteries (Weihenstephan near Feising), for which he made few altars or portraits. A most of these altars were after that removed from the original sacral areas and today they are presented in the Bavarian National-museum at Munich or in other galleries. Only a few altars, for example three altars for the chapel in Blutenburg near Munich, have been staying on the original place in this small chapel. These Master thesis would like to compare his most representative pictures in the context with the others paintings, which were created in the middle or at the end of the 15th century in Bavaria (circle of Hans Pleydenwurff, Wolfgang Katzheimer etc.). This comparison can help to find the sources of the Polacks artistic expression. A special attention should be devoted his cooperation with Mair of Landshut, because few pictures of Polacks altar from the church of St. Peter in Munich have just been to Mair inscribed. It is also important to point to same compositional connections between the altar-pictures of Jan Polack and the graphics (Master E. S., Martin Schongauer) One highly-valued contribution of this thesis could be a capitol about the possible inspiration of the Polacks artistic expression for the artists, who came from Bohemia and who have been working here for a long times, but who could gain their training in the Bavaria (Munich). At the literature (Jaroslav Pešina) was one opinion expressed, that an altar in a church in Chudenitz concludes the formal features, which reveal a connection to the art at Munich in the middle of the 15th century. However, other authors (Roman Lavička) think that the painted boards of an original altar of Doudleby were inspired by Polacks artistic expression, although any concrete related features were not in the literature mentioned. It is appropriate too, point to the several compositional connections between the pictures of Jan Polack und a so-called Master of an altar from Litoměřice. This anonymous Bohemian painter, who is knowed only according to his most important commission, would be supposed to study in the Bavaria (an artistic circle of Rueland Frueauf at Passau) at the end of the 15th century. It is possible, that he could visit Munich und he could be inspired by the Polacks paintings.
Books on the topic "Bohemia Painting"
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Naděžda, Blažíčková-Horová, and Anězský klášter (Prague, Czech Republic), eds. Czech 19th century painting: Catalogue of the permanent exhibition, Convent of St. Agnes of Bohemia. Prague: National Gallery, 1998.
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Zdeněk, Kazlepka, and Moravská galerie v. Brně, eds. V zahradě Armidině: Italské barokní zátiší v Čechách a na Moravě = In the garden of Armida : Italian baroque still life in Bohemia and Moravia. [Brno]: Moravská galerie v Brně, 2007.
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Wissing, Caroline. Simple living: The Bohemian groove : painting exhibitions. Semarang, Indonesia: H2 Art Gallery, 2010.
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Trumble, Angus. Bohemian London: Camden Town and Bloomsbury paintings in Adelaide. Adelaide: Art Gallery of South Australia, 1997.
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Pešina, Jaroslav. The Master of the Hohenfurth altarpiece and Bohemian Gothic panel painting. [London]: [P. Wilson Publishers for] Sotheby's Publications, 1989.
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Hirsh, Nelda. A bohemian life: M. Evelyn McCormick (1862-1948) : American impressionist. Boulder, Colo: Green Rock Books, 2013.
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Dorothy, Gallagher, ed. The mural at the Waverly Inn: A portrait of Greenwich Village bohemians. New York: Pantheon Books, 2008.
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Royt, Jan. MEDIEVAL PAINTING IN BOHEMIA. Charles University, Prague/Karolinum, 2003.
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Hitchon, Gil, and Pat Hitchon. Sam Bough, RSA, the Rivers in Bohemia. Book Guild Ltd, 1998.
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Goehr, Lydia. "Bohemia-Bohemian-Bohème." In Red Sea-Red Square-Red Thread, 268–92. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197572443.003.0010.
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Chapter 10 explores the friction that makes and breaks the hyphens between Bohemia-Bohemian-Bohème. It begins and ends with the theological and secular winds that bring Shakespeare’s Winter’s Tale into deliberately enigmatic representations of la vie de bohème. A seascape helps then to remake a rural landscape into a cityscape of Paris in its embattled to-and-fro with London. With walking and wandering always at stake, the chapter investigates the many strains of wit in the painting of shoes.
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PANUŠKOVÁ, LENKA. "Bohemian and English Painting in the Last Decades of the Fourteenth Century:." In England and Bohemia in the Age of Chaucer, 181–200. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/jj.1176856.16.
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Rublack, Ulinka. "Hunting Dürer." In Dürer's Lost Masterpiece, 359—C33F1. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198873105.003.0034.
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Abstract Maximilian I’s interests ran parallel to the full emergence and greater international integration of the European market for paintings and rarities. Art, politics, and religion intertwined in new ways. Maximilian of Bavaria’s chase of Dürer’s altarpiece commissioned by Heller tells us much about the meanings this painting took on a full century after its creation. The Heller altarpiece depicted the Virgin Mary and fitted Maximilian’s ideas to the core. Dürer had painted his Mary a decade before the Protestant Reformation shook Germany. Nuremberg became one of the most important cities to turn Lutheran in defiance of the Habsburg Emperors. Yet, one century later, Maximilian spearheaded a movement that turned the Virgin Mary into a triumphant symbol of militant Catholic Reform he championed across the Holy Roman Empire—in Germany, Austria, and Bohemia. Maximilian I moreover particularly valued ‘cleanliness’ in execution and moral conduct, and just like Heller and Dürer in their marriages, he and his first wife were unable to conceive children.
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Panušková, Lenka. "9 Bohemian and English Painting in the Last Decades of the Fourteenth Century: Tracing the Bohemian Influence." In England and Bohemia in the Age of Chaucer, 181–200. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781805430896-014.
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Dalivalle, Margaret, Martin Kemp, and Robert B. Simon. "After the Original: Hollar and Leonardo’s Salvator." In Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts, 230–45. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0013.
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Chapter 12 reviews the Bohemian artist Wencelaus Hollar’s 1650 etching of Leonardo’s Salvator Mundi, which, he stated, was made from the original painting. Can we identify Hollar’s model, and on what basis did he attribute it to Leonardo? From a comparison with the closest extant compositions—the Cook, Naples, and Ganay paintings—the chapter examines the consonances and dissonances between the respective paintings and the etching. Since the Ganay painting has been championed (without acceptance) as Leonardo’s original, a history of the scholarly appraisal of this painting, together with some clarifications of its pre-twentieth-century provenance, is presented here. Hollar’s etching is dated 1650, but the location of execution is not given. Can we pinpoint the location in 1650 of any of the prime contenders, and if so, can Hollar be placed in proximity? The chapter proposes that Hollar, perhaps acting for the agent of Cardinal Mazarin, copied Leonardo’s Salvator Mundi at the Commonwealth Sale in 1650.
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"Collecting of Neapolitan Paintings in Bohemia and Moravia." In Fortunata Neapolis: Kunst- und Kulturtransfer zwischen Neapel, Wien und Mitteleuropa, 91–108. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110707144-007.
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Goehr, Lydia. "Mastering the Cant in Cafés of Complaint." In Red Sea-Red Square-Red Thread, 312–36. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197572443.003.0012.
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Chapter 12 follows the rough and tumble baggage of a language carried along the geographical and existential roads of bohème. It traces the Egyptian-Gypsy-Bohemian language in an unease of confusion with the so-described secret slang of the Jews. It explores the gossip of gutter-sniping, banter, and slang evident in books of copie and the commonplace. Yet its main purpose is to observe the transfiguration of the cant of common words, the claimed mastery that turned the cant to a master-singing or to an art-speak for poetry, literature, song, music, opera, and painting. Watching the turns, it enters the café, vaudeville, and theater of spectacle in different countries until it reaches a high point of intoxication in a song sung for the Red Sea. It follows Moses, Marsyas, Momus, and Midas with an eye always to understanding Murger’s Marcel
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"Épatant le Bourgeoisie: Jerrold Seigel’s Bohemian Paris and T. J. Clark’s The Painting of Modern Life." In Book Reports, 263–77. Duke University Press, 2020. http://dx.doi.org/10.1515/9781478002123-059.
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Allred, Jeff. "From “Culture” to “Cultural Work”: Literature and Labor between the Wars." In American Modernism and depression Documentary, 27–58. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195335682.003.0002.
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Abstract In this great undertaking the artists, the men of imagination will open the march: they will take the Golden Age from the past and offer it as a gift to future generations; they will make society pursue passionately the rise of its well-being, and they will do this by presenting the picture of new prosperity, by making each member of society aware that everyone will soon have a share in enjoyments which up to now have been the privilege of an extremely small class; they will sing the blessings of civilization, and for the attainment of their goal they will use all the means of the arts, eloquence, poetry, painting, music; in a word, they will develop the poetic aspect of the new system. In his memoir Exile’s Return: A Narrative of Ideas (1934), Malcolm Cowley remembers eavesdropping one night on John Dos Passos, Mike Gold, and Joseph Freeman at Squarcialupe’s, a Greenwich Village restaurant frequented by literary bohemians in the mid-1920s.
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Berry, Jason. "Sister Gertrude Morgan." In City of a Million Dreams, 235–56. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647142.003.0012.
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By the 1930s, civic leaders were promoting New Orleans as a tourist destination while the city lurched toward bankruptcy. As the city continued to develop through the 20th century, it became a melting pot of diverse cultures and a mecca for bohemians and LGBTQ people. Gay bars prospered in the French Quarter, and jazz clubs hired integrated bands. Sister Gertrude Morgan was a self-appointed missionary and preacher, Bride of Christ, artist, musician, poet, and writer of profound religious faith. After a revelation in 1934, she decided to travel to New Orleans to evangelize. In the late 1950s, she began singing on French Quarter corners, playing the guitar and tambourine, and selling her paintings. Her work caught the attention of art dealer Larry Borenstein, who helped launch her career as an artist. Borenstein came from a family of Russian Jews in Milwaukee. He worked in a wide variety of jobs in his youth, eventually settling in New Orleans and expanding into real estate and art dealership. He made friends with members of the gay community, artists, and musicians, and helped found the Preservation Hall jazz club.