Opuscula Historiae Artium最新文献_第2页

"Köstliches und kunstreiches Stickwerck" : portrét diplomata Gian Giacoma Leonardiho della Rovere hraběte z Montelabate ze zámku Bystřice pod Hostýnem “Köstliches und kunstreiches Stickwerck”：外交官Gian Giacomo Leonardi della Rovere在城堡Bystřice pod Hostýnem的肖像

Opuscula Historiae Artium Pub Date : 2022-01-01 DOI: 10.5817/oha2022-1-2-12

Zdeněk Kazlepka

{"title":"\"Köstliches und kunstreiches Stickwerck\" : portrét diplomata Gian Giacoma Leonardiho della Rovere hraběte z Montelabate ze zámku Bystřice pod Hostýnem","authors":"Zdeněk Kazlepka","doi":"10.5817/oha2022-1-2-12","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-12","url":null,"abstract":"From the château at Bystřice pod Hostýnem comes a painting presenting the portrait of Gian Giacomo Leonardi della Rovere, Count of Montelabate (1498–1562), a diplomat of the Urbino court in Venice. The portrait came to the château with the ancient Pesaro family of Leonardi della Rovere, which in 1737 joined with the counts of Rottal, the owner of an extensive Moravian fideicommiss. The painting probably originated in the northern Italian court environment and its author is considered to be an artist active in Titian's circle. It is known that the person portrayed was a close friend of this famous Venetian artist. The portrait engages with its particularly remarkable iconography, for which we can hardly find a parallel elsewhere. Its composition consists of a \"knight\" in portrait in a ceremonial outfit, accompanied by a black squire also dressed in armour and holding a hunting spear, as an important symbol associated with the personality of Emperor Charles V, whom Gian Giacomo met and negotiated with several times as a diplomat. This depiction of a double portrait with a small black squire is unique and one of the first depictions in modern art history. The picture is dated post quem 1540.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Bibliografie prací prof. PhDr. Ivo Krska, CSc. 1949–2022 博士论文目录。Ivo Krska，CSc。1949–2022

Opuscula Historiae Artium Pub Date : 2022-01-01 DOI: 10.5817/oha2022-1-2-4

Hana Blažková, Lubomír Slavíček

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Eine Auftragsarbeit Paul Trogers für Trebitsch (Třebíč) : zur Identifikation eines ursprünglichen Bildes vom Hauptaltar der Pfarrkirche St. Martin 一幅肖像画保罗为Trebitsch Trogers (Třebíč):个人身份的原始图像的Hauptaltar在教圣马丁

Opuscula Historiae Artium Pub Date : 2022-01-01 DOI: 10.5817/oha2022-1-2-6

Petr Arijčuk

{"title":"Eine Auftragsarbeit Paul Trogers für Trebitsch (Třebíč) : zur Identifikation eines ursprünglichen Bildes vom Hauptaltar der Pfarrkirche St. Martin","authors":"Petr Arijčuk","doi":"10.5817/oha2022-1-2-6","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-6","url":null,"abstract":"The last ten years of his life belong to the little-considered sections of the life and work of the Vienna-based painter Paul Troger (1698–1762). The start of the 1750s had already brought significant changes into his personal and professional life; these also significantly subdued his creative activity, which was further limited by health problems from the mid-1750s onwards. In practice these prevented him from personal involvement in work on frescos. Although Troger continued to accept commissions, he entrusted their implementation to a large extent to his collaborators and former students of the Vienna Academy (Josef Hauzinger, Franz Zoller). A certain space for him to work alone was offered by the painting of hanging and altar pictures, which did not require such physical effort. An interesting individual contribution to our knowledge of this final period of Troger's work is offered by a previously unnoticed and unassigned picture St Martin sharing his cloak with a beggar from the collections of the Moravian Gallery in Brno. With the help of reports on sources, this painting can be clearly identified with an original image painted around 1758 for the main altar of the parish church of St Martin in Třebíč. Troger was probably contacted by his friend, sculptor Josef Winterhalder the Elder (1702–1769), approached after 1755 regarding the construction of a new main altar. Troger accepted the commission, but the painting itself was then painted by one of his collaborators.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Prameny k tvorbě Huberta Maurera a Johanna Georga Däringera Hubert Maurer和Johann Georg Däringer的作品来源

Opuscula Historiae Artium Pub Date : 2022-01-01 DOI: 10.5817/oha2022-1-2-18

P. Suchánek

{"title":"Prameny k tvorbě Huberta Maurera a Johanna Georga Däringera","authors":"P. Suchánek","doi":"10.5817/oha2022-1-2-18","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-18","url":null,"abstract":"A short study with an edition of the correspondence of the Viennese painters Hubert Maurer (1738–1818) and Johann Georg Däringer (1759–1809) gives several important details on painting practice in Central Europe at the end of the 18th century. In t he first place, the painter's method of working with drawn sketches is worthy of attention. On the one hand, Maurer used them for the continuous reworking of his earlier, frequently reused compositions. On the other hand, he used his working drawings to communicate with clients, to whom however they did not give them a completely accurate idea of the intended composition, and the painter himself urged them not to consider them completely binding, as he anticipated reconsideration of a composition during his work. This phase of the continuous search for a final shape might even coincide in time with the phase of starting work on the altarpiece itself. Maurer's reluctance to create sample oil sketches for the client was also related to this, since working on them would needlessly deprive him of the time needed to \"better finalise the altarpiece itself\" and would make his work disproportionately more expensive. In the end, the published correspondence bears witness to the financial problems which, at the time of the reforms of Emperor Joseph II in the 1780s and in the following two decades, complicated the new outfitting of sacral interiors.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Snění o Maulbertschovi : Ivo Krsek (1922–1993) a objevování "rakouského" barokního malířství ve střední Evropě 毛的梦想：伊沃·克塞克（1922–1993）与中欧“奥地利”巴洛克绘画的发现

Opuscula Historiae Artium Pub Date : 2022-01-01 DOI: 10.5817/oha2022-1-2-2

Tomáš Valeš

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Maulbertsch und die tragische Malerei : die Deckenbilder der Legende des hl. Stephan in der Pfarrkirche von Pápa 马鞍和悲剧性的画作Stephan在教区的教堂Pá爹的

Opuscula Historiae Artium Pub Date : 2022-01-01 DOI: 10.5817/oha2022-1-2-5

János Jernyei-Kiss

{"title":"Maulbertsch und die tragische Malerei : die Deckenbilder der Legende des hl. Stephan in der Pfarrkirche von Pápa","authors":"János Jernyei-Kiss","doi":"10.5817/oha2022-1-2-5","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-5","url":null,"abstract":"The narrative unfolding in the ceiling paintings at Pápa can be taken for a painted tragedy of a complex plot based on Aristotle's notions of change of fate (peripeteia) and recognition (anagnorisis), the precedents of which are not to be sought in ceiling painting but much rather in the history of pictures of the classical approach produced in the early modern age. In terms of classical rhetoric, the style of the three ceiling frescoes corresponds to Quintilian's second category, the sublime and vehement mode of representation (genus sublime, genus vehemens) aimed at moving the recipient. The vision of heaven has a crucial role in the cycle, for the celestial sphere, in the plot the promise of salvation ensures areversal of fortune, an auspicious denouement. The earthly events stir the recipients' emotions but the involvement of justice in the afterlife calms them, thus allowing perfect catharsis to happen. The change of fate in the third fresco is related to the moment of recognition. Through the great masters of the 16th and 17th centuries, pathos theory and the conception of peripeteia became a fundamental, even commonplace pictorial narrative method in history painting and Tridentine religious art of the early modern age. With the Pápa ceiling frescoes Franz Anton Maulbertsch (1724–1796) gave evidence of his broad pictorial culture by choosing from among these visual panels and formulas with a keen eye and shaping them to his own liking.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Academician on the periphery : Johann Georg Walter in Modra 外围的院士:莫德拉的约翰·乔治·沃尔特

Opuscula Historiae Artium Pub Date : 2022-01-01 DOI: 10.5817/oha2022-1-2-9

Katarína Kolbiarz Chmelinová

{"title":"Academician on the periphery : Johann Georg Walter in Modra","authors":"Katarína Kolbiarz Chmelinová","doi":"10.5817/oha2022-1-2-9","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-9","url":null,"abstract":"Despite several partial findings, our image of an academically trained painter is mostly formed by a generalizing tradition implying his position in the top ranks among artists as well as certain style uniformity. In many aspects, these ideas are anchored in the 19th century and cannot be applied to 18th century Central Europe. At that time, the k. k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of Painters, Sculptors, and Architecture) in Vienna became a crucial training institution for artists. The ambitions of this institution did not yet measure up to reality; however, its influence in the middle of the century became essential. Based on new research, this study presents an example of the heretofore unknown painter, Johann Georg Walter. After completing his studies at the Vienna Academy, Walter settled in the small wine town of Modra, outside the local artistic centres. For several decades Walter created various types of paintings, but primarily sacral paintings. He can be considered as a model example of a painter who disseminated Vienna's impulses on its periphery, one of the hundreds that the Academy trained. New findings about him also allow us to pursue a wider range of issues related to how the Vienna Academy graduates were able to find work and the issues of the transfer, modification, and rooting of its impulses outside artistic centres.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0