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1

VILLA STAR IN PRAGUE

100%
Bažant J.
ARS
|
2008
|
vol. 41
|
issue 1
55-72
EN
The article addresses specific decorative motives of the Villa Star (1555 -1558) in the Liboc suburb of Prague, an Italianate villa built together with the Royal Summerhouse known under the name of Queen Anne in the garden of the Prague Castle (1537 -1563) to support the imperial candidature of the Bohemian and Hungarian King, Ferdinand I Habsburg. From 1556 to1560 the ceilings of ground floor were provided with rich stucco decoration, after the fashion of the Caesar Augustus - motives from Vergilius' Aeneid - praising Ferdinand I as an eirenical emperor, bringing a new Golden Age to the world.
2

NATION AND ART. FROM MIROSLAV TYRŠ TO MAX DVOŘÁK AND BACK

100%
Bažant J.
ARS
|
2011
|
vol. 44
|
issue 1
15-25
EN
The article compares the lives and works of two scholars, marking the beginnings of Czech history of art, with emphasis put on the relation between art and nation. Miroslav Tyrš (1832 – 1884) devoted all his energy and skills to the Czech national renascence, while thinking and attitudes of Max Dvořák (1874 – 1921) already belonged to the era of a culturally integrated Europe, which had started to form itself at that very time.
3

PLECNIK, PRAGUE, AND PALATINE

100%
Bažant J.
ARS
|
2013
|
vol. 46
|
issue 1
51 -74
EN
The study is aimed at demonstration that palaces of ancient Roman emperors might have been the main source of Josip Plecnik’s imagination when remodelling Prague Castle (from 1920) for T. G. Masaryk, the first president of the Czechoslovak Republic. Plecnik revived (or tried to revive) many of its features – porticoed façade, basilican hall, cryptoportico, vestibule in the form of a rotunda, and park shaped like a hippodrome. He did not hesitate to modify traditional forms in order to revive them, but he always respected tradition. His innovations were bold, but they never countered the spirit of ancient Greek and Roman architectural tradition.
4

SURREALIST’S DREAMS AND CLASSICAL TRADITION

100%
Bažant J.
ARS
|
2015
|
vol. 48
|
issue 1
82 – 94
EN
The aim of this paper was to demonstrate that ostensibly idiosyncratic images in Jindřich Štyrský’s dreams and works of art are, in fact, part of European literary and pictorial tradition and originate in ancient Greece and Rome. In the introduction to his book “Dreams” of 1941 Jindřich Štyrský identified his deceased stepsister Marie with the perverse image of the ancient Greek monster Medusa. In order to highlight this identification, he evoked a glimpse of a magazine’s colour supplement of the painting depicting Medusa, which he caught as a child. This painting created by Rubens and Snyders in 1617-1618 was inspired by classical literary texts, above all, Lucan and Pliny. Pliny’s story on mating of snakes, which was illustrated in this painting, thus entered Štyrský’s imagination, even though he had not been given a classical education. The strange motif of snakes that kiss and kill thus interconnects provably Štyrský’s recorded dreams and works of art with the Western classical tradition.
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