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EN
The Slovak painter, photographer, and nationalist Peter Michal Bohúň (1822 – 1879) was a sought-after portraitist of his generation with good connections – especially with the Evangelical intelligentsia. One of the less researched topics with regards to his oeuvre are religious paintings commissioned for churches. The artist accepted the commissions predominantly for financial reasons. Based on the preserved materials – altar paintings he created mainly for Evangelical churches in the villages of Bátovce, Dovalovo, Krivá, Lovinobaňa, Lučivná, Mengusovce, Mládzovo, Partizánska Ľupča, and Veličná and in the town of Ružomberok, his contribution to the development of the 19th century religious art on the territory of Slovakia can be studied. The article concentrates on P. M. Bohúň’s strategies with regards to the choice of themes for individual churches and on the communication with the parishes and Evangelical personalities of the day. As a case study, the article discusses the commission for the Evangelical church in Bátovce. Communication between the artist and the priest Pavol Gerengay (1825 – 1895) sheds light on the period strategies of commissioning altar paintings.
ARS
|
2021
|
vol. 54
|
issue 1
55 – 72
EN
Vojtech (Béla) Tilkovský, the art historian, art critic, radio editor and journalist, is not well known among art historians. His primary research focused on painter Dominik Skutezky (Skutecký), about whom he wrote his masters’ thesis and dissertation, and in 1954 his monograph. Tilkovský also sought out teaching positions. After several attempts at the Slovak School of Technology in 1955, he became a part-time lecturer of art history at his alma mater (Comenius University). His art research of the 19th century was interrupted several times, first by the Slovak State, the defence of his position within this state and subsequently by a change in the political situation in 1948. Although he could not publish continuously, his publishing activities in Slovakia, Czechia and Hungary are relatively abundant and essential for this period.
EN
The study focuses on various aspects of the use of the motives from the rural environment in the fine art in region of Upper Hungary during the 19th century. Important source of those motives, quite often in the context of national representation, was the folk culture. The most common contribution to its depiction was the folk clothing, which identified regions rather than objects of daily need. Motives from folk environment are represented at the examples from fine arts, as illustrations or so-called Trachtenbücher or Trachtenblätter (depictions of figures in folk dress), then romantic depictions (applied especially at the work of Jozef Czauczik and Peter Michal Bohúň), and nevertheless foreign rural subjects (Italian and Dalmatian countryside) and their popularity in genre painting. The second half of the 19th century is associated with the adaptation of motives from the folk environment in realism and naturalism, in salon painting and at exhibition presentations, selected examples of folk art manifestations that captured the interest of the time and had an aesthetic effect on society. Even after 1900, the trend of grasping the monitored issue in the intensions of the development of modern art continued. Several artists remained interested in capturing the Slovak landscape and people.
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