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1

SIGISMUNDUS REX ET IMPERATOR. ÚVAHY NAD VÝSTAVOU UMENIA ŽIGMUNDOVSKEJ DOBY

100%
Oriško Š.
ARS
|
2006
|
vol. 39
|
issue 1
31-52
EN
The paper deals with the international exhibition project 'Sigismundus - Rex et Imperator - Sigismund of Luxembourg, Arts and Culture 1387-1437'. It presents the emperor, his life and activities in connection with the arts and culture. The historiographies of the Central European countries where Sigismund once ruled, considered both the monarch and his era often very emotionally and with the great differences. They also came into touch with the nationalist prejudices and the various ideological standpoints. The exhibition undoubtedly tried to anchor Sigismund of Luxembourg into European relations. In the separate chapters the exhibition presented Sigismund's residences, the culture of the King's court and its products, the Emperor‘s leading role in the European politics, his portraits and a political heritage. The ending part of the exhibition was dedicated to the arts of the King Sigismund's era in a broader meaning - to the arts of the International Gothic style. Presented artefacts often originated in the regions outside the center, in border regions of medieval Hungary, but in touch with Central European currents in sculpture, table and book painting, textile art, goldsmithery etc. The goal of this important part of the exhibition was to present Central European context and a specific territory of the Hungarian Kingdom within it. This section had clearly an art historical character and can be taken as the first specialized attempt to present the phenomenon of the arts around 1400 within the mentioned geographical boundaries. The exhibited artefacts and the catalogue descriptions brought into light many new attributions and datings for the art historians to deal with.
2

ST GEORGE THE DRAGON-SLAYER - THE ETERNAL PILGRIM WITHOUT A HOME?

100%
Benesovska K.
Umění (Art)
|
2007
|
vol. 55
|
issue 1
28-39
EN
The article suggests some new ways of understanding the 'place' of the St George sculpture (work of the metalworkers Martin and George of Cluj/Klausenburg/Kolozsvár/, executed 1373) in the court art of the second half of the 14th century, inspired primarily by the Italian milieu. The sculpture cannot be classified as an equestrian monument. It depicts the culminating moment of the St George legend of Jacobus de Voragine, when the saint on horseback strikes the dragon to the ground with his lance, so that the princess can then lead it off, attached to her belt, to the liberated city. The composition is defined by the main vertical axis, represented by the (lost) lance, around which the horse, rider and dragon turn. Among medieval monuments, it is the only surviving execution of this motif in a large, three-dimensional bronze work. The motif, with its dynamic, revolving composition, is frequently found in paintings and reliefs. Aside from reliefs and small statues, author draws attention to the closest analogy to the Prague sculpture: the illusive painting of a St George sculpture on a bracket, executed by Giovannino dei Grassi on the jamb of the northern sacristy in the Milan cathedral in 1395. On that occasion, Giangaleazzo was elevated to a dukedom by Václav IV, King of Bohemia and of the Romans (or rather, by his plenipotentiary Benes of Choustník). Even if, in the future, the court at which the Prague sculpture was made is identified, along with the person who commissioned it and the person who designed the model (including confirmation of the role of the brothers of Cluj), even if the journey of the sculpture to Prague is reconstructed, the work will remain a testimony to the inspiring influence of the northern Italian milieu.
3

Representation of Heretics in the Western Art of the Middle Ages

100%
Dobkowska-Kubacka J.
Ikonotheka
|
2005
|
issue 18
25-49
EN
While the phenomenon of heresy played a significant role in medieval society, it also found its reflection and interpretation in art. The present article concerns schemata of composition applied in representations which have an anti-heretical topic, or only theme, and attempts to define the figure of a heretic through costume or physiognomy. Also, it strives to answer the question to what extent medieval art reflected the stereotype, prevalent in contemporary literature, of a heretic. A discussion between representatives of the Roman church and heretics is the topic of, among others, the mid-11th-century miniatures on frontispieces of manuscripts from the Mont St. Michel monastery (St. Augustine in conversation with Manicheans). Such discussion is a topic frequent also in art of the late Middle Ages. Among saints who due to their activity had to deal with heretics, St. Peter the Martyr and St. Dominic seem to be the most representative. It is possible to ascertain that artists attempted to identify heretics especially through their costume, facial expression and gestures.Depicting heretics in an Oriental costume is a phenomenon typical only for the late-medieval art. The earlier artists also tried to distinguish and define a heretic through dress, but they presented this figure usually in layman's clothing, which contrasted with the clerical dress proudly worn by his Catholic adversary.The fact that heretics, Jews, Muslims and sorcerers are represented in art in a similar way not only attests to the conviction that many heresies were of Eastern origin, but also refers to the division of the world introduced by St. Augustine. Catholic authors placed heretics, together with the Jews, unbelievers, heathens, sinners, criminals, bandits and sorcerers, in the devil's realm. Books are frequently an attribute of heretics, and almost always of heresiarchs. Heretic writings are confronted with and defeated by orthodox texts in the same way the person of a heresiarch is defeated by a representative of the Roman Church. They are often depicted lying cover up on the ground, thus displaying their own falsity and failure.
4
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FENOMÉN ROMANTIZMU VO FILMOVOM DIELE

100%
Sabol J.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 4
363 - 374
EN
The study deals with the influence of Romantic poetics (or the poetics of the Romantic period) on audio-visual production. In this context, the author not only mentions some film adaptations of literary models from the Romantic period, but also points out the basic genological principles of this period and, in a broader literary and cultural context, the cultural and social influences at the turn of the 18th and 19th centuries on the art of the Romantic period. The study does not aspire to comprehensively capture the issues of the influence of Romantic poetics on audio-visual production, it only outlines some of the tendencies that are discernible in filmmaking and that have their roots in Romanticism, but also in medieval art, which became a major inspiration for the Romantic period.
5

NĚKOLIK POZNÁMEK K RANĚ STŘEDOVĚKÝM DEŠTIČKÁM, NALEZENÝM V OKOLÍ NITRY

75%
Balcárek P.
ARS
|
2013
|
vol. 46
|
issue 1
94 -103
EN
The aim of the paper is to highlight some aspects of two artistic objects which are well known in the Slovak art-historiography and also to open the topic for further discussion. The first object is one of the oldest works of Slovak art and it belongs to a set of gilded bronze plaques from the Old-Slavonic fort of Bojná near Nitra, which dates back to the beginning of the 9th century. The second object discussed here belongs to another set of plaques which make up what is to this day known as the Monomachos Crown, dating from the 10th to the 12th century, and which were found in Ivanka near Nitra.
6

NYMPHE (WIND). DER RAUM ZWISCHEN MOTIV UND AFFEKT IN DER FRUEHEN NEUZEIT (ZUGLEICH EIN BEITRAG ZUR ABY WARBURG-FORSCHUNG)

75%
Baert B.
ARS
|
2013
|
vol. 46
|
issue 1
16 -42
EN
The presence and importance of the nymph in the late medieval and early modern art goes beyond the fashionable adaptation of a classicizing motif. None less than Aby Warburg (1866 – 1929) was the one who developed a passion for the godly girl, wandering to the bucolic springs and caves, whose name etymologically refers to a "bride". However, it isn't the iconographic afterlife of the nymph that is addresses by this study, but the question of her visual identity in the early humanism. This question opens a discourse on a movement and wind in visual media, on the effect of the nymph on the viewer and on the (self-) reflection of the visual arts, especially painting.
7

DAS MEER UND MEERESWESEN IN DER KUNST UND QUELLEN DES MITTELALTERS. VERGLEICHENDE ANALYSE DES KUPFERSTICHS „MEERWUNDER” VON ALBRECHT DÜRER AUS DEM JAHR 1498

75%
Waszak P.
ARS
|
2020
|
vol. 53
|
issue 2
195 – 204
EN
The article concentrates on showing elements present in culture, literature and art of the Middle Ages. These parts of mediaeval culture are discernible in Albrecht Dürer’s graphic The Sea Monster, also known as the Wonder of the Sea. It was created by late Gothic-Renaissance author living at the turning point of both artistic epochs. The article consists of a description of the copperplate engraving, discussion on the contexts present in literature and mediaeval sources, analogies of artistic motifs and symbolic contents, meanings of the title which was already mentioned by Dürer.
8

REFORMATIONS OF MEDIEVAL ART NEW RESEARCH ON THE CHURCH OF ST. JAMES IN LEVOČA (SLOVAKIA)

75%
Juckes T.
ARS
|
2023
|
vol. 56
|
issue 2
75 - 94
EN
This article seeks new perspectives on one of Central Europe’s most important ensembles of late medieval art and architecture – the parish church of St. James in Levoča, where research on the furnishings as a system in sacred space has been hindered by the sparsity of written sources. By expanding the scope of enquiry to take in some unstudied sources from the Reformation period, it shows how a medieval topography and furnishings were retained and developed by a Lutheran congregation that proved unusually tolerant of traditional practices.
9

DIPLOMATICKÉ VZTAHY MEZI ČESKÝMI ZEMĚMI A ANGLIÍ V DRUHÉ POLOVINĚ 14. STOLETÍ A JEJICH VLIV NA ROZKVĚT VÝTVARNÉHO UMĚNÍ NA DVOŘE RICHARDA II.

63%
Břízová D.
ARS
|
2018
|
vol. 51
|
issue 1-2
18 – 32
EN
This article is dedicated to the question of diplomatic and cultural relations between Bohemia and England in the second half of the 14th century and their influence on the artistic transmission between the two kingdoms. The royal wedding between Richard II Plantagenet, the King of England, and Anne of Bohemia, the sister to the Holy Roman Emperor and the King of Bohemia Wenceslaus IV, which took place in 1382, serves as an example on which this transmission is demonstrated. The extant resources and preserved works of art are analysed to further examine the theory about a provable evidence of Bohemian influences on English art of the era.
10

Virgin Marys of Medieval Livonia

63%
Kurisoo M.
Makslas Vesture un Teorija
|
2020
|
vol. 24
76-79
EN
The article introduces the exhibition “The Virgin Mary: Woman, Mother, Queen” held at the Art Museum of Estonia – Niguliste Museum (25.10.2019–16.08.2020). Particular attention is given to the principles of selection of exhibits and the ways in which the Mother of God has been interpreted in the sacred art of medieval Livonia, comprising both present-day Latvia and Estonia.
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