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1

Madona velkomeziříčská mezi reformací a restaurováním

100%

Míchalová Z., Kruntorád M.

Umění (Art)

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2019

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vol. 67

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issue 5

440-450

EN

This study deals with the ‘second life’ of the Madonna of Velké Meziříčí, a gothic sculpture that originated in the second quarter of the 14th century and belongs to a body of work created by the Master of the Michle Madonna. Attention here focuses on two periods: the end of the 16th century, when the sculpture was fundamentally altered as a result of iconoclastic actions in the Reformation era, and the middle of the 20th century, when modern restoration work was performed in the Brno workshop of the Kotrba brothers. The study draws on newly discovered restoration documentation from 1951, which revealed that the sculpture had been considerably damaged in the past. When the Madonna of Velké Meziříčí reached the restoration workshop, it only remotely resembled a gothic sculpture, because the figure’s torso was concealed beneath a layer of laminated cloth and more recent polychrome applied to the surface, and the face of the Madonna was entirely concealed beneath a more recent paper mask. Some of the modifications can be dated to 1883, when the first recorded repairs to the sculpture were made, and some of the other changes are from an earlier date. On removing the sculpture’s secondary layers, it was discovered that in the past it had been cut crosswise in half and its eyes had been hollowed out and its hair cut off. This is considered to have resulted from modifications made in the baroque period and in the 19th century. However, damage to the sculpture can be linked to the destruction of the furnishings in the parish Church of St Michael in Velké Meziříčí, which has been documented in the sources and which occurred repeatedly around the year 1600. In 1620 there is a record of the return of ‘the representation of the Virgin Mary desecrated by heretics’ to the parish church. Given the extent and the nature of the damage that was discovered, it is highly likely that the sculpture referred to there was the Velké Meziříčí Madonna. The near flawless appearance that the sculpture has in the present day is essentially a preservationist interpretation, which emerged out of collaboration between restorers Heřman and Karel Kotrba, preservationist Miloš Stehlík, and art historian Albert Kutal.

CS

Studie se zabývá tzv. druhým životem Madony z Velkého Meziříčí, gotické skulptury z druhé čtvrtiny 14. století, řazené do okruhu děl tzv. Mistra michelské madony. Pozornost je upřena na období sklonku 16. století, kdy sochu poznamenaly zásadní změny v souvislosti s reformačními ikonoklastickými událostmi, a poloviny 20. století, kdy proběhlo moderní restaurování v brněnské dílně bratří Kotrbů. Podkladem studie je nově objevená restaurátorská dokumentace z roku 1951, která odhalila, že socha byla v minulosti značně poškozena. Když se Madona z Velkého Meziříčí dostala do restaurátorské dílny, gotickou sochu připomínala jen vzdáleně, protože její trup byl skryt pod vrstvou nakašírovaného plátna a novější polychromie a tvář Madony byla zcela skryta pod mladší papírovou maskou. Část povrchových úprav bylo možné datovat do roku 1883, kdy byla uskutečněna první zaznamenaná oprava sochy, část zásahů byla ještě starší. Po sejmutí druhotných vrstev se ukázalo, že socha byla v minulosti příčně rozříznuta, měla vydloubané oči a zcela seřezané vlasy, což bylo považováno za důsledek úprav v období baroka a v 19. století. Poškození sochy však lze spojit s pramenně doloženým ničením kostelního vybavení farního chrámu sv. Mikuláše ve Velkém Meziříčí, k němuž opakovaně docházelo okolo roku 1600. K roku 1620 byl zaznamenán návrat „vyobrazení Panny Marie znesvěceného od heretiků“ do farního kostela. Vzhledem k odhalenému rozsahu a charakteru poškození je velmi pravděpodobné, že šlo o Velkomeziříčskou Madonu. Její v současnosti takřka dokonalý vzhled gotické skulptury je vlastně památkářskou interpretací, jež vznikla za spolupráce restaurátorů Heřmana a Karla Kotrbů, památkáře Miloše Stehlíka a historika umění Alberta Kutala.

2

Drewniana rzeźba Marii z Dzieciątkiem w zbiorach Muzeum Narodowego w Warszawie : odblask sztuki Tilmana Riemenschneidera

100%

Ratkowska P.

Ochrona Zabytków

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2000

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issue 2

134-141

EN

The Gallery of Mediaeval Art o f the National Museum in Warsaw features a Late Gothic statue of the Virgin and Child from the retable, formerly held in the church at Niedźwiedzica (district Malbork). The artistic level of this carving has attracted attention of art historians since long time. In 1996 the Laboratory of Conservation of the National Museum undertook the conservation of this statue, that enhanced its aesthetic values by filling numerous gaps of polychromy, restoring colours etc. Recently a model of the statue indubitably used by the artist was defined. J. Bier, the eminent expert on the oeuvre of Tilman Riemenschneider pointed to a wooden statue, now in a private collection in Zurich, as to a carver’s model, executed by Riemenschneider himself or in his workshop. A comparison of the Warsaw figure with the statue, discussed by Bier, indicates that the carver of the former one must have used a model combining the features of the Virgin and Child in Zurich with those of other Madonnas by Riemenschneider. A survey of these statues and their scientifically established chronology made it feasible to determine what has been borrowed from Riemenschneider’s model, as well as to precise the date of the Warsaw statue. The Riemenschneider’s model underlies the composition of numerous statues of the Virgin and Child executed in various European milieux. Their list remains far from complete.

3

Madonna and child from Košice : reflections of the Italian renaissance in the find of a relief mould

89%

Rusnák R.

Umění (Art)

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2019

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vol. 67

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issue 1-2

64-72

EN

This study examines the archaeological find of a clay mould of a relief with the motif of the Madonna and Child from Košice. The final product for which the mould was intended was a relief in either terracotta or stucco. This interpretation of the artefact would draw our attention towards Renaissance Italy, and more particularly to Tuscany and Florence. The study will attempt to identify the conceptual and compositional forms of the Košice find directly within the context of Renaissance Florence and to explain the means by which they could have reached the territory of the Kingdom of Hungary in the second half of the 15th century and the beginning of the 16th century. The basic compositional models of the depicted figures can be found in the works of the prominent Italian Renaissance artists, Ghiberti, Donatello and Luca della Robbia. In their works we can find a greater degree of simplicity, lightness and subtlety in their means of expression. The Košice find shares this style of intimate composition and economical and austere portrayal and therefore, at least on a theoretical level, it is possible to search for the broader scope of its conceptualization in selected works of the afore-mentioned artists. In subsequent generations of Florentine artists, the aesthetics of the depicted scene underwent slight variations. The fact that the Košice Madonna and Child shows no response to these aesthetic changes is surprising especially when we consider that the specific generation of artists such as Andrea del Verrocchio, Benedetto da Maiano and Gregorio di Lorenzo are associated with the development of the Renaissance at the court of the Kingdom of Hungary. The existence of a workshop in Košice producing luxury ceramic goods of which the discovered relief mould forms a part can be dated to the first and second decades of the 16th Century. The mould could have formed part of the equipment of an itinerant Italian craftsman or possibly a local artist with direct working experience of Italy. It is apparent that in his attempt to imitate original works, the artist has chosen to fall back on one of the archetypes of the genre rather than to build on the aesthetics of the depiction of the scene which were typical of the period in which many Italian artists were active in the workshops of the Hungarian court.

CS

Studie se věnuje mimořádnému archeologickému nálezu reliéfní hliněné formy s motivem Madony s dítětem z Košic. Artefakt je pozoruhodný pro neobvyklý výskyt. Konečným produktem formy je reliéf z terakoty nebo štuku, který byl posléze instalovaný v interiérech i exteriérech sakrálních i světských budov. To obrací pozornost na oblast renesanční Itálie a při dalším přiblížení na Toskánsko a Florencii. Studie identifikuje možné ideové a kompoziční předlohy košického nálezu přímo v prostředí renesanční Florencie a objasňuje způsoby, jakými se mohly dostat na území uherského království v druhé polovině 15. a na počátku 16. století. Základní kompoziční modely zobrazených postav najdeme už v díle tří hlavních tvůrců tzv. první generace, Ghibertiho, Donatella a Lucy della Robbia. Lze u nich také najít větší jednoduchost, lehkost a úspornost výrazových prostředků. Intimní kompozice a strohý charakter vyobrazení má i košický nález, proto škálu jeho předloh, aspoň v ideové rovině, je možné hledat i ve vybraných dílech zmíněných tvůrců. V následujících generacích florentských umělců se estetika zobrazovaného tématu jemně mění. To, že košická Madona s dítětem na změněnou estetiku nereaguje, je překvapivé zejména proto, že právě generace Adrey del Verrocchia, Benedetta da Maiano či Gregoria di Lorenzo je spjata s rozvojem uherské dvorské renesance. Existence košické dílny na výrobu luxusního hrnčířského zboží, jehož součástí byl i nález reliéfní formy, je datovaná do období prvního a druhého desetiletí 16. století. Forma mohla být původně součástí výbavy putujícího italského mistra, případně domácího mistra s italskou zkušeností. Je zjevné, že se ve snaze napodobit originály obracel spíš k jednomu ze žánrových archetypů a nenavazoval na estetiku ztvárnění výjevu, jaká byla běžná v době, kdy v uherských dvorských dílnách pracovalo mnoho umělců z Itálie.

4

Z podróży włoskiej. Fra Angelico .Wniebowzięcie – o nieznanym wierszu Marii Konopnickiej z cyklu „Madonna”

89%

Zwolińska A.

Colloquia Litteraria

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2023

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vol. 34

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issue 1

127-145

EN

The article admonishes a forgotten and poorly recognised poem by Maria Konopnicka entitled „Fra Angelico. Wniebowzięcie”, which was first published in „Biblioteka Warszawska” in 1898 with the poet’s annotation: „Z cyklu Madonna”. Konopnicka included the above-mentioned lyrical cycle in the poetic volume „Italia”. The author of the article insists on a reminder of the poem and puts forward research hypotheses concerning possible reasons for konopnicka’s resignation from the „Fra Angelico. Wniebowzięcie” lyric in the „Italia” volume published in 1901. This work is not mentioned by „Nowy Korbut”, nor by Jan Czubek in his edition of the poet’s works - it can therefore be considered an unknown poem by Maria Konopnicka.

5

Historia i znaczenie ryngrafu

89%

Wasilewska J.

Archiwa, Biblioteki i Muzea Kościelne

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2011

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vol. 95

349-358

6

„Matka Boska w śmiech parschła”. Agon ukryty?

71%

Rzepniewska A.

Prace Filologiczne. Literaturoznawstwo

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2020

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issue 10 (13)

67-82

EN

In the poem under discussion, [“Nie to człek duchowny, podług Zana słów...”] [“Ney he is a spiritual man, according to Zan’s words”] by Juliusz Słowacki, the name and surname of Adam Mickiewicz is not mentioned; nevertheless, subtle references indicate that the work may be an ironic statement about him. The article situates it in relation to other references to Mickiewicz in Słowacki’s works and reveals the layers of references to art, under which one can look for a hidden antagonism between the artists. The analysis stems from the conviction that Słowacki used the paintings of Our Lady of Częstochowa and Raphael’s Madonna in a polemical manner. The juxtaposition of two religious attitudes towards these objects could serve to show the differences between him and Mickiewicz in their approach to art and poetry.

PL

W wierszu [Nie to człek duchowny, podług Zana słów...] Juliusza Słowackiego nie pada imię ani nazwisko Adama Mickiewicza, niemniej subtelne nawiązania wskazują, że utwór może być ironiczną wypowiedzią na jego temat. Artykuł sytuuje ją na tle innych odniesień do Mickiewicza w twórczości Słowackiego i odsłania warstwy nawiązań do sztuki, pod którymi można się doszukiwać ukrytego agonu między twórcami. Analiza wyrasta z przekonania, że Słowacki posłużył się obrazami Matki Boskiej Częstochowskiej i Madonny Rafaela w sposób polemiczny. Zestawienie dwóch postaw religijności wobec tych obiektów mogło mu służyć do ukazania różnic między nim a Mickiewiczem w podejściu do sztuki i do twórczości poetyckiej.

7

La Passione di Cristo in una sceneggiatura delle orgini di Frate Jacopone da Todi

38%

Rella A.

Colloquia Theologica Ottoniana

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2014

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issue 2

225-242

IT

Senza dubbio la sacra rappresentazione Donna de Paradiso di Jacopone da Todi, vero e proprio capolavoro ispirato, con la sua scrittura-sceneggiatura sembra anticipare di secoli quella del teatro moderno ma soprattutto quella cinematografica. Siamo persuasi che Jacopone da Todi abbia scritto Donna de Paradiso suggerendone una visione, trasformando continuamente il linguaggio letterario in linguaggio visivo. La scrittura del Frate a nostro giudizio reca in se la cifra della scrittura della settima arte, ovvero avere nella sua ‘visibilità’ la sua qualità principale e nell’‘azione’ la sua specificità, di quella che Italo Calvino defi nito “cinema mentale”. Al pari degli autori che nel secondo dopoguerra misero in scena l’alienazione dell’uomo contemporaneo, Jacopone attraverso i suoi dialoghi- monologhi, ridotti al minimo, mostra l’angoscia, la solitudine e l’impossibilità di comunicare di una madre straziata dal dolore per quanto accade al proprio figlio. Gli spettatori- lettori non potevano nel Medioevo, e non possono oggi, non lasciarsi colpire dalla singolare forza di evocazione visuale della passione, dalla qualità violenta e “incarnata” della sua rappresentazione.

PL

Niewątpliwie Donna de Paradiso Jacopone da Todi to prawdziwe arcydzieło, które wydaje się inspirować nowoczesny teatr oraz, przede wszystkim, scenarzystów filmowych. Jestem przekonany, że Jacopone sugeruje nam „wizję”, nieustannie przekształcając język literacki na język wizualny. Tekst mnicha, w mojej opinii, ma w sobie istotę pisma „siódmej sztuki”, czyli mając „widzialności” jako pierwszą cechę i „akcję” jako jego specyfikę, wskazuje na to, co Italo Calvino nazywał „kinem psychicznym”. Podobnie jak autorzy tworzący po II wojnie światowej, u których występuje alienacja współczesnego człowieka, poprzez dialogi-monologi zredukowane do minimum Jacopone pokazuje cierpienie, samotność i brak możliwości komunikowania się cierpiącej Matki. Słuchacze-czytelnicy w średniowieczu nie mogli, podobnie jak dzisiaj, pozostać obojętni wobec wizualnej aluzji do Pasji, do przemocy zawartej w jej prezentacji.

EN

Undoubtedly Jacopone da Todi sacred representation Donna de Paradiso, a true inspired masterpiece, by reason of its writing seems to anticipate the modern theater script but especially the movie screenplay. We are convinced that Jacopone wrote Donna de Paradiso suggesting us a vision, persistently transforming the “literary language” into “visual language”. The writing of the Friar in our opinion contains the essence of the Seventh Art writing, it has the ‘visibility’ as first quality, and ‘action’ as its specifi city, it is that which Italo Calvino called “mental cinema”. Like the authors that after World War II staged the alienation of modern man, through his dialogues-monologues, reduced to a minimum, Jacopone show the anguish, loneliness and the inability to communicate of amother who is suffering for her own child. The audience-readers in the Middle Ages could not, and cannot today, do not be struck by the singular power of visual evocation of the passion, by the violent ‘embodied’ quality of its representation.

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