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1

Michael Foucault in front of Velazquez's painting. Between the illustrative and cognitive functions of a paiting

100%
Kociuba M.
Przegląd Kulturoznawczy
|
2007
|
vol. 1
|
issue 2
42-61
EN
The article is an analysis of the essay by Michael Foucault included in 'The Order of Things'. A question is posed whether Velazquez's painting is mentiones as an illustration of well known theses which were formulated earlier on the basis of a purely linguistic discourse, or whether it rather makes a functionally indispensable fragment of a complete conceptual construction. An attempt to answer this question, undertaken in the present work, aims at determining certain general properties of condition based on a linguistic discourse and a kind of 'pictorial' cognition. The fundamental difference is that the nature of cognition which refers to the language is successive, temporal and performative (though not in the sense understood by J.L. Austin), whereas pictorial cognition is holistic, embracing a number of elements simultaneously and, as a result, is situated as if beyond time. Michael Foucault states that we see cannot be adequately expressed by what we say, yet he still takes up an effort of describing Velazquez's painting and, what is more, his description becomes the key to the whole book. Paradoxically, a linguistic analysis of a painting, previously regarded as impossible, introduces the reader into the problems of double representation. The present work proposes a thesis that, apart from the annihilation of the subject, Foucault destroys the sphere of the object as well. Paraphrasing Poper, one might say that Foucault talks about presentation without the representing subject. The disapperance of subject may be compared with implementing the Buddhist principle of non-substantiality. Foucault's epistemological considerations thus refer to a discourse which has distinct brahmanical featueres. The disappearance of the subject is accompanied by the disapperance of reality. What is left is a representation without the represented reality. Foucault uses the painting by Velazquez to illustrate its inner self-reference which reaches an absolute limit and becomes an independent reality. Foucault doesn't want to make a speech for us, but he wants to disappear in stream of the language revealing its own energy. The answer to the initial question is not unambiguous. On the one hand Foucault uses Velazquez's painting in a rather instrumental way and treats it as an illustration of some linguistic game, an illustration of an operation carried out on symbols, yet on the other hand he comes to a reflection on a double representation in whose context Velazquez's work becomes a more formal tool of analysis. The considerations upon the order of things, words and pictures presented by Foucault in 'Las Meninas' are situated in the limits of a broad conceptual horizon which marks the idea of representation. It makes the widest context and all symbolic structures, pictorial presentations or symbolic systems are closed within this horizon. Thus the opposition of words and images fades into the background and is partially blurred in the universal space of representation
2
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HESSE V ARKÁDII (CHARAKTERISTIKA VÝTVARNEJ ČINNOSTI LITERÁTA HERMANNA HESSEHO)

100%
Migašová J.
ESPES
|
2015
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vol. 4
|
issue 1
39 – 46
EN
The paper deals with the auxiliary field of Hermann Hesse work – fine art. Particular parts of the text map, analyse and interpret his fine art expressions. They are interpreted in the context with contemporary, developing German expressionism as well as in comparison with his literary language. Methods chosen for interpretation of his work are iconography analysis and psychology of depiction.
3

ORIGINS OF THE RIGA GROUP OF ARTISTS (Rigas makslinieku grupas sakums)

100%
Lamberga D.
Materiali Latvijas makslas vesturei
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2004
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vol. 4
122-130
EN
Both outstanding creative personalities and groups of like-minded contemporaries have had a lasting significance in art history. When in autumn 1919 the Latvian Ministry of Foreign Affairs invited creative individuals to attend a meeting about culture propaganda abroad, artists started to form several groups to defend their interests. The radically minded young generation - Gederts Eliass, Jekabs Kazaks, Oto Skulme, Romans Suta, Niklavs Strunke, Valdemars Tone and Konrads Ubans - united In the Expressionists' Group. But as these 'Expressionists' knew very little about the essence of this German movement, they renamed themselves the Riga Group of Artists in early 1920. In 1919 Riga Commandant's Office permitted artists in service to stay in Jekabs' Barracks where the Riga Art School was housed until 1915. Possibly the memorable stay in the former school premises inspired to name the group. The first exhibition of the Riga Group of Artists was opened at the Riga City Art Museum on 7 March 1920. The catalogue introduction stated that all the last years had been really tragic for art, artists having to practise great endurance and self-sacrifice to fight poverty and public's indifferent attitude. The 'Rigans' confidently declared their credo: 'It is no the objective external nature that we wish to show in our works now, but our individual nature, our spiritual essence.' The exhibition dominated by search for formal synthesis marked a radical turn in Latvian painting, attesting to redefinition of historical values. Several artists of the older generation had antagonistic attitude towards the young artists' experiments they considered incomprehensible. On 22 October 1920, Janis Roberts Tillbergs and Rihards Zarins organised a lecture at the Riga Latvian Society, aiming to slander the 'Expressionists' in the public's eyes. The intention was to show how easy it is to create collectively after the latest fashion without inner confidence and to demonstrate these works' inner vacuity and lack of value. Members of the Riga Group of Artists took this scandal to heart; it turned out fatal to Jekabs Kazaks because his tuberculosis grew worse rapidly. The early years of the Riga Group of Artists turned out unexpectedly tragic because it lost two exceptional personalities in 1920 - the Paris-based artist Jazeps Grosvalds and Jekabs Kazaks. The creative work of the Riga Group was clearly remarkable against the general background of Realism.
4

PETER MICHAL BOHÚŇ A JEHO SAKRÁLNA TVORBA: STRATÉGIE A REALITA

100%
Beňová K.
Slovenská literatúra (Slovak Literature)
|
2023
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vol. 70
|
issue 1
95 – 104
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.
5

INTERPRETÁCIA – MAĽOVANIE – POZOROVANIE. MAĽBA RASTISLAVA PODOBU: POZOROVANIE

100%
Šedík M.
ARS
|
2023
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vol. 56
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issue 1
63-71
EN
The paper analyses mutual relationships between three processes from the title on the example of three paintings by Slovak painter Rastislav Podoba. The analysis of the painting Observation from 2011 leads to the need for a deeper examination of the character of relations between observation, painting, and interpretation. The central problem is the problem of observation which leads to questioning the place and the role of theoretical reflection in the creation, experience, and perception of the work of art. The standard philosophical approach to interpreting as an ascription of meaning is questioned. Finally, the paper proposes a different approach to interpretation that could better explain running processes in analysed works.
6

NATURAL SIGN AND PAINTING

100%
Salwa M.
Studies in Logic, Grammar and Rhetoric
|
2009
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issue 15(28)
221-232
EN
The author discusses philosophical context of arts on the example of natural sign and painting, underlying the fact that today, when aesthetics is a well grounded philosophical discipline, one tends to forget that before this discipline emerged in an explicit way, intersections between visual arts and philosophy had been rare.
7

“PICTOR DOCTUS?” – FRAGEN ZUR IKONOLOGISCHEN KOMPETENZ PAUL TROGERS ANHAND DES ZWETTLER CONCEPTUS PINGENDI

88%
Gamerith A.
ARS
|
2014
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vol. 47
|
issue 1
27 – 39
EN
The case of conceptus pingendi in Zwettl, which contains several differences between text and image media, calls attention to the problem of a questionable authorship of content concepts of the frescoes, respectively the question of its definitive confirmation. Exactly the "spontaneity" in the implementation of the paintings in the library of Zwettl reminds to the fact, that the possible authority, competence or responsibility for the intellectual concept of the work, is to be interpreted with respect to the concrete executive artist, in this case Paul Troger.
8

Український і польський сюрреалізм: національна специфіка у наднаціональному контексті

88%
Давидова-Біла Г.
Slavica Wratislaviensia
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2010
|
vol. 152
35-42
EN
The article investigats interaction between Ukrainian and Polish surrealism in 1920–1930, features of the creative contribution to development of the general surrealistic ideas. It also compares the activity of the Polish-Ukrainian literary associations of 1920–1930s with French circle and defines dynamics of development of basic principles of poetics – the automatic letter, “an objective case”, a mythological component in surrealism structure. Unlike the French surrealism which in 1920–1930s has concentrated the problematic round ideology, the Ukrainian version of this direction, since the origin, was essentially nonpolitical. The presented research puts one of the problems – comparison of ideological base of the Ukrainian and Polish versions of surrealism (in painting and literature) with understanding of the avant-garde syncretism.
9
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Epitafní obraz s Alegorickým ukřižováním ze sbírek Slezského zemského muzea a manýristické malované epitafy českého Slezska

88%
Jakubec O.
Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)
|
2010
|
vol. 1
|
issue 1
41-54
EN
The contribution focuses on the file of late Renaissance painted epitaphs from the historical territory of the so called Bohemian Silesia, though there is a range of monuments of unclear provenience. Nevertheless, they can be connected with Silesian environment being connected with specific iconography comprising mainly the motive of Allegorical Crucifixion. This unequivocally points at commemorative and representative monuments as well as peculiar 'confessional media', referring about the confession of its customers. Therefore it appears that so far used predominantly formally-analytical approach to these problems requires also examining even the complex social background of epitaph monument, which often speaks in their iconographic themes with distinct confessional language.
10

ROLE REPREZENTACE V DELEUZOVE MYSLENÍ O MALBĚ

88%
Sluková T.
Filozofia (Philosophy)
|
2014
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vol. 69
|
issue 1
77 – 88
EN
Deleuze’s critical reading of Bacon foregrounds the relationships between representation and interpretation, thus making Deleuze’s concepts applicable to the philosophical reflexion of the theory of painting and its communication potential. Therefore, the chief objectives of the paper are to understand the rhizomatic thinking in the perception of the artwork and to emphasize the problem-riddled nature of the relationship between representation and interpretation in the works of Gilles Deleuze. The comparison of two actual texts should demonstrate that Deleuze’s efforts to use the rhizome concept in order to transcend representation are doomed when limited to the level of immanence. Thus a far more fundamental topic appears – that of the relationship between the level of immanence and the level of consistence.
11

'BATHING BOYS' IN JOHANN WALTER'S PAINTING ('Peldetaji zeni' Jana Valtera gleznieciba)

88%
Abele K.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
66-77
EN
To illustrate the interest of turn-of-the-20th century painters in the biological aspects of human existence, growing processes and the spring of life, Latvian art history literature usually offers two vivid examples from the collection of the State Museum of Art 'Jubilant Children' (190 I) by Janis Rozentals (1866-1916) and 'Bathing Boys' (c. 1900) by Johann Waiter (1869-1932), a Latvian-born artist of German origin who changed his last name to Walter-Kurau after the move to Germany in 1906 but is usually called Janis Valters by Latvians. In an earlier publication, I have already interpreted the first of these pictures as part of a bucolic line in Rozentals' creativity that brought him from an impressive painterly symbiosis of spring awakening in nature and human life to the velvety sensuousness of his 'Sun Maidens' (1912) featuring the transformation of a typically impressionist love of light into a sort of mystical sun-dreaming. The present paper in turn explores the artistic progress of Walter's life-long fascination with the interplay of light and water in his numerous versions of 'Bathing Boys', painted between c. 1900 and 1926 in Latvia and Germany. Beside the above-mentioned treasure of the State Museum of Art - one of the most beloved pictures by several generations of Latvians - this part of his heritage includes the masterly 'Boys near Water' (c. 1900) at the Tukums Museum, a number of recently discovered private possessions and several reproductions of supposedly lost works. The first appearance of young bathers in his imagery coincided with the very height of the subject's international popularity. Bathing children were eagerly painted by Liebermann and Landenberger in Germany, Kroyer in Denmark, Edelfelt in Finland, Sorolla in Spain and numerous other artists all around Europe. Walter joined this company by sending one of his turn-of-the-century boy bathing scenes to the 3rd Exhibition of the Berlin Secession (1901) and the 4th Exhibition of the 'World of Art' In St. Petersburg (1902).
12

DIETRICH VON ZEITZ AND JOACHIM HENNING'S EPITAPH IN THE BAUSKA HOLY SPIRIT CHURCH (Ditrihs fon Ceics un Joahima Heninga epitafija Bauskas Sv. Gara baznica)

88%
Lancmane I.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
28-35
EN
The Bauska Holy Spirit Church houses a painted epitaph dedicated to Joachim Henning who died in 1677. At the turn of the 20th century the church had the largest number of painted epitaphs in Latvia, seven in total. In 1904 they were dismantled and relocated to the loft of the church where they had perished. (Some fragments were moved to the Latvian History Museum and the Rundale Palace Museum.) There were two artists' portraits painted on one of the carved frames but the text of dedication included their names 'Nicolaus Rabin from Lubeck and Dietrich von Zeitz from Hamburg'. It was the frame of the votive plate with a painted allegory of reward of the Virtue that the artists had dedicated to the church in 1665. The artists arrived in Bauska before I 665. Zeitz settled there to become the elder of the town in 1682, court official in 1702 and mayor in 1704. Nicolaus Rabin's name has been mentioned in documents only in 1665 and 1666. The votive plate and six epitaphs were created in the late 17th century. They featured a common artistic idea and technical treatment: painting with a Biblical subject enclosed by a painted and carved frame. They also were united by a common 'artistic style' The epitaphs can be attributed to Dietrich von Zeitz. The epitaph dedicated to Johann Georg Wittig aus Ohrdruff and his wife Elisabeth Magdalena Hering (1672) depicted the blind Tobit led by the angel Raphael, but patrons' portraits were painted on the frame. The Bauska mayor Daniel Buchholtz's epitaph (1676) featured a dedication at the centre and his portrait and coat of arms on the frame. The epitaph to the town council member Gotthard Vicke and Anna Koch (1672) showed a painted scene of Entombment of Christ. Johann Moller's and Elisabeth Pogg's epitaph (1694) depicted the Resurrection of Christ. Nicolaus von Brunnow's and Maria von Schoppingk's epitaph (1677) with the Crucifixion scene depicted the Brunnow family members at the foot of the cross.
13

A PORTRAIT OF THE ARTIST AS A YOUNG WOMAN: EVA MARGARETHE BORCHERT-SCHWEINFURTH IN THE ART LIFE OF RIGA IN THE EARLY 20TH CENTURY (Makslinieces portrets jauniba: Eva Margarete Borherte-Sveinfurte Rigas makslas dzive 20. gs. sakuma)

88%
Abele K.
Materiali Latvijas makslas vesturei
|
2004
|
vol. 4
105-121
EN
Although Eva Margarethe Borchert-Schweinfurth (1878-1964) has been repeatedly praised as the most interesting figure in the whole early-century Baltic German art of Latvia and Estonia, her reputation of the first lady in Riga art life by the World War I so far has not been based on detailed biographical investigations. To the deepest regret of the present-day State Museum of Art, Borchert-Schweinfurth's daring artistic statements, including her 1908 life-size self-portrait with a palette, are destroyed. With very few minor exceptions, it is exclusiveely from black-and-white reproductions of the Baltic Art Yearbook ('Jahrbuch fur bildende Kunst in den Ostseeprovinzen') that we now can learn something of this lost chapter in the local art history. Still a lot of press reviews, archive materials and other sources allow to reconstruct the artist's early career in a great detail, making this intriguing figure more real. Eva Margarethe Schweinfurth was the twelfth child of a wealthy Riga wine merchant, and her initial progress was similar to that of many other women artists of her class: Elise Jung-Stilling's Art School in Riga, drawing instructor's certificate from the St. Petersburg Imperial Academy of Art and several inspiring study years abroad, in Paris (1898, 1900 or 1901) and Munich (1901). Beside portraits, nudes, landscapes and interiors in oil, pastel, watercolour, various drawing materials and printing techniques, her first exhibitions included fantastic compositions suggesting a possible further development toward the fairy-land Symbolism of her future husband Bernhard Borchert's (1863-1945) work. In 1902 they married, and Eva Margarethe soon found her own true vocation in portraiture. Contemporary opinions about her mostly large-scale pastels and oil paintings of stately women images ranged from sheer admiration to resentment and rage. In about 1905-1910 Borchert-Schweinfurth visualised the spirit of modem womanhood in greatly impressive combinations of imposing attitudes with the 'vertical stripe manner', her bold Neo-Impressionist brushwork that marked the culmination of her creativity.
14

JOHANN WALTER AS A TEACHER AND THEORIST IN HIS BERLIN PERIOD (1917-1932) (Jana Valtera pedagogiska darbiba un teoretiskie uzskati Berlines posma (1917-1932))

88%
Abele K.
Materiali Latvijas makslas vesturei
|
2001
|
vol. 2
112-129
EN
On 9 April 1933, several months after Hitler's rise to power in Germany, a group of devoted pupils opened the memorial exhibition of Johann(es) Walter-Kurau at Victor Hartberg's in Berlin Charlottenburg. Newspapers published different opinions about the art of the late Baltic painter, but most critics agreed that he has been a beloved and influential teacher. The late, modernist paintings of the 'prodigal son' Johann Walter (1869-1932), usually named Janis Valters by Latvians, are some of the most fascinating exhibits of the State Museum of Art in Riga, although our knowledge about his life and work as Johann(es) Walter-Kurau in Dresden (1906-1916) and Berlin (1917-1932) so far has been very poor. Now much of this blank area may be covered by helpful references to recent publications about his Berlin pupils Otto Manigk (1902-1974), Karen Schacht (1900-1987), Else Lohmann (1897-1984), Hans Zank (1889-1967) and Willy Gericke (1895-1970) by German art historians striving to save several forgotten names from the undue obscurity of the 'lost generation', or art collectors wishing to gain their admission to prominent international sales. Alongside a number of archive materials, catalogues and German press publications, this eclectic, contradictory literature, ranging from fruits of enthusiastic life-long connoisseurship and trustworthy studies on particular women artists to deliberate art-historical fakes, allows us to reconstruct the history of Walter's busy Gervinusstrasse studio in Berlin-Charlottenburg, but a copy of the artist's manuscripts helps to understand the theoretic background of his mature views and creativity. Walter's own much admired authority as a great, generous man and a teacher par excellence was the Russian landscapist, professor Arkhip Kuinji (1841-1910). In his painting and theory, however, Walter drew inspiration from other sources, and his aim in the late 1920s and early 30s was the 'missing link between Impressionism and the abstract art of the day'.
15

WHAT DECONSTRUCTION IS NOT? (IS DERRIDA’S PHILOSOPHY BASED UPON HIS HASHISH CONSUMPTION?)

88%
Botev A.
ARS
|
2012
|
vol. 45
|
issue 1
49 – 55
EN
Atanas Botev, an artist active in the modern culture of south-eastern Europe, through references to regional and Western historical, political, and social landscapes conducts what might best be understood as a multimedia experiment: his art takes the audience into a hypnotic world where the great narratives – the history of the political and the history of the aesthetic – become immanent. This hallucinatory blow to the building of a universal academic structure acquires revolutionary features; and in the domains of the poetic, it glows with a perceptive amazement and a psychedelic shock.
16

Relacja i kolor

88%
Taranczewski P.
Kwartalnik Filozoficzny
|
2012
|
vol. 40
|
issue 2
5 - 23
EN
An "arrangement" usually means incidentally placing one thing next to another, for example, putting a chair against the wall. The chair put next to the wall is in a loose union with it. When putting a chair next to something we are not concerned with the relationships that can arise from the act of putting it there. The situation is different when we furnish an apartment. Then we are interested in the value of placing the chair next to the wall. In the artistic world the term "arrangement" refers to an artistically meaningful relationship between two colors in a painting. But artists do not feel the need to understand the term more precisely, for it belongs to the jargon of painting. The apparent ambiguity of the word is puzzling, so I try to understand what the arrangement of colors in a painting consists of, to unravel the technical sense of the word, relying especially on Roman Ingarden’s ontology.
17

ROBERT KONSTANTIN SCHWEDE - A HALF-FORGOTTEN NAME IN LATVIAN ART HISTORY (Roberts Konstantins Svede - piemirsts vards Latvijas makslas vesture)

88%
Smite E.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
65-70
EN
Painter Robert Konstantin Schwede's 200th anniversary is a good reason to present an overview of his creative career and to examine some of the problems that arise in this context. Artists with identical or similar surnames are often found in various sources of information; two painters usually appear under the name of 'Schwede' - Robert Konstantin Schwede (1806-1871) and his cousin Theodore (Fyodor Fyodorovich) Schwede (1819-?). Both are associated with the St. Petersburg Academy of Art where they obtained their artist's qualification. The same time span and links with the Academy have created a series of misunderstandings in encyclopaedic sources, publications and museum work with respect to the attribution of paintings. The situation becomes even more complicated because Theodore Schwede's brother Adelbert Schwede also took up painting. Considering the three above-mentioned artists, Robert Schwede has been most often associated with Latvia. As far as the author knows, of Robert Schwede's portraits only the 'Portrait of Maria Miln' is in Latvia (collection of the Latvian National Art Museum), but no sure facts are known about his landscapes. The majority of over 30 Robert Schwede's works are owned by the families of his progeny in Russia and Germany. These works are accessible to the author only in photographs, so any conclusions are fragmentary. Opinions on Robert Schwede start with Wilhelm Neumann's publications. Latvian art historian Janis Silins has described the artist more completely, as Karl Timoleon von Neff's contemporary and pupil but not his follower. Although Schwede adopted many techniques from Neff he did not follow him in the Raphael tradition.
18

FIRST STEPS IN MASTERING SOCIALIST REALISM: THE COLLECTIVE WORKING METHOD 1945-1955 (Pirmie soli socialistiska realisma apguve: Kolektiva darba metode 1945-1955)

88%
Konstante I.
Makslas Vesture un Teorija
|
2009
|
vol. 12
86-93
EN
On 13 October 1944 Riga once again became the capital of the Latvian Soviet Socialist Republic (LSSR). The political re-education of artists who now had to comply with tenets of Socialist Realism was resumed with new vigour. In 1934 the classical definition of the term was voiced at the 1st All-Union Writers' Congress - 'a truthful reflection of life in its historical and revolutionary development, national in form and socialist in content'. A wide gap opened up between normative idealisation and reality, involving a xenophobic opposition to Western art and literature LSSR Art Academy denounced apolitical, meaningless works which were to be replaced by 'true events from the life of the socialist country'. In 1950 the Artists' Union attempted to introduce team-work which had been known in the USSR since the start of collectivisation and socialist production. There were already numerous examples in Soviet art. The first collective work by Latvian artists was the decoration of the LSSR pavilion at the All-Union Agriculture Exhibition. Competitions were announced in 1951 and many teams were created as there was much interest in artists' circles with intrigues and fierce passions. However, when it came to the submission of sketches the number of approved artists declined significantly. Pathetic gestures in easel painting were far removed from the dramatic effect they attempted to convey and teams were unable to merge their approaches. Even if co-operation went smoothly, the outcome was far from satisfactory. Collectively created works sometimes emerged in later periods of Soviet art but they were no longer dictated by the state but by the artists' desire for commissions and solving some artistic problems more successfully.
19

VEDUTA POSSONIE – BRATISLAVY V PALAZZO VECCHIO VO FLORENCII A JEJ UKRYTÝ PRÍBEH

75%
Kvetánová I.
ARS
|
2016
|
vol. 49
|
issue 1
20 – 41
EN
One of the oldest images of Bratislava can be found in the first courtyard of the Palazzo Vecchio in Florence (Cortile di Michelozzo). The mural painting titled “Possonia” (today’s Bratislava) was part of the cycle representing the views of 17 cities of Habsburg monarchy, commissioned in 1565 by Cosimo de’Medici for the wedding between his son Francesco and Giovanna d’Austria, daughter of Ferdinand I of Habsburg. The cycle was executed by Sebastiano (Bastiano) Veronese, Giovanni Lombardi Veneziano, Cesare Baglioni Bolognese, and Turino di Piamonte. The Possonia mural painting in Florence was most likely inspired by this image, signed by Monogrammist “HM” and “MG” i.e. Leipzig-based painter and graphic artist Hans Mayr (Meyer), or Martin and Donat Hubschmann.
20

HISTORICKÝ KONTEXT A OBSAHOVÉ SÚVISLOSTI NIEKTORÝCH DETAILOV VEDUTY BRATISLAVY VO FLORENTSKOM PALAZZO VECCHIO

75%
Bada M.
ARS
|
2016
|
vol. 49
|
issue 1
42 – 49
EN
On the occasion of marriage of Francis I Medici and Joanna of Austria in 1565, a mural painting representing Bratislava as one of the capitals of the Habsburg agglomeration was executed in the courtyard of the Palazzo Vecchio in Florence. Compared to the original woodcut completed by the Monogramist “HM” (Hans Mayr?), the fresco shows many differences. The outlined questions and similarities clearly show that it is important to explore the chronology of origin, mutual inspirations and a possible transfer of individual elements among the leading Habsburg courts and artists.
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