Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 12

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  BAROQUE ART
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

HANDKE'S SKETCH IN THE STRAHOV PICTURE GALLERY AND THE PAINTING IN THE OLOMOUC CORPUS CHRISTI CHAPEL

100%
Madl M.
Umění (Art)
|
2006
|
vol. 54
|
issue 6
504-512
EN
The article sheds light on the subject and attribution of the sketch in the collection of the Royal Canonry of Premonstratensians at Strahov (oil, canvas, 100 x 70 cm, exhibited at the National Gallery in Prague). For a long time, the sketch was considered to be the work of Václav Vavrinec Reiner. It is, however, a ricordo connected with the painting decoration of the Corpus Christi Chapel, which is part of the former imperial boarding school in Olomouc. The painting decoration of the chapel was executed in 1728 by the Olomouc painter Jan Krystof Handke (1694-1774), who also produced the sketch. The painting represents the celebration of the Blessed Sacrament and a motif from the legend of the miraculous victory of Jaroslav of Sternberk over the Tartars in the battle at Olomouc. As has already been noted, the Jesuits helped to popularise the legend; they also added to it the motif of the miracle of the Eucharist. Yet it seems that it was Spanish members of the Olomouc college of the Society of Jesus who, as early as 1600, adapted the Eucharist motif of the medieval legend from the Aragon city of Daroca to the Olomouc setting. They thus clearly hoped to incorporate the Moravian legend into the context of other Eucharistic miracles, which occurred around the middle of the 13th century in various remote locations in Europe and which led to the establishment of Corpus Christi Day in 1264. The choice of motif for the decoration of the chapel, emphasising the importance of holy communion, also celebrates chivalrous honour and valour. It may have been influenced by the contemporary debate about the future of the Jesuit boarding school, which was waged in Olomouc in the 1720s, in connection with the founding of the new academy of the Estates.
2

FOUNDING ACTIVITY OF BORIS AND PETER GALITZINE ON THE EXAMPLE OF SELECTED CHURCHES (Dzialalnosc fundacyjna Borysa i Piotra Golicynow na przykladzie wybranych cerkwi)

100%
Pospiszil A.
Ikonotheka
|
2008
|
vol. 21
189-202
EN
Among the innovative and unique churches built on the turn of 17th and 18th century in submoscow manors - four were erected by the brothers Boris (1651/54-1714) and Peter Galitzine (1660-1722). Boris, founded in his estate Dubrovitsy one of the most amazing churches ever built in Russia – the church of the Sign of the Mother of God (1690-1704), composed of four trefoils and three-storeyed tower crowned with metal crown. The exterior is adorned with statues of the apostles, evangelists, doctors of the church and angels. The whole surface is rusticated and covered with ornamental relief. Internal stuccoed decoration is composed of nine horizontal and one vertical zones. The small church of the Sign in Perovo built by Boris' brother, Peter Galitzine, has almost analogical decoration of the attic as in Dubrovitsy, but also had borrowed from the newly rebuild church of the Peter the metropolite in the Vysokopetrovsky monastery in Moscow. The second church erected by Boris Galitzine in Marfino - has some similarities with the Dutch architecture. It is also one of the first Russian examples of using the Palladian motive of the triangular frontispiece supported by four pilasters. Non-surviving church of St. Sergius in Khotminki was, once again, a rare example of rotonda. There were only three rotondas in Russian church architecture of this period (the Cathedral in the New Jerusalem Monastery, and Italianate church of the Nativity of the Mother of God in the Podmoklovo founded by a Russian ambassador to Poland, prince Dolgorukov, and built between 1713-23). The founders of those buildings were attempting to introduce the new types of central plan to the Orthodox architecture: rotondas, churches composed of: 8 or 12 conchs, Greek cross with inscribed circle or with trifoliate arms. For the first time in the history of Russian architecture such a number of non-canonical, Catholic and even profane iconography was used inside the Orthodox church. The church in Dubrovitsy is also one of the two churches with the exterior statues (the other is again the church in Podmoklovo).
3

“HIC JASON NOVUS INCOLA JASOVIANAE PHOEBUS ADOREAE“ – EINIGE BEMERKUNGEN ZUM IKONOGRAPHISCHEN PROGRAMM DER BIBLIOTHEK VON JASOV

100%
Balážová B.
ARS
|
2014
|
vol. 47
|
issue 1
70 – 83
EN
The Jasov monastery library, which originally contained more than 80,000 volumes, represents the only partially preserved baroque monument of this type today in Slovakia. Although the current library furnishings including racks and metal gallery frames dates back to the end of the 19th century, the original library hall with vault fresco paintings, completed in 1776 by the painter Johann Lucas Kracker (1719-1779), has been preserved. The vault fresco of the monastic library was completed on July 2, 1776, ten years after the sanctification of the Premonstratensian Church of St. John the Baptist. The fundamental iconographic framework of the Jasov library frescoes was based on the vault frescoes of the main hall (Prunksaal) of the imperial library in Vienna (Hofbibliothek) realized in the years 1726-1730 by Daniel Gran (1694-1757), following the libretto by Conrad Adolph von Albrecht, and celebrates mainly Andreas Anton Sauberer, the first abbot of Jasov.
4

REMBRANDT VAN RIJN AND MICHAEL WILLMANN, OR A STORY OF DISPELLING A CERTAIN MYTH (Rembrandt van Rijn i Michael Willmann, czyli historia upadku pewnego mitu)

100%
Koziel A.
Rocznik Historii Sztuki
|
2008
|
vol. 33
153-176
EN
The article presents a new interpretation of artistic relation between Rembrandt van Rijn and Michael Willmann (1630-1706), the greatest Silesian painter in the age of Baroque, who came for education to Amsterdam around 1650. The author shows how a myth of Willmann as 'Silesian Rembrandt - the pupil and follower of the master of Amsterdam was created in 19th- and 20th-century literature. On the basis of a new reading of the biography of Willmann published by Joachim von Sandrart in 1683 in the Latin edition of 'Teutsche Academie der Bau-, Bild- und Mahlerey-Knste' and an analysis of the series of twenty prints by Josef Gregory, carried out in 1794-1795 after Willmann's drawings - the most probable documentation of the artist's education in Amsterdam - the author tries to revise the myth and reconstruct a real role Rembrandt and his art played not only in the education of Willmann, but also in his later artistic activity (drawings, paintings and etchings). In conclusion the author states, that Willmann did not follow the Rembrandtesque inspirations because the Italian art was an artistic ideal for him. Unfortunately, not having enough money Willmann could not go to Italy to provide full artistic education for himself. It was Willmann's life defeat and the painter was aware of lacks in his artistic education till the end of his life (Polish Summary).
5

“DELUDAT OCULOS”. DIE DECORATION DER JESUITENKIRCHE ZU SZÉKESFEHÉRVÁR

88%
Jernyei-Kiss J.
ARS
|
2014
|
vol. 47
|
issue 1
51 – 61
EN
The Jesuit Church in Székesfehérvár was ordained in 1756. The man, who significantly influenced its construction and the creation of interior decoration, was father Anton Vanossi, who lived in Vienna as deputy of the superior general of the Austrian Province of the Jesuits. The individual scenes follow a hierarchy, whereby the system presents a conscious strategy of the Jesuits, who tried to depict multiple levels or grades of contemplation to the believers. The paper analyses the question of how and whether can be connected the aesthetic and religious experience in the perception of a painted defined sacred space.
6

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

88%
Gamerith A.
ARS
|
2014
|
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.
7

JOHANN BAPTIST RANGER − BIBLICAL NARRATIVES AND THEIR PICTORIAL SOLUTIONS IN THE PAULINE MONASTIC CHURCHES OF REMETE AND LEPOGLAVA

88%
Repaniċ-Braun M.
ARS
|
2014
|
vol. 47
|
issue 1
40 – 50
EN
Johann Baptist Ranger (1700 – 1753), was Pauline lay-brother and one of the most important artists of the first half of the 18th century in Croatia. He approached through his illusory painting north western Croatia to the Central European baroque art. Despite the fact that several of his most precious works can be found in parish or pilgrim churches, Ranger’s most important compositions are those inspired by the biblical story, and located in the Pauline monastery churches, currently parish churches – the Church of St. Mary in Lepoglava (1733 – 1743) and Church of the Assumption in Remete (1745 – 1748).
8

„DIRECTOREM ARTIFICIS DEUM CONTUENS IN OPERIBUS MANUM HOMINUM GLORIFICARE“ – ZEITGENӦSSICHE REZEPTION DER BAROCKEN DECKELMALEREIEN DER WALLFAHRTSKIRCHE ŠAŠTÍN

88%
Serfӧzӧ S.
ARS
|
2014
|
vol. 47
|
issue 1
62 – 69
EN
The author analyses the texts (source material) in relation to the contemporary reception of baroque wall paintings in the historic Hungarian Kingdom. At present there are known only a few relevant sources, especially theological interpretations and texts presenting aesthetic perception of the image in the liturgical space. One of these works is a chronicle of the Hungarian province of the Pauline order. This manuscript (kept in Országos Levéltár Budapest) includes the aesthetic and theological reflection from 1754 on the chancel vault frescoes of the Pauline pilgrimage church in Šaštín. The author combines three essential elements of ancient, trident and mannerist art theory: the concept of the Divine origin of artistic ideas; the idea of an art work, able to visualize God's majesty and initiation of piety.
9

BAROCKE KONZEPTE, ENTWŰRFE UND BESCHREIBUNGEN VON WANDMALEREINEN IN DEN JESUITENKIRCHEN UND – KOLLEGIEN DER BӦHMISCHEN JESUITENPROVINZ

88%
Oulíková P.
ARS
|
2014
|
vol. 47
|
issue 1
16 – 26
EN
The typical conceptualisation of baroque art was evident even in the art of the Jesuit order. The most famous and first theologically coherent program of temple decoration was realized in the mother church of Il Gesù in Rome. The decoration programs of other order churches, e.g. the first program of the St. Ignatius church in Prague's New Town were designed also equally consistently. The pre-phase of creating wall paintings in Jesuit buildings wasn’t different from other sacral or profane realizations. The suitable theme, iconographic-iconological concept, was generally created by the sponsor or his artistic advisors. The specific source of the Jesuit order is the annual reports, or Litterae annuae. In them, although usually appear only information about completing the painting by "skilled brush", or that the work was made by an artist, but despite of this, the annual report may be the only source of information on works already extinct.
10

SV. JOSEF KALASANSKÝ, KARDINÁL DIETRICHSTEIN A DOMINIK À JESU MARIA (DOMINGO RUZOLA). POZNÁMKA NA OKRAJ FRESKOVÉ VÝZDOBY KOSTELA PIARISTŮ V PRIEVIDZI

75%
Pavel Š.
ARS
|
2010
|
vol. 43
|
issue 1
24-38
EN
Via analysing the fresco decoration of the Piarist Church in Prievidza by Viennese painter Johann Stephan Daniel Bopovsky-Bujak (1751 - 1753), the paper takes a closer look at the activities of the Piarist Order in Central Europe, beside the Jesuits the second most prominent educational order of the Counter Reformation, established by St. Joseph Calasanz in 1597. The early arrival of the order in the Czech Lands (Mikulov, 1631), invited by Francis of Dietrichstein, Olomouc Archbishop and later Cardinal, and Slovakia (Prievidza, 1666) - earlier than in Germany or Spain - is answerable by the friendship of the Aragonian saint with the cardinal, and by their contacts with blessed Domingo Ruzola, an important figure in the Battle of the White Hill (1620).
11

„HISTORISCHE BESCHREIBUNGEN“ VON MAULBERTSCHS FRESKEN IN DYJE, LOUKA UND STRAHOV: EINIGE BEMERKUNGEN ZUR BEZIEHUNG ZWISCHEN TEXT UND BILD

75%
Šeferisová Loudová M.
ARS
|
2014
|
vol. 47
|
issue 1
84 – 92
EN
The contemporary printed descriptions published in the second half of the 18th century in Premonstratensian monasteries Louka near Znojmo and Prague-Strahov to the wall paintings of Franz Anton Maulbertsch (1724-1796), are not unfamiliar in art history. They have been used mainly as an invaluable source for reconstructing iconographic programs of Maulbertsch’s disappeared frescoes in the refectory and library hall in Louka monastery. But these texts may be examined also separately, in terms of the method of their content statement, relation to the wall paintings, or their functions and receptions.
12

‘ICONOMYSTICISM’ OF JACOB MASEN AND DECORATION OF PILGRIM CHURCH AT HOLY HILL NEAR OLOMOUC

75%
Mádl M.
ARS
|
2014
|
vol. 47
|
issue 1
4 – 15
EN
The article is devoted to the theoretical emblematical work of the German Jesuit Jacob Masen, who in his book Speculum Veritatis Imaginum Occultae, offered a sophisticated system and comprehensive interpretation of "figurative" (metaphorical) image. The book was apparently well known to the learned Olomouc Augustinian and painter Martin Antonin Lublinsky (1636-1690). Lublinsky designed the painting decoration of the Pilgrim Church of the Visitation at the Holy Hill near Olomouc, which has been brought into effect according to his artwork, around 1675 by the Italian painter Giacomo Tencalla (1644-1689). Some of the ceiling paintings reproduce literary emblems from the book of Jacob Masen. The major part of the emblematic paintings in the church is designed new, but in compliance with Masen’s theory of figurative images.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.