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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

ERWÄGUNGEN ZUR INTERPRETATIONSMÖGLICHKEIT DER WANDMALEREI. AM BEISPIEL DER STANZEN IM VATIKANISCHEN PALAST

88%
Žuchowski T. J.
ARS
|
2011
|
vol. 44
|
issue 2
194-214
EN
The article analyses the so-called Vatican Stanze, an exceptional ensemble for researching the phenomenon of wall painting. Sala di Costantino, Stanza di Eliodoro, Stanza della Segnatura a Stanza dell’Incendio, painted mostly in the years 1508 – 1524, offers the possibilities to analyse individual paintings and decorative programs as well as the complicated relation among them.
3

THE MYTH OF EMPTY PREMISES, OR POLYCHROMY IN CHRISTOPH HABERLAND'S INTERIORS (Tukso telpu mits, jeb polihromija Kristofa Haberlanda interjeros)

88%
Strupule V.
Makslas Vesture un Teorija
|
2003
|
vol. 1
42-49
EN
The last quarter of the 18th century brought about great changes in the history of Riga. During these twenty five years many old Gothic houses with their narrow, high gables were replaced by lofty buildings of Classicism. Almost all this time the chief architect of the city was Christoph Haberland (1750-1803). In the 20th century the opinion prevailed that, besides the grand plastic decoration of the parade hall interiors in Haberland's buildings, the rest of the rooms have been sparsely, even poorly finished. Such a conclusion can be drawn because researchers have looked only at the plastic decoration of interiors that has better stood the test of time. However today the results of the architectonically artistic research allow to dispute such a viewpoint. The colour remnants have shown that a similarly grand impression was created on the plane - only by means of colour. Well-known examples of Haberland's plastic parade hall interiors of found in the houses at Skunu Street 17, Kungu Street 1 and Jaunavu Street 3. They have refined, abundantly detailed relief decors. In all these objects interiors give the impression of a classical temple rather than that of a living space. The main principles of Haberland's interiors are the following. The relief and painted decoration often supplement each other - like a painted column 'supporting' a real cornice. Another way of interaction - painted shadows increase the sculptural effect of relief details; the polychrome ornament can replace the relief and create the same impression of splendour. Most often the compositional scheme was based on the 'system of frames'. In living rooms or bedrooms it can appear in a pure way - with a separate part of socle and right-angled panel frames which mark out the upper part of the walls. In the rooms of representation this scheme could be supplemented with floral motifs or architectural details such as columns, pilasters and rich sopraporta compositions. For the most part, the substance of walls was emphasised by painted architectural decoration.
4

„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.
5

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.
6

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).
7

CYCLE OF FRESCOES IN THE FORMER CISTERCIAN PRESBYTERY IN CIEPLICE SLASKIE ZDROJ (POLAND). A NEW CONTRIBUTION TO ST. BERNARD OF CLAIRVAUX ICONOGRAPHY IN CENTRAL EUROPE IN THE BAROQUE PERIOD

75%
Kozieł A.
ARS
|
2013
|
vol. 46
|
issue 2
209 – 225
EN
In 2011, a sensational discovery was made in the former Cistercian presbytery in Cieplice Slaskie Zdroj (Warmbrunn), currently a district of the city of Jelenia Gora (Hirschberg) in Silesia: a collection of almost 90 baroque frescoes was discovered beneath layers of plaster. Among these was a cycle of estimated 54 paintings (only 26 were actually uncovered) dedicated to the persona of St. Bernard of Clairvaux. The renovation and partial reconstruction work conducted in 2012 revealed what is in all probability the most numerous set of painterly representations of the legend of Doctor Mellifluus in Central Europe. Moreover, the circumstances of the creation of these paintings throw new light on the baroque iconography of the Cistercian patron in the region.
8

LANDLADY FROM HELL. THE ICONOGRAPHY OF THE MEDIEVAL WALL PAINTINGS IN RIMAVSKÉ BREZOVO AND LIPTOVSKÉ SLIAČE

75%
Megyeši P.
ARS
|
2021
|
vol. 54
|
issue 2
170 - 177
EN
The text deals with the iconography of the medieval wall paintings in the churches in Rimavské Brezovo and Liptovské Sliače. Both of these paintings of female figures holding vessels and beset by demons represent the specific motif of a landlady or tavern keeper suffering in Hell. Depictions of the figure of the landlady in combination with demons can be found throughout medieval Europe from the early 14th century until the early modern period, and negative portrayals of the character appear in numerous literary sources of the period. The preserved paintings in Rimavské Brezovo and Liptovské Sliače are valuable evidence of eschatological concepts and the ways in which they were disseminated in the 14th and 15th centuries.
9

SUNT, UT ERUNT HORAE… ZUM SPÄTBAROCKEN UMBAU UND ZUR MALERISCHEN AUSSCHMÜCKUNG DER KOHÁRY SCHLÖSSER IN EBENTHAL UND ST. ANTON (SVÄTÝ ANTON)

63%
Barbara B., Jozef M., Medvecký J.
ARS
|
2010
|
vol. 43
|
issue 2
213-240
EN
The article focuses on two building projects commissioned by Count Andreas Joseph Koháry, an influential land owner and officer in the wars against Turks, in the first half of the 18th century - i.e. castles in Ebenthal, Lower Austria, and in St. Anton (Svätý Anton), Upper Hungary (today Slovakia). It touches predominantly the involvement of Viennese architect Johann Enzenhoffer and painter Anton Schmidt. Beside contemporary photos, the text is accompanied by reproductions of original designs.
10

“BIBLIOTHECA NOSTRA“. STUDIEN ZUR BAU- UND AUSSTATTUNGSGESCHICHTE DER BAROCKEN BIBLIOTHEK DES ZISTERZIENSERSTIFTES ZWETTL (NIEDEROSTERREICH)

63%
Telesko W., Haltrich M.
ARS
|
2013
|
vol. 46
|
issue 2
188 – 208
EN
The existing library building of the Cistercian Monastery in Zwettl (Lower Austria) was built relatively quickly after a previous building in the years 1730 to 1732 and then, after completion of the painting decoration by Paul Troger (1733), also furnished. The building process and the intentions regarding the library system are easy to follow thanks to archival – so far unpublished – sources. They will be fully reflected for the first time in the presented paper. The construction of the new library is likely to have to do with the aspirations of the ambitious and scientifically oriented Abbot Melchior Zaunagg, who might the viewed as the "Spiritus rector" of the painting decoration (Hercules myth).
11

MEMORIE BAROKNÍHO PRELÁTA NEBO REPREZENTACE RYTÍŘSKÉHO ŘÁDU? FRANZ ANTON MAULBERTSCH A HRADIŠTĚ SV. HYPOLITA/PÖLTENBERG U ZNOJMA

63%
Tomáš V.
ARS
|
2010
|
vol. 43
|
issue 2
241-258
EN
The remodelling and decoration of the provost St. Hypolyte Church in Hradiště/Poltenberg near Znojmo marks the final phase of the Baroque era building activities of the Knights of the Cross with the Red Star in Moravia. This unique artistic complex is dominated by a monumental wall painting by noted artist Franz Anton Maulbertsch and his collaborators (1776) depicting 'The Finding of the Holy Cross', an important iconographic theme in Austrian baroque piety (Fiducia in crucem Christi).
12

GOTTLIEB ANTON GALLIARTI INVENTOR. MALIARSKA VÝZDOBA KATEDRÁLY V NITRE A JEJ AUTOR

63%
Jozef M.
ARS
|
2010
|
vol. 43
|
issue 2
178-212
EN
The paper takes a closer look at the Late Baroque remodelling of the St. Emmeram Cathedral in Nitra, commissioned by Bishop Ladislas Adam Count Erdody and executed from 1710 to 1732, and especially at its wall paintings by noted artist Gottlieb Anton Galliarti. The text and figures guide us through general historical background, architectural development of the cathedral, Galliarti's activities in Nitra and abroad and finally concentrate on the frescos in the sanctuary of the Upper Church, in the Lower Church, on altarpieces, and on painter's inspirations and his work with models.
13

ARCHITECTURAL RESEARCH GROUP (AIG) (Arhitektoniskas izpetes grupa (AIG))

63%
Eglaja B., Strupule V.
Makslas Vesture un Teorija
|
2003
|
vol. 1
50-57
EN
The short insights focus on several projects of the company 'Architectural Research Group' that carry out reconstruction and restoration of historical buildings (manor houses, churches, castle ruins etc.) in Latvia. Kuksi manor house stands out by its polychrome painted interiors from the 19th century but Bervircava manor house is noted by its splendid baroque-style painted beams. In Riga significant values were discovered in the house at Liela Pils Street 21, featuring a decorated ceiling dated by early classicism, and Kalpaka Blvd 7 with a perfect ensemble of historicism with later art nouveau additions and neo-rococo elements from the 1920s.
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