This article examines a thesis print created in 1689 to announce the disputation of Othmar Daniel Zinke (1664–1738), member of the Benedictine monasteryof Břevnov-Broumov, at the end of his studies at the Archbishop's Seminary in Prague. It was engraved by Balthasar van Westerhout (1656–1728) after a model by Johann Jakob Steinfels (1651–1730). At that time Steinfels was at the start of his career as a fresco painter. The thesis print is dedicated to Zinke's patron, abbot Thomas Sartorius (1630–1700). The programme is developed around a portrait of the abbot with Divina Providentia, St Benedict, St Wenceslas, the two monastic saints Margaret and Adalbert. Sartorius' virtues are honoured by personifications with accompanying emblems (including specific Benedictine virtues such as Humilitas and Fides benedictina). His functions and activities are summarised emblematically, especially in the field of architecture as a client. The analysis of the iconography shows in an exemplary manner how fundamental knowledge of the historical context is when deciphering emblems and the thesis print as a whole. Finally, the print can be read as an early programme of Zinke's own ideas on the role of art and architecture in the post of abbot – from 1700 Zinke himself became abbot of Břevnov-Broumov.
本文研究了一份1689年发表的论文，该论文是由Břevnov-Broumov本笃会修道院的成员奥斯马尔·丹尼尔·津克(1664-1738)在布拉格大主教神学院学习结束时发表的。它是巴尔塔萨·范·韦斯特豪特(1656-1728)根据约翰·雅各布·斯坦菲尔斯(1651-1730)的模型雕刻的。那时，斯坦菲尔斯刚刚开始他的壁画画家生涯。这幅论文版画是献给辛克的赞助人，修道院院长托马斯·萨托里乌斯(1630-1700)的。该节目围绕着修道院院长与Divina Providentia, St Benedict, St Wenceslas，两位修道院圣人Margaret和Adalbert的肖像展开。萨托里乌斯的美德被赋予人格化的象征(包括具体的本笃会美德，如Humilitas和Fides benedictina)。他的职能和活动被象征性地总结，特别是在建筑领域作为客户。对图像的分析以一种典型的方式表明，在解读象征和论文印刷作为一个整体时，对历史背景的基本知识是如何的。最后，这幅版画可以被解读为Zinke自己关于艺术和建筑在方丈职位上的作用的早期计划——从1700年起，Zinke自己成为Břevnov-Broumov的方丈。
{"title":"\"Murenulas aureas Vermiculatas argento\" : das Thesenblatt zur Disputation von Othmar Daniel Zinke (1689) als Würdigung von Abt Thomas Sartorius und Verbildlichung benediktinischer Bau- und Ausstattungstätigkeit","authors":"Anke Schlecht","doi":"10.5817/oha2022-1-2-10","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-10","url":null,"abstract":"This article examines a thesis print created in 1689 to announce the disputation of Othmar Daniel Zinke (1664–1738), member of the Benedictine monasteryof Břevnov-Broumov, at the end of his studies at the Archbishop's Seminary in Prague. It was engraved by Balthasar van Westerhout (1656–1728) after a model by Johann Jakob Steinfels (1651–1730). At that time Steinfels was at the start of his career as a fresco painter. The thesis print is dedicated to Zinke's patron, abbot Thomas Sartorius (1630–1700). The programme is developed around a portrait of the abbot with Divina Providentia, St Benedict, St Wenceslas, the two monastic saints Margaret and Adalbert. Sartorius' virtues are honoured by personifications with accompanying emblems (including specific Benedictine virtues such as Humilitas and Fides benedictina). His functions and activities are summarised emblematically, especially in the field of architecture as a client. The analysis of the iconography shows in an exemplary manner how fundamental knowledge of the historical context is when deciphering emblems and the thesis print as a whole. Finally, the print can be read as an early programme of Zinke's own ideas on the role of art and architecture in the post of abbot – from 1700 Zinke himself became abbot of Břevnov-Broumov.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The painting Martin Středa as defender of Brno (Moravian Gallery in Brno) is the most monumental representation of the Jesuit Martin Středa / Stredonius (1587–1649), who won fame and the eternal gratitude of the citizens of Brno for his active participation in the defence of the city during the four-month siege by the Swedish army in 1645. Older authors saw Michael Willmann as the author of the painting. However, Milan Togner attributed this work to Anton Martin Lublinský (1636–1690). As it turns out today, the author of this monumental work was Karl Dankwart († 1704) – the author of numerous fresco decorations and oil paintings and court painter to the Polish king John III Sobieski. The authorship of this Silesian artist of Swedish origin is supported both by formal analogies and the provenance of the painting from the former Jesuit conventin Brno. Dankwart's painting of Father Středa was probably a part of the gallery of full-figure portraits of the founders and benefactors of the convent. We can assume that the picture was not the only work that Dankwart produced for the Jesuits of Brno.
这幅画马丁Středa作为布尔诺的捍卫者(布尔诺的摩拉维亚画廊)是耶稣会士马丁Středa /斯特雷多纽斯(1587-1649)最具纪念意义的代表，他在1645年瑞典军队围困布尔诺四个月期间积极参与保卫城市，赢得了名声和布尔诺市民永远的感激。年长的作者认为迈克尔·威尔曼是这幅画的作者。然而，米兰·托格纳认为这是安东·马丁Lublinský(1636-1690)的作品。今天发现，这幅不朽作品的作者是卡尔·丹克沃特(Karl Dankwart，†1704)——他创作了许多壁画装饰和油画，也是波兰国王约翰三世·索比斯基(John III Sobieski)的宫廷画家。这位瑞典血统的西里西亚艺术家的作者身份得到了正式类比和前耶稣会布尔诺会议的绘画来源的支持。丹克沃特画的父亲Středa可能是修道院创始人和捐助者全身像画廊的一部分。我们可以假设这幅画不是丹克瓦特为布尔诺的耶稣会士制作的唯一作品。
{"title":"Anton Martin Lublinský, that is Karl Dankwart : a few words about the painting Martin Středa as defender of Brno and its author","authors":"Andrzej Kozieł","doi":"10.5817/oha2022-1-2-13","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-13","url":null,"abstract":"The painting Martin Středa as defender of Brno (Moravian Gallery in Brno) is the most monumental representation of the Jesuit Martin Středa / Stredonius (1587–1649), who won fame and the eternal gratitude of the citizens of Brno for his active participation in the defence of the city during the four-month siege by the Swedish army in 1645. Older authors saw Michael Willmann as the author of the painting. However, Milan Togner attributed this work to Anton Martin Lublinský (1636–1690). As it turns out today, the author of this monumental work was Karl Dankwart († 1704) – the author of numerous fresco decorations and oil paintings and court painter to the Polish king John III Sobieski. The authorship of this Silesian artist of Swedish origin is supported both by formal analogies and the provenance of the painting from the former Jesuit conventin Brno. Dankwart's painting of Father Středa was probably a part of the gallery of full-figure portraits of the founders and benefactors of the convent. We can assume that the picture was not the only work that Dankwart produced for the Jesuits of Brno.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"08 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the field of hanging paintings of the second half of the 17th and the first half of the 18th century in Bohemia, the work of Peter Brandl (1668–1735) stood out for its stylistic and brushwork concept. From the beginning of his work, the painter gravitated above all to an energetic very dynamic presentation expressed through a divided brushwork and lively work with a brush. From the beginning, he applied dense layers of paint only to some parts of a painting – he tested his technical approaches on compositions with figures of old people – similar to Rembrandt. Since the 1720s whole compositions have been formed using the impasto technique – also evident is engraving with the brush handle or fingernail and the touch of fingers on the still-drying layer of paint. The study tries to answer questions about Brandl's brushwork style, which has always been valued by art historians as original and modern – but could it also have been perceived as such in its own time? The brushwork style was already connected by historiographers of the 17th century with an artist's nature and his "spirit", but the very topic of the work could also have had an effect on it. The point of view of the client, who may have required a certain style of brushwork, cannot be ignored either. These and other aspects are addressed in this study, which focuses mainly on the works of Brandl's peak period – that is, on the 1720s.
{"title":"Petr Brandl – rukopis jeho podpisem : poznámky k Brandlovu malířskému rukopisu","authors":"Andrea Steckerová","doi":"10.5817/oha2022-1-2-11","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-11","url":null,"abstract":"In the field of hanging paintings of the second half of the 17th and the first half of the 18th century in Bohemia, the work of Peter Brandl (1668–1735) stood out for its stylistic and brushwork concept. From the beginning of his work, the painter gravitated above all to an energetic very dynamic presentation expressed through a divided brushwork and lively work with a brush. From the beginning, he applied dense layers of paint only to some parts of a painting – he tested his technical approaches on compositions with figures of old people – similar to Rembrandt. Since the 1720s whole compositions have been formed using the impasto technique – also evident is engraving with the brush handle or fingernail and the touch of fingers on the still-drying layer of paint. The study tries to answer questions about Brandl's brushwork style, which has always been valued by art historians as original and modern – but could it also have been perceived as such in its own time? The brushwork style was already connected by historiographers of the 17th century with an artist's nature and his \"spirit\", but the very topic of the work could also have had an effect on it. The point of view of the client, who may have required a certain style of brushwork, cannot be ignored either. These and other aspects are addressed in this study, which focuses mainly on the works of Brandl's peak period – that is, on the 1720s.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent years, the set of drawings by Johann Lucas Kracker (1719–1779) has been enlarged with 12 pieces. The sheets preserved in the museum of Debrecen include a sketch showing the baptism of Christ in the Jordan. It is the first variant of the high altar of the Premonstratensian abbey in Jasov. Two exquisite painted oil sketches for the enormous picture of the high altar signed in 1762 (Košice / Jasov, Bratislava, Slovak National Gallery) have long been known. The drawing is a far simpler composition with few figures, reminiscently of Daniel Gran's painting for the high altar of Vienna's church of the Brothers Hospitallers (1736). The painted sketches were extended with genre figures from the motivic set of Paul Troger (1698–1762) and with the large angel holding a drapery behind Jesus. Kracker painted another two reduced versions on the basis of the sketches: for a side altar in the remonstratensian church in Nová Říše and a small mural for the church of Rancířov (1763). To the picture of the high altar in Jasov a monumental fresco cycle belongs narrating the legend of John the Baptist; their epic character suggests the inspiration of the Gospels according to Matthew, Mark and Luke, while the drawn sketch was presumably inspired by St John's Gospel. The commission was given by abbot Andreas Sauberer (1700–1779).
{"title":"Die \"Taufe Christi\" im Werk von Johann Lucas Kracker","authors":"Anna Jávor","doi":"10.5817/oha2022-1-2-8","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-8","url":null,"abstract":"In recent years, the set of drawings by Johann Lucas Kracker (1719–1779) has been enlarged with 12 pieces. The sheets preserved in the museum of Debrecen include a sketch showing the baptism of Christ in the Jordan. It is the first variant of the high altar of the Premonstratensian abbey in Jasov. Two exquisite painted oil sketches for the enormous picture of the high altar signed in 1762 (Košice / Jasov, Bratislava, Slovak National Gallery) have long been known. The drawing is a far simpler composition with few figures, reminiscently of Daniel Gran's painting for the high altar of Vienna's church of the Brothers Hospitallers (1736). The painted sketches were extended with genre figures from the motivic set of Paul Troger (1698–1762) and with the large angel holding a drapery behind Jesus. Kracker painted another two reduced versions on the basis of the sketches: for a side altar in the remonstratensian church in Nová Říše and a small mural for the church of Rancířov (1763). To the picture of the high altar in Jasov a monumental fresco cycle belongs narrating the legend of John the Baptist; their epic character suggests the inspiration of the Gospels according to Matthew, Mark and Luke, while the drawn sketch was presumably inspired by St John's Gospel. The commission was given by abbot Andreas Sauberer (1700–1779).","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article deals with the analysis of paintings of planets in the château at Lnáře from the period after the middle of the 18th century, which were created according to graphics from the rich Augsburg output of Johann Georg Hertel (1700–1775). The Lnáře remnants of the cycle of planetary gods show a symbiosis of two principles. On the one hand, a long tradition, dating from late antiquity and maintained through late medieval and early modern graphic series; on the other hand, the impulses of progressive astronomical observations. The more or less receptive character of Hertel' series thus shows above all the emphasis on the contemporary fashion Rococo mode in which the figural compositions are embedded.
{"title":"Planety v rocaillové architektuře ze zámku ve Lnářích a Johann Georg Hertel","authors":"Radka Nokkala Miltová","doi":"10.5817/oha2022-1-2-15","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-15","url":null,"abstract":"The article deals with the analysis of paintings of planets in the château at Lnáře from the period after the middle of the 18th century, which were created according to graphics from the rich Augsburg output of Johann Georg Hertel (1700–1775). The Lnáře remnants of the cycle of planetary gods show a symbiosis of two principles. On the one hand, a long tradition, dating from late antiquity and maintained through late medieval and early modern graphic series; on the other hand, the impulses of progressive astronomical observations. The more or less receptive character of Hertel' series thus shows above all the emphasis on the contemporary fashion Rococo mode in which the figural compositions are embedded.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article publishes an interesting cultural and historical document, a list one hundred paintings by Italian, Dutch and German artists from the 15th to the 17th centuries, compiled in the autumn of 1714 by twelve Venetian painters, mostly members of the local Collegio dei Pittori. This notarized certificate (today at the Archive of the National Gallery in Prague), in which they confirmed with their signatures the authenticity of the pictures under assessment and the authenticity of their authorship as declared, was donated in 1934 to the Society of Patriotic Friends of Art, predecessor of the National Gallery in Prague, by collector Joe Hloucha (1881–1957). However, its earlier provenance has yet to be determined. The introductory text sheds light on the emergence of similar experts' reports, which in Venice were a necessary precondition for the trade in Old Masters paintings. At the same time, it seeks to present the personalities of well-known but now more or less forgotten painters who compiled the certificate, bringing us closer to the authorial, thematic and genre mix of the picture collection, and last but not least to indicate the possible identification of some of the works of art recorded in the listing.
这篇文章发表了一份有趣的文化和历史文献，列出了意大利、荷兰和德国艺术家从15世纪到17世纪的100幅画作，这些画作是由12位威尼斯画家在1714年秋天编纂的，他们大多是当地皮托里学院(Collegio dei Pittori)的成员。这份经公证的证书(现保存在布拉格国家美术馆档案馆)由收藏家乔·赫卢查(Joe Hloucha, 1881-1957)于1934年捐赠给布拉格国家美术馆的前身爱国艺术之友协会(Society of Patriotic Friends of Art)，他们在证书上签名确认了被评估照片的真实性，并声明了这些照片的作者身份。然而，其早期来源尚未确定。介绍性文字阐明了类似专家报告的出现，这在威尼斯是早期大师画作交易的必要先决条件。与此同时，它试图展示那些编撰该证书的知名但现在或多或少被遗忘的画家的个性，使我们更接近这些图片收藏的作者、主题和流派组合，最后但并非最不重要的是，表明清单中记录的一些艺术作品的可能身份。
{"title":"\"afermo quanto di sopra con mio giuramento\" : dvanáct benátských malířů osvědčuje v roce 1714 pravost obrazů","authors":"Lubomír Slavíček","doi":"10.5817/oha2022-1-2-16","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-16","url":null,"abstract":"The article publishes an interesting cultural and historical document, a list one hundred paintings by Italian, Dutch and German artists from the 15th to the 17th centuries, compiled in the autumn of 1714 by twelve Venetian painters, mostly members of the local Collegio dei Pittori. This notarized certificate (today at the Archive of the National Gallery in Prague), in which they confirmed with their signatures the authenticity of the pictures under assessment and the authenticity of their authorship as declared, was donated in 1934 to the Society of Patriotic Friends of Art, predecessor of the National Gallery in Prague, by collector Joe Hloucha (1881–1957). However, its earlier provenance has yet to be determined. The introductory text sheds light on the emergence of similar experts' reports, which in Venice were a necessary precondition for the trade in Old Masters paintings. At the same time, it seeks to present the personalities of well-known but now more or less forgotten painters who compiled the certificate, bringing us closer to the authorial, thematic and genre mix of the picture collection, and last but not least to indicate the possible identification of some of the works of art recorded in the listing.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study is devoted to a hitherto anonymous oil sketch from the collections of the Moravian Gallery in Brno, in which a hitherto unknown work of the Olomouc painter Johann Christoph Handke (1694–1774) was recognized. The work with the themes of the Celebration of the Lamb of God and the Parable of the Feast was most probably created in 1726 in connection with the painter’s commission to paint the refectory of the Jesuit college in Olomouc.
{"title":"Jezuitská kolej v Olomouci a neznámá skica Jana Kryštofa Handkeho","authors":"Tomáš Valeš","doi":"10.5817/oha2022-1-2-14","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-14","url":null,"abstract":"The study is devoted to a hitherto anonymous oil sketch from the collections of the Moravian Gallery in Brno, in which a hitherto unknown work of the Olomouc painter Johann Christoph Handke (1694–1774) was recognized. The work with the themes of the Celebration of the Lamb of God and the Parable of the Feast was most probably created in 1726 in connection with the painter’s commission to paint the refectory of the Jesuit college in Olomouc.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"237 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The contribution reports on the ennobled Bratislava pharmacist Johann Gottfried Stegmüller, who published reports from his numerous travels in Central Europe in the 1780s and 1790s under the name Gottfried Edler von Rotenstein. In particular, he visited with great interest luxurious aristocratic dwellings, where he then described with unusual precision every detail of their furnishings. The quantity of information contained in his descriptions is appreciated especially by art historians, who have thereby gained many interesting findings. In addition, his descriptions of major festivities are also interesting for the study of social change in the 18th century. In September 1782, Rotenstein undertook a tour of southern Moravia, to which the second part of the paper is devoted. His journey passed through Valtice, Lednice, Židlochovice to Brno, and from there to Austerlitz by Brno. With the exception of Lednice, where he found the gates closed, he could view all the châteaux mentioned in detail. He also gave attention to their large parks and gardens. A second journey to Moravia was made by Rotenstein in November 1790. In his report, he focused on a description of several days of festivities at the château in Valtice, on the occasion of the visit of Ferdinand I of the Two Sicilies.
该贡献报告了尊贵的布拉迪斯拉发药剂师Johann Gottfried stegm ller，他在18世纪80年代和90年代以Gottfried Edler von Rotenstein的名义发表了他在中欧的多次旅行报告。特别是，他带着极大的兴趣参观了豪华的贵族住宅，然后他以不同寻常的精确描述了他们家具的每一个细节。他的描述中包含的大量信息尤其受到艺术史学家的赞赏，他们因此获得了许多有趣的发现。此外，他对重大节日的描述对于研究18世纪的社会变化也很有趣。1782年9月，罗滕斯坦对摩拉维亚南部进行了一次旅行，这是本文的第二部分。他的旅程经过瓦尔蒂斯，莱德尼斯，Židlochovice到布尔诺，从那里经布尔诺到奥斯特里茨。除了莱德尼斯的大门是关着的以外，他可以详细地看到上面提到的所有城堡。他还注意到他们的大型公园和花园。1790年11月，罗滕斯坦第二次前往摩拉维亚。在他的报告中，他着重描述了在瓦尔蒂斯的chalteau举行的几天庆祝活动，以纪念两西西里的费迪南德一世的访问。
{"title":"Gottfried von Rotenstein besucht Ende des 18. Jahrhunderts Südmähren","authors":"Mária Pötzl-Malíková","doi":"10.5817/oha2022-1-2-17","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-17","url":null,"abstract":"The contribution reports on the ennobled Bratislava pharmacist Johann Gottfried Stegmüller, who published reports from his numerous travels in Central Europe in the 1780s and 1790s under the name Gottfried Edler von Rotenstein. In particular, he visited with great interest luxurious aristocratic dwellings, where he then described with unusual precision every detail of their furnishings. The quantity of information contained in his descriptions is appreciated especially by art historians, who have thereby gained many interesting findings. In addition, his descriptions of major festivities are also interesting for the study of social change in the 18th century. In September 1782, Rotenstein undertook a tour of southern Moravia, to which the second part of the paper is devoted. His journey passed through Valtice, Lednice, Židlochovice to Brno, and from there to Austerlitz by Brno. With the exception of Lednice, where he found the gates closed, he could view all the châteaux mentioned in detail. He also gave attention to their large parks and gardens. A second journey to Moravia was made by Rotenstein in November 1790. In his report, he focused on a description of several days of festivities at the château in Valtice, on the occasion of the visit of Ferdinand I of the Two Sicilies.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Maulbertsch's \"Liberation of the Virgin\" in the Moravian Gallery in Brno : on the relationship of Franz Anton Maulbertsch to Peter Paul Rubens","authors":"Ivo Krsek","doi":"10.5817/oha2022-1-2-3","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-3","url":null,"abstract":"<jats:p />","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The chapel of the Palace of Noble Ladies represents a unique sacral space, decorated in 1756 with murals by Josef Stern (1716–1775), a leading painter of the second half of the 18th century in Moravia. In the interior of the chapel, poor maidens from aristocratic and burgher families met for daily prayers; they lived in the palace by the cut-down rules for monastic communities under the protection of a specially established foundation. It was to them that the remarkable, didactically focused iconographic programme of Stern’s paintings was to speak. Recently completed restoration work, the aim of which was the complete restoration of the murals and the entire interior of the chapel, have given rise to new reflections not only on the formally stylistic aspects of Stern’s ceiling paintings and their themes, but also on the broader context of their origin, including the functioning of the foundation and the upbringing of its wards.
{"title":"\"mit gleicher andacht alle Ins gesambt Täglich betten\" : nástěnné malby Josefa Sterna v kapli Paláce šlechtičen v Brně","authors":"Michaela Šeferisová Loudová","doi":"10.5817/oha2022-1-2-7","DOIUrl":"https://doi.org/10.5817/oha2022-1-2-7","url":null,"abstract":"The chapel of the Palace of Noble Ladies represents a unique sacral space, decorated in 1756 with murals by Josef Stern (1716–1775), a leading painter of the second half of the 18th century in Moravia. In the interior of the chapel, poor maidens from aristocratic and burgher families met for daily prayers; they lived in the palace by the cut-down rules for monastic communities under the protection of a specially established foundation. It was to them that the remarkable, didactically focused iconographic programme of Stern’s paintings was to speak. Recently completed restoration work, the aim of which was the complete restoration of the murals and the entire interior of the chapel, have given rise to new reflections not only on the formally stylistic aspects of Stern’s ceiling paintings and their themes, but also on the broader context of their origin, including the functioning of the foundation and the upbringing of its wards.","PeriodicalId":35074,"journal":{"name":"Opuscula Historiae Artium","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71352196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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