Renaissance and Baroque Art ****************************************************************************************** * ****************************************************************************************** Chairperson: doc. PhDr. Martin Zlatohlávek, Ph.D. Lecture room: lin tea dl/ lau %23 %2F %3D %25 %25 f93 bf0 %25 %25 bf6 b11 %26 %3D joi e26 af4 *========================================================================================= * *========================================================================================= ------------------------------------------------------------------------------------------ Mgr. Barbora Uchytilová ------------------------------------------------------------------------------------------ Title of Contribution: Medieval Portrait: Tradition or Innovation? University / Faculty / Institute: Charles University / Catholic Theological Faculty / Institute of Christian Art History Abstract of the contribution: The proposed paper is dealing with the issue of terminology related to portraiture in the question is the need for identification: what did shape its “re-invention”? Who were the i usually understood as a “typical identification” of the most distinguished dignitaries of A more specific and exact language is needed in this area of research since it deeply dete but it also looks into the question of sketchbooks and modelbooks of the era. If their usa ------------------------------------------------------------------------------------------ Sandra Braune, M.A. ------------------------------------------------------------------------------------------ Title of Contribution: Searching for God. Early Genre Art as Contribution to Inner Devotion University / Faculty / Institute: GRASSI Museum für Angewandte Kunst Leipzig Abstract of the contribution: For a long time the early genre art from the second half of the 15th century has been rega for example offers a spirituel reading in sense of contemporary meditation exercises as a like the problem of vita activa and vita contemplativa, the way from corporal to spiritual as a place for finding God. By removing the seperation of profane and religios iconography you can recognize the Chris of Martin Schongauers „Peasant Family Going to Market“ in which the beholder is able to fo ------------------------------------------------------------------------------------------ Luca Esposisto ------------------------------------------------------------------------------------------ Title of Contribution: Turning the Back to Tradition: the Motif of the Figure Seen from Behind in Tintoretto’s Ar University / Faculty / Institute: Sapienza Universit? di Roma / The Department of History Anthropology Religions, Performing Abstract of the contribution: The recurrent motif of the figure seen from behind in Tintoretto’s art, which also vividly explores the function and meaning of this motif in Tintoretto’s work, considering it as an which the Venetian painter stages the dialectical relationship, constitutive of art theory eye and the fictive nature of the image unveiled by the presence/absence of an observer. P seen from behind clearly show this issue. The innovative aspect and the originality of Tin Dialogo di Pittura, at the beginning, the author condemns the painters that used to show “ “almeno una figura tutta sforciata, misteriosa”. If Pino’s critique of the figura derives understood considering the increasing influence of “michelangiolismo” in the Veneto region ------------------------------------------------------------------------------------------ Mgr. Elena Babich ------------------------------------------------------------------------------------------ Title of Contribution: The influence of wild man tradition in the portrayal of abnormally disabled people in the University / Faculty / Institute: Charles University / Catholic Theological Faculty / Institute of Christian Art History Abstract of the contribution: The main aim of this contribution is to show how the wild man’s tradition influented Rudol of marvellous monsters. Nevertheless the precedent of Gonzales family had effect to renais from curiosities collections were often considered as documentary depictions in naturalist the development of the czech wild man’s tradition from the Middle Ages to 16th century and century. ------------------------------------------------------------------------------------------ Mgr. Daniela Schalldach ------------------------------------------------------------------------------------------ Title of Contribution: Karel van Mander II. as a Tapestry Designer University / Faculty / Institute: Charles University / Catholic Theological Faculty / Institute of Christian Art History Abstract of the contribution: Artist Karel van Mander II. (1579 – 1623) stands in the shadow of his father’s oeuvre. Aft Karel van Mander I. was, with his elongated figures and rich decorative details, one of th but also the confrontation of his predecessors’ style, which was still very popular, with struggled with delivering his contracts on time and to the expected quality. This lead to would, however, be wrong to see him as a second-class artist. He understood very well the or pure baroque of Rubenses Decius Mus, first woven in 1620s. He became one of the leading studied on numerous tapestries, that still survive to this day, some of them in the Czech recent and major tapestry exhibitions at the Metropolitan Museum of Arts, mainly Habsburg recognition.