Figura velata a jej reflexia v stredoeurópskom prostredí
| Thesis title in thesis language (Slovak): | Figura velata a jej reflexia v stredoeurópskom prostredí |
|---|---|
| Thesis title in Czech: | Figura velata a její reflexe ve středoevropském prostředí |
| Thesis title in English: | Figura velata and its reflection in the Central European surroundings |
| Key words: | figura velata|závoj|sochárstvo 18. storočia|Antonio Corradini|zahalenie a odhalenie|stredná Európa |
| English key words: | figura velata|sculpture of 18th century|veil|Antonio Corradini|veiling and unveiling|Central Europe |
| Academic year of topic announcement: | 2017/2018 |
| Thesis type: | diploma thesis |
| Thesis language: | slovenština |
| Department: | Institute of Art History (21-UDU) |
| Supervisor: | Mgr. Kateřina Adamcová, Ph.D. |
| Author: | hidden - assigned and confirmed by the Study Dept. |
| Date of registration: | 10.04.2018 |
| Date of assignment: | 10.04.2018 |
| Administrator's approval: | not processed yet |
| Confirmed by Study dept. on: | 19.04.2018 |
| Date and time of defence: | 10.09.2020 11:00 |
| Date of electronic submission: | 29.07.2020 |
| Date of proceeded defence: | 10.09.2020 |
| Submitted/finalized: | committed by student and finalized |
| Opponents: | prof. PhDr. Lubomír Konečný |
| Guidelines |
| Táto diplomová práca si kladie za cieľ zmapovať špecifický fenomén talianskeho sochárstva 18. storočia nazývaný „figura velata“. Ide o ženskú postavu s tvárou zahalenou do tenkej transparentnej drapérie (závoja), pod ktorou sa rysujú črty jej tváre. Iluzívne spracovanie drapérie sa pohráva s videním diváka a vytvára dojem niečoho, čo tam v skutočnosti nie je. Figura velata sa ako pojem kodifikovala najmä v súvislosti s tvorbou benátskeho sochára Antonia Corradiniho a jeho sochami tohto typu. Zahalenie ľudskej tváre a hlavy je motívom známym vo výtvarnom umení už od staroveku a v dejinách umenia zohrávalo dôležitú úlohu v niektorých kultúrach a spájalo sa s rôznymi symbolickými interpretáciami. Úvodná kapitola sa zameriava na objasnenie problematiky vzťahu pojmov zahalenia a odhalenia či viditeľného a neviditeľného. Na ňu nadväzuje kapitola pre ktorú sa stalo nosným použitie termínu zahalenia v súvislosti s prvkom závoja ako nositeľa významu. Podstatná časť práce sa orientuje nielen na skúmanie vybraných sochárskych realizácií v chronologickom slede prostredníctvom formálnej analýzy, ale aj na zhodnotenie významovej role figury velaty v celkovom ikonografickom koncepte. Záverečná časť práce je venovaná reflexii a následnej transformácii Corradiniho motívu figury velaty v stredoeurópskom prostredí.
The aim of this thesis was to map the specific phenomenon of 18th century Italian sculpture called „figura velata“. It is a female figure with a face veiled in a thin transparent drapery (veil), under which the features of her face are drawn. Illusional treatment of drapery plays with the viewer’s vision and creates the impression of something that is not really there.Figura velata was codified as a term especially in connection with the work of the Venetian sculptor Antonio Corradini and his sculptures of this type. The veiling of the human face has been a motif known in the visual arts since ancient times, and in the history of art has played an important role in some cultures and has been associated with various symbolic interpretations. The introdution focuses on clarifying the relationship between the terms of veiling and unveiling or visible and invisible. It is followed by a chapter for which the use of the term veiling in connection with the element of the veil as a bearer of meaning has become the mainstay. A substantial part of the thesis focuses not only on the examination of selected sculptural realizations through formal analysis, but also on the meaning of the figure in the over-all iconographic concept. The final part of the thesis is devoted to the reflection and subsequent transformation of Corradini‘s motif of figura velata in the Central European surroundings. |
| References |
| BIASUZ, G.: L’opera di A. Corradini fuori d’Italia, in: Bollettino d’Arte VI, č.29/1935, s. 268-279 BLAŽÍČEK,O.J.: Italienische Impulse und Reflexe in der böhmischen Barockskulptur, in Barockskulptur in Mittel-und Osteuropa, Poznan 1981 CIOFFI, R.: Sulla scultura veneta del Settecento a Napoli: Antonio Corradini e la Mestizia della Cappella Sansevero, Napoli 1984 COGO, B.: Antonio Corradini: scultore veneziano; 1688-1752, Este 1996 Corradini, Antonio, in: Saur Allgemeines Künstlerlexikon, Bd. 21, München 1992, s. 290-291 DECKERS, R.: Antonio Corradini als Virtuose der Bildhauerei und seine Rezeption nördlich der Alpen, in: Barockberichte, č.61/2013, s. 48–58 DECKERS, R.: Die Testa Velata in der Barockplastik. Zur Bedeutung von Schleier und Verhüllung zwischen Trauer, Allegorie und Sinnlichkeit, München 2010 KLEMENČIČ, M.: Antonio Corradini: appunti e proposte, in: Artisti in viaggio 1600-1750: presenze foreste in Friuli Venezia Giulia, Udine/Venezia 2005, s. 289-304 KLEMENČIČ, M.: Collegio dei scultori, and Neo-Cinquecentismo in Venice around 1720, in: The Enduring Legacy of the Venetian Renaissance, London/New York 2016, s. 103-119 LEPLAT, R.: Recueil des marbres antiques qui se trouvent dans la Galerie du Roy de Pologne à Dresden: avec privilege du roy, Dresden 1733 SEMEZATO, C.: La scultura Veneta del Seicento e del Settecento, Venice 1966 |