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Course, academic year 2019/2020
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European Museums and Galleries - KDKU289
Title in English: Evropská muzea a galerie
Guaranteed by: Institute of Christian Art History (26-UDKU)
Faculty: Catholic Theological Faculty
Actual: from 2018
Semester: winter
E-Credits: 3
Examination process: winter s.:
Hours per week, examination: winter s.:2/0 Ex [hours/week]
Capacity: unlimited / unknown (unknown)
Min. number of students: unlimited
State of the course: taught
Language: Czech
Teaching methods: full-time
Note: course can be enrolled in outside the study plan
enabled for web enrollment
priority enrollment if the course is part of the study plan
Guarantor: PhDr. Markéta Jarošová, Ph.D.
Teacher(s): PhDr. Markéta Jarošová, Ph.D.
Annotation -
Last update: PhDr. Markéta Jarošová, Ph.D. (19.11.2018)
Lectures are focused on leading European museums and galleries. The aim is to present the circumstances of the founding of individual collections, the main donors, the director, the progress of the acquisition activity and their gradual access to the public. The architectural appearance of the individual buildings that have undergone structural modifications during their existence will not be overlooked; attention will also be paid to the development of the nature of installation and presentation activities. The oldest public art collections include the Museum of History in Rome, opened in 1734 in the Palazzo Nuovo area of ​​the Capitol. A collection of ancient sculpture works was presented here. The British Museum in London was, on the contrary, established thanks to parliamentary support. In addition to the numerous natural collections that have been gradually divorced, and eventually found backgrounds in its own Natural History Museum, the British Museum also boasts significant antique pieces, whether from the original collection of Charles Townley or a collection the original Feidi friezes and the Metop of the Athenian Parthenon, brought to England by Lord Elgin in 1802; also remarkable is the unique collection of antique vases gathered by Sir William Hamilton. History of the Uffizi Gallery in Florence is immensely interesting. The origins of this art collection are firmly connected with the Medici family. After the extinction of the last male descendant of Giana Gaston de Medici († 1737), his sister Anna Maria Luisa proved her agreement - the so-called Family Pact approved by the new Grand Duke of Tuscany, Franz Stephen of Lorraine in 1737. The aim of this agreement was to preserve the Medici collections in Florence is to the public and, above all, to prevent their exports outside the borders of Tuscany. Protecting works of art and preventing the export of ancient works from Rome and its surroundings were also celebrated by the Popes. Klement XIV. In 1770 he decided to establish a museum, now referred to as the Vatican Museum, within the framework of the Papal Palace, where he directed numerous works of art that gradually increased the prestige of this papal collection. During the 18th century, a number of originally royal or aristocratic collections were open to the public, including Dresden, Düsseldorf, and Kassel. For the reign of Empress Maria Theresa and Joseph II. the Habsburg collections were made available to the public in Vienna's Belvedere, where the works were transferred to the newly-built Museum of Art History (1872-1891) at the Ringstrasse. An important chapter in the history of public museums is the Musée du Louvre in Paris.n connection with the consequences of the Great French Revolution, the original "royal collections" were transformed into collections of "art" belonging to the "French nation." During Napoleon's reign, he was Dominique Vivant Denon, the director of the Museum, whose aim was to create and present the most glamorous collection of art works from all over the world. As a result of Napoleon's campaign, unique artefacts came to Louvre. After the fall of the Empire in 1815, a contradiction was struck between the idea of ​​preserving a "comprehensive, centralized collection of the best examples of works of art and the rights of individual national states on their own cultural heritage that Napoleon's army captured. Despite the many works of art returned, the Louvre remained a leading museum institution and during the 19th century served as a model for many newly founded museums and galleries, including the Prada in Madrid, whose original royal collections were, besides the traditional Italian and Dutch masters, also concentrated on the "national" Spanish masters . In 1824, the National Gallery in London was established, which was already designed as an exclusively galley architectural building. The Munich Glyptotheque, built in 1816, was designed as a museum object designed exclusively for the collection of antique works collected by the Bavarian Crown Prince Ludwig Bavarian. Here, in the years 1826-1836, the construction of Pinakothek was completed by Lea von Klenz. In addition to the character of the individual collections and the shape of the exhibition buildings, the museum and gallery collections in the political and historical context will also be highlighted.
Literature - Czech
Last update: PhDr. Markéta Jarošová, Ph.D. (25.08.2018)

Základní studijní literatura:

  • Acidini Luchinat 1997 — Cristina Acidini Luchinat: Treasures of Florence: The Medici Collection, 1400-1700. Munich/New York 1997
  • Caygill 1992 — Marjorie Caygill: The Story of the British Museum. London 1992
  • Conlin 2006 — Jonathan Conlin: The Nation´s Mantelpiece: A History of teh National Gallery. London 2006
  • DaCosta Kaufmann 1994 — Thomas DaCosta Kaufmann: From Treasury to Museum. In: Elsner John/Cardinal Roger (eds.): The Cultures of Collecting. Cambridge, Mass. 1994
  • Goldberg  1988 — Edward L. Goldberg: After Vasari: History, Art, and Patronage in Late Medici Florence. Princeton 1988
  • McClellan 1994 — Andrew McClellan: Inventing teh Louvre: Art, Politics, and Origins of teh Modern Museum in Eighteenth-Century Paris. Cambridge 1994
  • Miller Lawrence  1997 — Cynthia Miller Lawrence (ed.): Women and Art in Early Modern Europe: Patrons, Collectors, and Connoisseurs. University Park, Pa. 1997
  • Paul 2012 — Carole Paul (ed.): The Fisrt Modern Museums of Art. The Birth of an Institution in 18TH – and early -19TH – Century Europe. Los Angeles 2012
  • Sheehan 2000 —  J. James Sheehan: Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism. New York 2000
  • Strunck/Kieven 2010 — Christina Strunck / Elisabeth Kieven (eds.): Europäische Galeriebauten: Galleries in a Comparative European Perspektive (1400-1800) (= Akten des Internationalen Symposions der Bibliotheca Hertziana, Rom, 23.-26. Februar 2005). Munich 2010
  • Swoboda 2008 — Gudrun Swoboda: Die Wege der Bilder: Eine Geschichte der kaiserlichen Gemäldesammlungen von 1600 bis 1800. Vienna 2008
  • Wilson 2002 — David M. Wilson: The British Museum: A History. London 2002


 Doporučená studijní literatura a studijní pomůcky:

  • Brown  1995 — Jonathan Brown: Kings and Connoisseur: Collecting Art in Seventheenth-Century Europe. Princeton 1995
  • Duncan 1995 — Carol Duncan: Civilizing Rituals: Inside Public Art Museums. London 1995
  • Gaya Nuño 1969 — Juan Antonio Gaya Nuño: Historia del Museo del Prado (1819-1969). Léon 1969
  • Husslein-Arco 2010 — Agnes Husslein-Arco (ed.): Salomon Kleiner. Das Belveder. Wien 2010
  • Husslein-Arco 2014 — Agnes Husslein-Arco(ed.): The Belvedere. The Genesis of a Museum. Vienna 2014. ISBN 978-3-902805-62-1
  • Chambers 2007 — Neil Chambers: Joseph Banks and the British Museum: The World of Collecting, 1770-1830. London 2007
  • Chard 1999 —  Chloe Chard: Pleasure and Guilt on the Grand Tour: Travel Writing and Imaginative Geography, 1600-1830. Manchaster 1999
  • Jiménez-Blanco 2014 — María Dolores Jiménez-Blanco (ed.): The Prado. Guide. Museo Nacional del Prado. 20145
  • Lechner 2014 — Georg Lovecky: The beginnings of the Imperial gallery in the Belvedere 1776–1805. Josepf Rosa the Elder as a director of the Gallery and Christian von Mechel´s intermezzo. In: Husslein-Arco 2014, 71–94
  • Lindemann 2000  — Bernd Wolfgang Lindemann (ed.): Bode-Museum. Verlag Edition Minerva GmbH, München 2000, ISBN 978-3-938832-60-8
  • Luckhardt/Wiemers  2007 —   Jochen Luckhardt / Michael Wiemers (eds.): Museen und fürstliche Sammlungen im 18. Jahrhundert / Museums and Princely Collections in the 18th Century. Braunschweig 2007
  • Luxenberg 2008 — Alisa Luxenberg: The Galerie Espagnole and the Museo Nacional, 1835-1853: Saving Spanish Art, ort he Politics of Patrimony. Aldershot 2008
  • MacGregor 1994 — Arthur MacGregor (ed.): Sir Hans Sloane: Collector, Scientist, Antiquary, Founding Father of the British Museum. London 1994
  • Miller 1973 — Edward Miller: That Noble Cabinet: A History of the British Museum. London 1973
  • Moleón Gavilanes 2010 — Pedro Moleón Gavilanes: El Museo del Prado. Biografía del edificio. Madrid 2010
  • Paul 2008 — Carole Paul: The Borghese Collections and the Display of Art in the Age of the Grand Tour. Aldershot 2008
  • Paul 2012 — Carole Paul (ed.): The Fisrt Modern Museums of Art. The Birth of an Institution in 18TH – and early -19TH – Century Europe. Los Angeles 2012
  • Paul 2012 — Carole Paul: Capitoline Museum, Rome: Civic Identity and Personal Cultivation. In: Paul 2012, 21–45
  • Penny/ Schmidt  2008 — Nicolas Penny / Eike D. Schmidt (eds.): Collecting Sculpture in Early Modern Europe. Washington D.C. 2008
  • Savoy 2006 — Bénédicte Savoy (ed.): Tempel der Kunst. Die Geburt des öffentlichen Museums in Deutschland 1701–1815. Mainz am Rhein 2006. ISBN 3-8053-3637-3
  • Scherer 1913 — Valentin Scherer: Deutsche Museen. Entstehung und Kulturgeschichte Bedeutung unserer öffentlichen Kunstsammlungen. Jena 1913
  • Strömbom 1951 — Sixten Strömbom: Masterpieces of the Swedish National Museum. Stockholm 1951
  • Swoboda 2013 — Gudrun Swoboda (ed.): Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums. Band 1. Die kaiserliche Galerie im Wiener Belvedere (1776-1837). Kunsthistorisches Museum Wien. Wien/Köln/Wiemar 2013. ISBN 978-3-205-79534-6
  • Swoboda 2013b — Gudrun Swoboda (ed.): Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums. Band 2. Europäische Museumskulturen um 1800. Kunsthistorisches Museum Wien. Wien/Köln/Wiemar 2013. ISBN 978-3-205-79534-6
  • Urban/Rechberger 2014 — Bettina Urban / Manuela Rechberger: The Beginnings of the Belvedere´s restoration Studios 1781–1891. Development  and locations of the various studios, evolution of the profession of restorer. In: Husslein-Arco 2014, 141–150
  • Vázquez 2001 — Oscar E. Vázquez: Inventing the Art Collection. Patrons, markets and the state in ninetheen-century Spain. USA, Pennsylvania State University Press 2001
  • Vierneisel/Leinz 1980  — Klaus Vierneisel / Gottlieb Leinz: Glypthotek München 1830–1980. Jubiläumsausstellung zur Entstehungs- und Baugeschichte 17. September bis 23. November 1980, Glyptothek München, Königsplatz. München 1980
  • Warwick 2000 — Genevieve Warwick: The Arts of Collecting: Padre Sebastiano Resta and the Market for Drawings in Early Modern Europe. Cambridge 2000
  • Wren 2010 — Christian Katheleen Wren: Empire without End: Antiquities Collections in Renaissance Rome, c. 1350-1527. New Haven 2010
  • Yonan 2012 — Michael Yonan: Kunsthistorisches Museum /Belvedere, Vienna: Dynasticism and the Function of Art. In: Paul 2012, 167–189


Syllabus - Czech
Last update: PhDr. Markéta Jarošová, Ph.D. (22.08.2018)

Předběžný rozpis přednášek:

1. hodina:    11. 10. Kapitolská muzea, Řím

2. hodina:    18. 10. Britské muzeum, Londýn 

3. hodina:    25. 10. Galerie Uffizi, Florencie

4. hodina:    1. 11.  Vatikánská muzea, Vatikán

5. hodina:    8. 11.  Drážďanské sbírky

6. hodina:    15. 11. Muzeum Belvedere, Vídeň

 7. hodina:   22. 11. Královské sbírky ve Stockholmu

 8.-9. hodina 3 dny     23.-25. 11. Exkurze do Berlína (Altes Museum, Bode Museum)

10. hodina:   29. 11. Louvre, Paříž

11. hodina:   6. 12.  Prado, Madrid

12. hodina:   7. 12.  Národní galerie, Londýn

13. hodina:   13. 12.  Glypthoteka a Pinakotheka, Mnichov


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