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Last update: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2024)
In the summer semester, the seminar will focus on the art and architecture of the time of Rudolf II. Each student will assign one of the recommended topics at the beginning of the semester (they can also propose their own) and prepare it in the form of a paper, which they will present preferably in front of the architectural monument or work of art. The topics are chosen with regard to the possibility of an excursion with the seminar, i.e. Prague monuments (some are not commonly available - the question of the possibility of entry is currently under discussion), but also foreign ones: the Rudolphine drawing in the collections of the Kupferstichkabinett in Dresden and in the collections of the Kunsthistorisches Museum in Vienna List of recommended topics: Prague Castle Collections of Rudolf II - excursion to the Picture Gallery of Prague Castle Rudolf II Collection - excursion to the National Gallery, Prague The Old Town Church of St. Salvator (Protestant) Vlašská Chapel Strahov Chapel of St. Roch Premonstratensian Monastery - drawings by Giulio Romano from the collections of Rudolf II. National Gallery, Prague, Collection of Prints and Drawings. Excursion to Vienna: paintings from the Rudolphine collections Excursion to Dresden: drawings by the Rudolphine masters There is a plethora of possible topics and excursions, we will arrange them directly at the first seminar class, which will take place according to the schedule in the lecture room at the CTF. It is possible to suggest your own relevant topic, especially if a student is preparing his/her thesis. The students will prepare selected topics in the form of short papers (approx. 30 min.), which will complement and enrich each other. |
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Last update: doc. PhDr. Martin Zlatohlávek, Ph.D. (24.01.2023)
Artists’ Social Position in Renaissance Ø General monographs Rudolf and Margot Wittkower, Born under Saturn: the Character and Conduct of Artists. A Documented History from Antiquity to the French Revolution, London 1963 D. S. Chambers, Patrons and Artists in the Italian Renaissance, London 1970 Andrew Martindale, The Rise of the Artist in the Middle Age and Early Renaissance, London 1972 Knihovna NG Hannalore Glasser, Artists’ Contracts of the Early Renaissance, New York-London 1977 Michael Baxandall, Pittura ed esperienze sociali nell’Italia del Quattrocento, Torino 1978, v anglické verzi z London 1974 v Knihovna NG, sign. B2441 Patronage in the Renaissance, ed. by Guy Fitch Little, Stephen Orgel, Princeton 1981 Bruce Cole, The Renaissance Artist at Work. From Pisano to Titian, London, 1983, Knihovna NG, sign. A 2152, dlouhodobá zápůjčka v Anežském klášteře. Martin Warnke, Hofkünstler. Zur Vorgeschichte des modernen Künstlers, Köln 1985 Peter Burke, Italská renesance. Kultura a společnost v Itálii, revidovaná edice v angličtině 1987, česky Praha 1996: kap. 3 – Umělci a spisovatelé; kat. 4 – Patroni a zákazníci Bram Kempers, Painting, Power and Patronage. The Rise o the Professional Artist in Renaissance Italy, London, 1987 Patronage, Art and Society in Renaissance Italy, ed. by F. W. Kent, P. Simons, J. C. Eade, Oxford, 1987 Randolph Starn, Loren Partridge, Arts of Power. Three Halls of State in Italy, 1300-1600, Berkeley-Los Angeles-Oxford, 1992 André Chastel, Umělec, in: Eugenio Garin (ed.), Renesanční člověk a jeho svět, Praha 2003, s. 185-208; zahraniční verze: L’uomo del Rinascimento, Roma-Bari 1992 Mary Hollingsworth, Patronage in Renaissance Italy. From 1400 to the Early Sixteen Century, London 1994 Alessandro Conti, Der Weg des Künstlers. Vom Handwerker zum Virtuosen, Berlin 1998 (già “L’evoluzione dell’artista”, in Storia dell’arte italiana, 2, Torino 1979, pp. 115-264), Knihovna MZ Francis Ames-Lewis, The Intellectual Life of the Early Renaissance Artist, New Haven/London, 2000 Ø Case Studies H. Trevor Roper, Princes and Artists. Patronage and Ideology at Four Habsburg Courts, 1517-1633, London 1976, Knihovna NG, sign. B4826 Fernando Checa, Felipe II mecenas de las artes, Madrid 1992 Marcello Fantoni, La corte del Granduca. Forma e simboli del potere mediceo fra Cinque e Seicento, Roma, 1994 Ø Articles Peter Burke, “L’artista: momenti e aspetti”, in Storia dell’arte italiana, 2, Torino 1979, pp. 83-113 Artists’ Social Position in Renaissance (Venice) Ø Monographs Elena Favaro, L’arte dei pittori in Venezia e i suoi statuti, Firenze 1975 Michel Hochmann, Peintres et commanditaires à Venise, 1540-1628, Roma 1992 Workshop’s pratice Ø General monographs Martin Wackernagel, Der Lebensraum des Künstlers in der florentinischen Renaissance: Aufgaben und Auftraggeber, Werkstatt und Kunstmarket, Leipzig 1938, Knihovna NG, sign. C2868 William George Constable, The Painter’s Workshop, London 1954, Knihovna NG, sign. B4221 Ettore Camesasca, Artisti in bottega, Milano 1969, Knihovna NG, sign. B1885 Francis Kelly, The Studio and the Artist, Newton Abbot 1974 Francis Ames-Lewis and Joanne Wright, Drawing in the italian renaissance workshop, London 1983, Knihovna NG, sign. KB2752 The Artist’s Workshop, Proceedings of the Symposium The Artist’s Workshop (Washington, D.C., 10-11 March 1989), ed. by Peter M. Lukehart, Washington 1993, Knihovna NG, bez sign. Il mestiere dell’artista, ed. by Michela Di Macco, Roma 1995 (Ricerche di Storia dell’arte, 55) The Craft of Art. Originality and Industry the Italian Renaissance and Baroque Workshop, ed. by Andrew Ladis, Carolyn Wood, Athens (GA)-London 1995 La bottega dell’artista tra Medioevo e Rinascimento, ed. by Roberto Cassanelli, Milano 1998, v německé verzi vydané v Zürichu 1998, Knihovna NG, sign. D2055 Carmen C. Bambach, Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice, 1300-1600, Cambridge 1999
Ø Case studies Michael Baxandall, The limewood sculptors of Renaissance Germany, New Haven 1980 Gaspare de Fiore, I modelli di disegno nella bottega del Rinascimento, Milano 1984 Alessandro Guidotti, Il mestiere del ‚dipintore‘ nell’Italia due-trecentesca, in: La pittura in Italia. Il Ducento e il Trecento, Tomo secondo, Milano 1986, s. 529-540 Janice Shell, Pittori in bottega. Milano nel Rinascimento, Torino 1995 Anabel Thomas, The Painter’s Practice in Renaissance Tuscany, Cambridge-New York 1995 Ø Articles Annamaria Bernacchioni, “Le botteghe di pittura. Luoghi, strutture, attività”, in Maestri e botteghe: pittura a Firenze dalla fine del Quattrocento, exhib. catalogue (Firenze, 1992-1993), Milano 1992, pp. 23-33 Francis Ames-Lewis, “Il disegno nella pratica di bottega del Quattrocento”, in La pittura nel Veneto. Il Quattrocento, ed. by Mauro Lucco, Milano, II, 1990, pp. 657-685 Jill Dunkerton, Susan Foister, Dillian Gordon, Nicholas Penny, From Giotto to Dürer. Early Renaissance Painting in the National Gallery, New Haven-London 1991, pp. 136-151 Alessandro Nova, “Salviati, Vasari, and the re-use of drawings in their working practice”, in Master Drawings, XXX (1992), pp. 83-108 Michel Hochmann, “Le dessin dans la peinture vénitienne: nouvelle recherches”, in Revue de l’art, CLX (2008), 2, pp. 11-22 Italian Workshops in the Renaissance Ø Monographs Everett Fahy, Some Followers of Domenico Ghirlandaio, New York-London 1976 John A. Gere, Drawings by Raphael and his Circle from British and North American Collections, New York 1987 Martin Clayton, Raphael and his Circle. Drawings from Windsor Castle, London 1999 (Introduction, pp. 9-23) Rudolf Hiller von Gaertringen, Raffaels Lernerfahrungen in der Werkstatt Peruginos, München-Berlin 1999 David Alan Brown, Leonardo da Vinci. Arte e devozione nella Madonne dei suoi allievi, Cinisello Balsamo 2003 Ø Articles John Shearman, “The Organization of Raphael’s Workshop”, in The Art Institute of Chicago Centennial Lectures, Chicago 1983, pp. 41-57 (“L’organizzazione della bottega di Raffaello”, in John Shearman, Studi su Raffaello, ed. by Barbara Agosti, Vittoria Milani, Milano 2007, pp. 83-95) Rudolf Hiller von Gaertringen, “Uso e riuso del cartone nell’opera del Perugino. L’arte fra vita contemplativa e produttività”, in Pietro Vannucci il Perugino, Atti del Convegno Internazionale di studio (Perugia-Città della Pieve, 25-28 ottobre 2000), ed. by Laura Teza, Perugia 2004, pp. 335-350 Francesco Federico Mancini, “Considerazioni sulla bottega umbra di Perugino”, in Pietro Vannucci il Perugino, Atti del Convegno Internazionale di studio (Perugia-Città della Pieve, 25-28 October 2000), ed. by Laura Teza, Perugia 2004, pp. 329-334
Florentine Workshops in the Renaissance Monographs Raffaele Ciasca, Statuti dell’Arte dei Medici e Speciali, Firenze, Camera di Commercio e Industria 1922 Raffaele Ciasca, L’Arte dei Medici e speziali nella storia e nel commercio fiorentino dal secolo XII al XV, Firenze 1927 Umberto Dorini, Statuti dell’Arte di Por Santa Maria del tempo della Republica, Firenze 1934 Alfredo Doren, Le Arti florentine, Firenze 1940 Alessandro Guidotti, Botteghe e produzione ‚artistica‘ nella Firenze del Tre e Quatrocento, in: Lorenzo Ghiberti, ‚materia e ragionamenti‘, kat. výst., Museo dell’Accademia e Museo di San Marco, Firenze 1978, s. 260-263 Anabel Thomas, The Painter’s Practice in Renaissance Tuscany, Cambridge 1995 Werner Jacobsen, Die Maler von Florenz zu Begin der Renaissance, München 2001 Daniela Parenti, Dalle arti alle gallerie florentine: percorso di alcune testimoniaze di arte civica, in: Maria Monica Donato, Daniela Parenti, Dal Giglio al David. Arte civica a Firenze fra medioevo e rinascimento, kat. výst., Galleria dell’Accademia, Firenze 2013, s. 87-97
Case studies Jean K. Cadogan, Agnolo Gaddi’s carem and the Opera del Duomo in Florence, in: Cecilia Frosinini (ed.), Agnolo Gaddi and the Cappella Maggiore in Santa Croce in Florence, Milano 2014, s. 55-71
Venetian Workshops in the Renaissance Ø Monographs Giovanni Bellini and the Art of Devotion, ed. by Ronda Kasl, Indianapolis 2004 Hans Dieter Huber, Paolo Veronese. Kunst als soziales System, München 2005 Giorgio Tagliaferro e Bernard Akema, con Matteo Mancini e Andrew John Martin, Le botteghe di Tiziano, Firenze 2009 Ø Articles Hans Tietze, “Master and Workshops in the Venetian Renaissance”, in Parnassus, XI (1939), 8, pp. 34-35, 45 Hans Tietze, “Meister und Werkstatte in der Renaissancemalerei Venedigs”, in Alte und Neue Kunst, I (1952), pp. 89-98 Erica Tietze-Conrat, “An Unpublished Madonna by Giovanni Bellini and the Problem of the Replicas in His Shop”, in Gazette des Beaux Arts, XXXIII (1948), pp. 379-382 Felton Gibbons, “Practices in Giovanni Bellini’s Workshop”, in Pantheon, XXIII (1965), 3, pp. 146-155 David Rosand, “Veronese and Company: Artistic Production in a Venetian Workshop”, in Veronese and His Studio in North American Collections, exhib. catalogue (Birmingham, 1 October-15 November 1972; Montgomery, 5-31 December 1972), Birmingham 1972, pp. 5-11 Augusto Gentili, “Giovanni Bellini, la bottega, i quadri di devozione”, in Venezia Cinquecento, I (1991), 2, pp. 27-60 Maria Clelia Galassi, “La produzione ‘seriale’ nella bottega di Giovanni Bellini: indagini sulle due Madonne del Museo di Castelvecchio”, in Verona illustrata, XI (1998), pp. 3-11 Nicos Hadjinicolaou, “Reflexiones sobre el taller del Greco”, in El Greco y su taller, exhib. catalogue (Athens, 16 October 2007-5 January 2008), ed. by Nicos Hadjinicolaou, Atene 2007, pp. 17-39 Artists’ “Libri di conti” and economic strategies (Venice) Ø Monographs Paolo Farinati, Giornale (1573-1606), ed. by Lionello Puppi, Firenze 1968 Lorenzo Lotto, Il «Libro di spese diverse» con aggiunta d lettere e documenti diversi, ed. by Pietro Zampetti, Venezia-Roma 1969 Giovanni da Udine, I libri dei conti, ed. by Liliana Cargnelutti, Udine 1987 Michelangelo Muraro, Il Libro Secondo di Francesco e Jacopo Dal Ponte, Bassano 1992 Libretto dei conti del pittore Tiberio Tinelli (1618 - 1633), ed. by Bianca Lanfranchi Strina, Venezia 2000 Ø Articles Michelangelo Muraro, “I conti in tasca a Lorenzo Lotto”, in Notizie da Palazzo Albani, XIII (1984), pp. 144-164 Michelangelo Muraro, “Bassano: dare e avere per pitture fatte”, in Venedig und Oberdeutschland in der Renaissance. Beziehungen zwischen Kunst und Wirtschaft, ed. by Bernd Roeck, Klaus Bergdolt, Andrew John Martin, Sigmaringen 1993, pp. 77-90 Paul Hills, “Tintoretto’s Marketing”, in Venedig und Oberdeutschland in der Renaissance. Beziehungen zwischen Kunst und Wirtschaft, ed. by Bernd Roeck, Klaus Bergdolt, Andrew John Martin, Sigmaringen 1993, pp. 107-120 Tom Nichols, “Price, ‘Prestezza’ and Production in Jacopo Tintoretto’s Business Strategy”, in Venezia Cinquecento, VI (1996), 12, pp. 207-233 Francesca Bottacin, “Tiberio Tinelli. un artista veneziano del Seicento nel suo studio”, in Studi veneziani, n.s., XL (2000), pp. 239-255 Art market in Renaissance (Italy) Ø Monographs Richard Goldthwaite, Wealth and the Demand for Art in Italy, 1300-1600, Baltimore 1993 The Art Market in Italy, 15th-16th Centuries/Il mercato dell’arte in Italia, secc. XV-XVII, ed. by Marcello Fantoni, Louisa C. Matthew, Sara F. Matthews-Greco, Modena 2003 Mapping markets for paintings in Europe, 1450-1750, ed. by Neil De Marchi, Hans J. van Miegroet, Turnhout 2006 Art market in Renaissance (Venice) Ø Articles Peter Humfrey, The Venetian Altarpiece of the Early Renaissance in the Light of Contemporary Business Practice, in “Saggi e memorie di storia dell’arte”, 15 (1986), pp. 65-82 Bernard Aikema, Tesori ponentini pe rla Serenissima. Il commercio d’arte fiamminga a Venezia e nel Veneto fra Quattro e Cinquecento, in Tra Committenza e Collezionismo. Studi sul mercato dell’arte nell’Italia settentrionale durante l’età moderna, Atti del Convegno Internazionale di Studi (Verona, 30 Novembre–1st December 2000), ed. by Enrico Maria Dal Pozzolo, Leonida Tedoldi, Vicenza, 2003, pp. 35-48 Enrico Maria Dal Pozzolo, Cercar quadri e disegni nella Venezia del Cinquecento, in Tra Committenza e Collezionismo. Studi sul mercato dell’arte nell’Italia settentrionale durante l’età moderna, Atti del Convegno Internazionale di Studi (Verona, 30 Novembre–1st December 2000), ed. by Id., Leonida Tedoldi, Vicenza, 2003, pp. 49-65 J. Hinton, “By Sale, By Gift. Aspects of the Resale and Bequest of Goods in Late Sixteenth-Century Venice”, in Journal of Design History, 15 (2002), 4, pp. 254-262 Isabella Cecchini, “Collezionismo e mondo materiale”, in Il collezionismo d'arte a Venezia. Dalle origini al Cinquecento, ed. by Michel Hochmann, Rosella Lauber, Stefania Mason, Venezia 2008, pp. 165-191
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Last update: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2024)
The syllabus will be set according to the selected papers. |
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Last update: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2024)
The condition of the end of the course is the preparation and presentation of the report on the selected topic, always one for each semester, regular participation in the seminar (absence must be excused in writing), active involvement in the discussed and discussed topics of the seminar. |