Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (29.01.2021)
V letním semestru bude pozornost zaměřena na provoz a produkci výtvarných dílen v Itálii, například ve Florencii nebo Mantově, ale zvl. na nám blízké benátské prostředí, což přinese celistvější obraz o uměleckém dění v Evropě v oblasti dílenské praxe a jejích proměn během 16. století. Vedle problematiky rukodělnosti umělce se budeme věnovat i umělecké fantasii a etickému rozměru umělce. Studenti zpracují vybraná témata formou kratších referátů (cca 30 min.), jež se budou vzájemně doplňovat a obohacovat.
Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2021)
In the summer semester, attention will be focused on the operation and production of art workshops in Italy, such as Florence or Mantua, but especially on Venetian environment, which will bring a more holistic picture of art in Europe in the field of workshop practice and its changes during the 16th century. In addition to the issue of craftsmanship of the artist, we will also focus on the artistic imagination and ethical dimension of the artist. Students will work on selected topics in the form of shorter papers (approx. 30 min.), which will complemented and enriched by the others. The condition is at least 75% attendance in classes, a paper on a chosen topic lasting 30 minutes with a prepared visual presentation and submission of a written version of the paper.
Literatura -
Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2021)
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
Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2021)
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
Sylabus -
Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2021)
Provoz malířských dílen na rozhraní 14. a 15. století ve Florencii
Významné malířské dílny ve Florencii v 2. polovině 15. století
Malířská dílna Andrea Mantegny v Mantově
Benátské malířské dílny 16. století
Dvorní malíř
Umělcova fantasie jako doplněk k jeho rukodělnosti v tvůrčím procesu
Ovlivňuje morálka umělce kvalitu jeho díla? Umělcova povaha, umělec narozen ve znamení Saturna, Melancholie
Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2021)
Running the artistic workshop at the threshold of 14th and 15th century in Florence
Important Florentine workshops in the second half of the 15th century
Workshop of Andrea Mantegna in Mantua
Venetian workshops in the 16th century
Court painter
Artist`s phantasy as a complement to his craftsmanship in the creative process
Does the artist's morality affect the quality of his work? The artist's character, an artist born in the sign of Saturn, Melancholy
Podmínky zakončení předmětu -
Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (29.01.2021)
Podmínkou je minimálně 75% účast v hodinách, referát na zvolené téma o délce 30 minut s připravenou obrazovou prezentací a odevzdání písemné verze referátu.
Poslední úprava: doc. PhDr. Martin Zlatohlávek, Ph.D. (01.02.2021)
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.
