Tvůrce jako předmět dějin umění: Pozice autora po jeho "smrti": Sborník 6. sjezdu historiků umění, Petr Jindra, Radim Vondráček (edd.). Praha : Artefactum, nakladatelství Ústavu dějin umění AV ČR, v.v.i., ve spolupráci s Uměleckohistorickou společností, 2020
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Books by Michaela Ottová
Autoři textů / Authors of the texts: Milena Bílková, Lukáš Gavenda, Petr Hlaváček, Štěpánka Chlumská, Jan Klípa, David Kořínek, Viktor Kubík, Petr Macek, Aleš Mudra, Magdalena Nespěšná Hamsíková, Michaela Ottová, Markéta Pavlíková, Petr Rak, Jan Royt, Uwe Tresp, Ľubomír Turčan, Marta Vaculínová
This book summarizes, enhances and synthesizes the findings achieved during the project. A team of art historians have structured its first section according to types of art. The chapters on architecture, sculpture and painting do not only offer an overview of the most outstanding monuments and the development of their forms, but also discuss aspects related to the iconography, typology and function of the artefacts under study. These chapters also examine the tendencies and forms of artistic transfer, trends and strategies in commissioning works of art, the mobility of artists and workshop organization, as well as numerous other social and religious issues. The chapter devoted to applied arts is structured according the typology and function of the artefacts within the context of a liturgical space. The remaining chapters treat independently three functional types of church furnishings (Eucharistic microarchitecture, sepulchral monuments and architectural sculpture on keystones and corbels).
Autoři katalogových hesel: Tomáš Hladík (TH), Olga Kotková (OK), Aleš Mudra (AM), Michaela Ottová (MO),
Jan Royt (JR), Andrea Steckerová (AS), Ľubomír Turčan (ĽT), Vít Vlnas (VV)
Today we have a wide range of tools and approaches with which to research the visual culture of the region in question. They are described in the second introductory chapter, entitled Josef Opitz and contemporary approaches to the research of the visual culture of north-western Bohemia (1250–1550). For almost a hundred years, the work of Josef Opitz has staked out the path for the further study of this phenomenon. During the preparations for the above-mentioned exhibition, it became clear that this distinguished factographic and methodological basis for current research needed to be submitted to new reflection. The analysis of his publications focuses on the question of to what extent they can bring inspiration in various areas of today's research in art and architecture: heuristics, formal and stylistic analysis, connoisseurship (attribution, localisation, dating), cultural history, the context of confessionalisation, the function of artworks, cultural and artistic exchange (in terms of art-historical geography) and so on.
The methods described are then brought to bear in the rest of the book, which is the work of 20 authors. The book is divided into 17 chapters, forming three blocks: I. The visual culture of north-western Bohemia in the Middle Ages – specifics, links and contexts. II. Commissioners and the social context. III. Case studies regarding artistic centres. Some chapters are thematically defined by typological, formal, functional or constructional and technical criteria, fields of art or social environments, while others are locally-anchored (specific settlements/artistic centres). The book draws primarily on objects of artistic heritage that have been preserved in north-western Bohemia, although in many cases there are profitable forays into questions of the art of the Saxon Ore Mountains or of the Czech lands as a whole, as well as the use of Central European perspectives to cast light on the subject. These wider themes include the phenomenon of diamond vaults, the symbolism of fortification constructions, the production of relatively cheap monstrances in series, an extensive summary of research into illuminated manuscripts and the phenomenon of wood carving during the rule of the Luxembourgs. On the other hand there are also more narrowly-focused monographic studies looking at partial themes from the angle of cultural history (the role of commissioners, social and religious contexts) and from the angles of style, geography and iconography. The book Trans montes thus complements the catalogue of the forthcoming exhibition both in terms of its supra-regional crossovers and in terms of depth of specialisation, something for which there will be more limited space in the exhibition.
Autoři textů / Authors of the texts: Milena Bílková, Lukáš Gavenda, Petr Hlaváček, Štěpánka Chlumská, Jan Klípa, David Kořínek, Viktor Kubík, Petr Macek, Aleš Mudra, Magdalena Nespěšná Hamsíková, Michaela Ottová, Markéta Pavlíková, Petr Rak, Jan Royt, Uwe Tresp, Ľubomír Turčan, Marta Vaculínová
This book summarizes, enhances and synthesizes the findings achieved during the project. A team of art historians have structured its first section according to types of art. The chapters on architecture, sculpture and painting do not only offer an overview of the most outstanding monuments and the development of their forms, but also discuss aspects related to the iconography, typology and function of the artefacts under study. These chapters also examine the tendencies and forms of artistic transfer, trends and strategies in commissioning works of art, the mobility of artists and workshop organization, as well as numerous other social and religious issues. The chapter devoted to applied arts is structured according the typology and function of the artefacts within the context of a liturgical space. The remaining chapters treat independently three functional types of church furnishings (Eucharistic microarchitecture, sepulchral monuments and architectural sculpture on keystones and corbels).
Autoři katalogových hesel: Tomáš Hladík (TH), Olga Kotková (OK), Aleš Mudra (AM), Michaela Ottová (MO),
Jan Royt (JR), Andrea Steckerová (AS), Ľubomír Turčan (ĽT), Vít Vlnas (VV)
Today we have a wide range of tools and approaches with which to research the visual culture of the region in question. They are described in the second introductory chapter, entitled Josef Opitz and contemporary approaches to the research of the visual culture of north-western Bohemia (1250–1550). For almost a hundred years, the work of Josef Opitz has staked out the path for the further study of this phenomenon. During the preparations for the above-mentioned exhibition, it became clear that this distinguished factographic and methodological basis for current research needed to be submitted to new reflection. The analysis of his publications focuses on the question of to what extent they can bring inspiration in various areas of today's research in art and architecture: heuristics, formal and stylistic analysis, connoisseurship (attribution, localisation, dating), cultural history, the context of confessionalisation, the function of artworks, cultural and artistic exchange (in terms of art-historical geography) and so on.
The methods described are then brought to bear in the rest of the book, which is the work of 20 authors. The book is divided into 17 chapters, forming three blocks: I. The visual culture of north-western Bohemia in the Middle Ages – specifics, links and contexts. II. Commissioners and the social context. III. Case studies regarding artistic centres. Some chapters are thematically defined by typological, formal, functional or constructional and technical criteria, fields of art or social environments, while others are locally-anchored (specific settlements/artistic centres). The book draws primarily on objects of artistic heritage that have been preserved in north-western Bohemia, although in many cases there are profitable forays into questions of the art of the Saxon Ore Mountains or of the Czech lands as a whole, as well as the use of Central European perspectives to cast light on the subject. These wider themes include the phenomenon of diamond vaults, the symbolism of fortification constructions, the production of relatively cheap monstrances in series, an extensive summary of research into illuminated manuscripts and the phenomenon of wood carving during the rule of the Luxembourgs. On the other hand there are also more narrowly-focused monographic studies looking at partial themes from the angle of cultural history (the role of commissioners, social and religious contexts) and from the angles of style, geography and iconography. The book Trans montes thus complements the catalogue of the forthcoming exhibition both in terms of its supra-regional crossovers and in terms of depth of specialisation, something for which there will be more limited space in the exhibition.