https://journals.phil.muni.cz/oha <p>Opuscula historiae artium je recenzovaný vědecký časopis vydávaný <a href="http://www.phil.muni.cz/dejum" target="" name="">Seminářem dějin umění Masarykovy univerzity</a>. Uveřejňuje příspěvky z oblasti dějin umění a příbuzných disciplín. Časopis navazuje na někdejší Sborník prací filosofické fakulty brněnské university (SPFFBU), vycházející od roku 1952, jako samostatná řada uměnovědná (F) pak od roku 1957. Pod názvem Opuscula historiae artium časopis vychází od roku 1996. Od roku 2013 je součástí citačních a abstraktových databází SCOPUS a ERIH PLUS. Vychází 2x ročně.</p> Masarykova univerzita cs-CZ Opuscula historiae artium 1211-7390 https://journals.phil.muni.cz/oha/article/view/44338 The article discusses the origin of the artificial marble technique and the circumstances of its dissemination in the Czech Lands. The technique originated in Bavaria in the late 16th century and, after a certain time, also appeared in northern Italy. During the first half of the 17th century, its dissemination was very limited due to production secrecy. In the Czech Lands, this technique is documented at the Rudolphine court, but only in written sources. The first monumental preserved constructions in this country date to the 1690s. The reason for the discontinuity in the use of impressive imitations using artificial marble, in addition to the secrecy of the technique (and therefore the low awareness among customers and craftsmen), is probably the fact that there is only a very limited amount of the basic raw material – gypsum – in our territory. Zdeněk Kovářík Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 92 107 10.5817/OHA2025-2-1 https://journals.phil.muni.cz/oha/article/view/44339 Unlike several foreign contributions, Czech historiography still lacks a comprehensive treatment of the issue of aristocratic dilettantism around 1800. One of the hitherto little-known dilettantes was Franz Anton Count Magnis (1773–1848), owner of the South Moravian estate of Strážnice. The study analyses the evident links that connected him to the Viennese art scene, specifically to the Vienna Academy professor Josef Fischer (1769–1822). These connections are demonstrated by a representative collection of works on paper relating both to the artist's stay at the Strážnice château and to Magnis's own artistic expression. Fischer fulfilled several commissions in the service of the count and, in addition to basic artistic training, also provided him with models for his etchings. Through an interpretative framework evaluating the artworks of aristocrats as a means of communication, the study further analyses the sharing of occasional drawings and prints, whose evaluation is based primarily on their social function rather than on the categories of quality of execution and inventiveness. Using an analysis of these selected examples, the study offers a concrete characterization of aristocratic dilettantism in the Habsburg monarchy at the end of the 18th century. Jiří Štefaňák Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 108 129 10.5817/OHA2025-2-2 https://journals.phil.muni.cz/oha/article/view/44340 The contribution follows on from Katarína Kolbiarz Chmelinová's recent work researching the art scene in Bratislava – historical Pressburg – around 1800. In the text, the author focuses primarily on the social and economic aspects of the life and work of artists, and the possibilities for their use in further research. The positive contribution of this kind of data to the creation of holistic images of urban art scenes in Slovakia is illustrated using the example of a specific generation of painters (born between 1750 and 1780) active in Pressburg around 1800, known professionally as the last Baroque generation. It presents new partial information and interpretations of data collected in the past concerning the issues of the professional organization of municipal painters in the second half of the 18th century and their economic background. Katarína Tánczosová Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 130 141 10.5817/OHA2025-2-3 https://journals.phil.muni.cz/oha/article/view/44341 A Very Fine New Chronicle (orig. Welmi piekna nowa Kronika), published by the Prague printer Jan Šmerhovský in 1519, is a literal translation of A Very Fine New History (orig. Ein gar schöne newe Histori) by the Nuremberg printer Kaspar Hochfeder, published in 1499 and 1500 in Metz. The Czech edition adopts Hochfeder's cycle of woodcut associative illustrations – rather than literal copies, these are inventive imitations, including several original illustrations. This cycle deviates from the contemporary standard of Czech book printing of the early 16th century not only in its scope, in its unusual iconography recounting the chivalric romance of Florio and Bianzafiore based on motifs from Filocolo by Giovanni Boccaccio, but mainly in the quality of its artistic execution. The article introduces Šmerhovský, his work and the individual illustrations of the Chronicle, as well as Hochfeder and his printing facilities. Attention is also paid to the alleged author of the German illustrations, the Master of the Legend of St Meinrad, who may have trained in Augsburg in the scriptorium and print shop of the Benedictine monastery of Sts Ulrich and Afra. In Nuremberg, the Master then became acquainted with the Wolgemut School and synthesized these two South German regional styles into his own drawing style. Twenty years later, this became the model for Šmerhovský's print, which for the reasons given above we can consider to be a unique item in the field of early Bohemian printing. Juliana Hudecová Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 142 151 10.5817/OHA2025-2-4 https://journals.phil.muni.cz/oha/article/view/44342 Long considered lost, the cycle of paintings of the Seasons and Times of Day (1741) – a collaborative work by Johann Peter Molitor (1702/1703–1757), Georg Christoph Grooth (1716–1749), and Wenzel Lorenz Reiner (1689–1743) – has now been newly identified at Lemberk Castle in northern Bohemia. The article offers a detailed reconstruction of the provenance of this ensemble, which over time passed through the hands of numerous prominent owners, resulting in an instructive chapter in the history of art collecting. It also examines the unusual iconography of the paintings, which are here more closely situated within the corpus of works by their respective authors, all tied to a single commission by a patron who nevertheless remains unknown. Tadeáš Kadlec Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 152 169 10.5817/OHA2025-2-5 https://journals.phil.muni.cz/oha/article/view/44343 The study deals with the representation of Habsburg portraits in the pictorial decoration of Baroque castles in East Bohemia and analyses their function in the context of aristocratic representation. The East Bohemian Museum in Pardubice maintains a collection of portraits of members of the ruling dynasty from the 18th century, the provenance of which is unclear. Based on research into inventories of aristocratic residences in the Chrudim region and partly in the Hradec Králové region, the author attempts to hypothetically determine the origin of this collection and place it within the broader framework of visual culture of the period. The survey has demonstrated a considerable variety in the décor of the settlements examined. Habsburg portraits were present in the region, but not systematically; their commissioning depended on the individual clients. Special attention is paid to the inventories of the Paar château in Zdechovice, which document an extensive, high-quality picture collection with works by leading Baroque painters. Jan Ivanega Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 170 195 10.5817/OHA2025-2-6 https://journals.phil.muni.cz/oha/article/view/44344 Katarína Beňová Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 196 198 10.5817/OHA2025-2-7 https://journals.phil.muni.cz/oha/article/view/44345 Jiří Kroupa Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 199 202 10.5817/OHA2025-2-8 https://journals.phil.muni.cz/oha/article/view/44346 Lubomír Slavíček Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 2 203 207 10.5817/OHA2025-2-9 https://journals.phil.muni.cz/oha/article/view/44347 Journal Opuscula historiae artium Copyright © 2025-12-01 2025-12-01 74 2 [209] [209]