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/39667 The present contribution is dedicated to one of the popular Baroque depictions of the Crucifixion, for which it can be assumed that we know its original typological pattern. This is a gilded relief attributed to Guglielmo della Porta (1500/1510–1577), from the property of King Philip II of Spain, located in the Escorial. The work soon became wellknown in central Europe as well, and in depictions of the Crucifixion its figures of the Virgin Mary and St John the Evangelist were then imitated for a long time and often. They also became a model for the young Anthonis van Dyck (1599–1641) in his early altarpiece on this subject. Van Dyck's "more modern" take on the original late-Renaissance model was then significant for the further development of this prototype. The work is then devoted to transformations in the understanding of both figures over the course of almost two centuries, during which, while their basic concept – especially their characteristic gestures – remained the same, the personality of the executing artist as well as the milieu and time in which the works were created manifested themselves. The ending of the Baroque also meant the end of the use of this typological pattern. Mária Pötzl-Malíková Copyright © 2024-08-30 2024-08-30 73 1 2 17 10.5817/OHA2024-1-1 https://journals.phil.muni.cz/oha/article/view/39668 From the mid-1750s, Felix Ivo Leicher (1727–1812) was one of the most frequently employed Viennese painters in the Czech Lands. Considering Leicher's extensive activity until the end of the 18th century, it is quite understandable that it is rare to still find works as yet unassociated with his authorship. In addition to several recently found altar and easel paintings, more or less isolated in various places (Rajhrad, Vambeřice, Brumovice near Opava), also worth of note is a hitherto neglected set of some seven altarpieces, which he painted from 1761 to 1765 for the then newly built side altars of the monastery church of the Barefoot Augustinians in Tábor. In the place of their original destination, in the Tábor monastery church of the Nativity of the Virgin Mary, only three have been preserved to the present day, the other four, including the altar furniture, were moved to other places following the abolition of the monastery. In addition to these new findings, the examination of Leicher's work also brings about the necessity of making certain adjustment for works that were attributed to him in the past or were associated with his name (Louka, Tata, Lískovec, Konská, Korneuburg). Petr Arijčuk Copyright © 2024-08-30 2024-08-30 73 1 18 35 10.5817/OHA2024-1-2 https://journals.phil.muni.cz/oha/article/view/39669 The study is based on information about the friendship between the painter Josef Šíma (1891–1971) and the linguist Roman Jakobson (1896–1982), exploring the extent to which Jakobson's impulse, as acknowledged by both, might have shaped the form of Šíma's work. This changed significantly after 1925 and expanded to include imaginative approaches associated with poetry. Did linguistic theory also play a role in these? Can Šíma's style, often associated with poetry, be clarified using Jakobson's linguistic analyses of poetry? In the comparisons which follow between fine art and poetry, it will not be so much a matter of motif or concept affinity as of analogies in the structure of poem and painting, as was clarified by the Prague Linguistic Circle, Roman Jakobson and Jan Mukařovský (1891–1975). Alena Pomajzlová Copyright © 2024-08-30 2024-08-30 73 1 36 49 10.5817/OHA2024-1-3 https://journals.phil.muni.cz/oha/article/view/39670 Based on the catalogues of exhibitions organized between 1930 and 1938 by the Moravian Art Association (Mährischer Kunstverein), contemporary journalism and sporadically preserved archival documents, this contribution attempts to present and evaluate the results achieved in Brno by nowadays mostly forgotten German, mainly Jewish, art lovers and collectors. It devotes attention to the genre and artist make-up of the picture collections they created, as well as the fates they shared after 1939. Above all, however, it focuses on the reconstruction of one of them, the small but carefully selected collection of the textile manufacturer Hugo Hanak (1880–1957), whose focus was the works of French landscape painters of the second half of the 19th century (Gustave Courbet, Eugène-Louis Boudin), in particular representatives of the Barbizon school (Pierre Etienne Theodore Rousseau, Constant Troyon, Charles-François Daubigny) and their German and Austrian fellow travellers (Heinrich von Zügel, Tina Blau, Olga Wisinger-Florian, Jacob Emil Schindler and Eugen Jettel). [Appendix II] Lubomír Slavíček Copyright © 2024-08-30 2024-08-30 73 1 50 93 10.5817/OHA2024-1-4