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/42579 The study focuses on the early work in central and eastern Europe of the stucco artist and sculptor Baldassare Fontana (1661–1733). It is based on an analysis of archival documents from the Liechtenstein family archive in Vienna and points out for the first time the key role that the Liechtenstein family played in the first years of Fontana's activities in Moravia, and evidently also their fundamental part in his coming here. Based on archival documents and stylistic comparisons, the known catalogue of works by Baldassare Fontana is extended with the stucco decoration of the portal of the chapel dedicated to the plague patrons St. Sebastian, St. Roch and St. Rosalia in the Church of St Bartholomew in Moravský Krumlov, the seat of the Moravian Liechtenstein secundogeniture. It places the commission from Maximilian Jakob Moritz von Liechtenstein (1641–1709) into the context of the activities of other artists active in Moravia at the end of the 1680s. It also gives attention to Fontana's no longer extant commissions for Johann Adam Andreas von Liechtenstein (1657–1712) at the château in Valtice. Although these Valtice works by Baldassare Fontana have not survived, analysis of the documents allows us to reconstruct the artistic networks in which this stucco artist and his collaborators moved, and to better understand the meanings of various places with specific local and cultural parameters within Fontana's work. Jana Zapletalová Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 1 2 15 10.5817/OHA2025-1-1 https://journals.phil.muni.cz/oha/article/view/42580 On occasion of the three hundredth anniversary of the birth of the prominent Central European painter Johann Lucas Kracker (1719–1779) in 2019, Anna Jávor, a great expert on the artist's work, commemorated this with a comprehensive study. It not only contains new findings related to Kracker's life and work, but based on source material also corrected some older, firmly established claims. Born in Vienna and educated at the academy there, sometime before 1750 Kracker settled in Znojmo in southern Moravia for an extended period of nearly two decades. He became a sought-after painter operating not only in the Czech Lands but also far beyond their borders, especially in Hungary. This text brings new findings and partial additions – and once more corrections to some previously long-held opinions – regarding Kracker's commissions in the Czech Lands. It draws on archival material and recent restoration of works traditionally attributed to Kracker. In addition to the recognition of several new, previously overlooked works, in particular the previous view of Kracker's involvement with the Brno Dominicans and Capuchins has undergone significant changes. New, previously overlooked works can also expand awareness of the artist's work for the Franciscans in Moravská Třebová and Opava. Petr Arijčuk Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 1 16 31 10.5817/OHA2025-1-2 https://journals.phil.muni.cz/oha/article/view/42581 This study investigates the genesis of the fresco cycle in the Parish Church of Sümeg, with a particular focus on the collaboration between Franz Anton Maulbertsch (1724–1796) and Bishop Márton Biró Padányi (1693–1762). Author emphasizes that, instead of attempting to discern the "hands" of workshop members, the frescoes should be interpreted as a unified, conceptually well-thought-out work of art. The entire painted decoration of the church – including the ceiling paintings, altarpieces, and over thirty portraits on the organ loft – is the joint creation of the commissioning bishop and the virtuoso painter. Special attention is given to the altarpiece Adoration of the Shepherds, which features two images of Jesus. This unusual solution is interpreted not as an error, but as a theological message highlighting Christ's dual nature. An analysis of the inscriptions on the frescoes, as well as the bishop's sermons and the chronostichs found in the church, reveals that Bishop Biró shaped the church into his own "silent sermon". The community at prayer, depicted on the choir loft, including the bishop and the painter, join the heavenly liturgy as members of the "earthly church". Veronika Nagy Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 1 32 47 10.5817/OHA2025-1-3 https://journals.phil.muni.cz/oha/article/view/42582 The study is a brief summary of monographic research conducted within the framework of the research programme titled Baroque Fresco Painting in Hungary. It examines the work of 18th-century painter Johannes Pöckel (?–1778?), with particular focus on his role in completing the fresco programme of the parish church in Sümeg. The church's fresco cycle was Franz Anton Maulbertsch's first and most significant work in Hungary. However, recent research has revealed that certain elements – among them depictions of four bishop saints – were not painted by Maulbertsch but are later additions, presumably the work of Pöckel. Stylistic and iconographic differences support this conclusion. The frescoes were likely commissioned by the same patron, Bishop Márton Biró Padányi, who had earlier commissioned work from Maulbertsch. Johannes Pöckel probably worked in Maulbertsch's workshop but did not return to Vienna; instead, he settled in Sümeg, where he received further commissions. His only signed fresco is located in Szécsisziget and is nearly an exact copy of the Sümeg decoration, demonstrating the regional artistic influence of Sümeg. The study also identifies several other works by Pöckel, contributing to the research of Baroque fresco painting in Hungary. Gábor Gaylhoffer-Kovács Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 1 48 59 10.5817/OHA2025-1-4 https://journals.phil.muni.cz/oha/article/view/42583 This study examines Emil Kaufmann's (1891–1953) interpretation of 18th-century architecture in relation to the ideas of his teacher Max Dvořák (1874–1921), a key figure of the Vienna School of Art History. Kaufmann is known for linking 18th-century French architecture with modernist principles, especially through his influential book Von Ledoux bis Le Corbusier (1933), where he connected Claude-Nicolas Ledoux's work with that of Le Corbusier. While this modernist reading has been widely discussed, Kaufmann's intellectual debt to Dvořák has received little attention. Based on archival sources, this study traces their shared view of 18th-century art, particularly through Kaufmann's 1920 dissertation Die Entwürfe des Architekten Ledoux und die Aesthetik des Klassicismus, written under Dvořák's supervision at the University of Vienna, and Dvořák's unpublished 1918 lecture series Die Entwicklung der malerischen Probleme im 18. Jahrhundert. The findings reveal deeper continuities between the Vienna School's historical thought and early modernist architectural theory. Tomáš Murár Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 1 60 73 10.5817/OHA2025-1-5 https://journals.phil.muni.cz/oha/article/view/42584 This contribution focuses on lesser-known aspects of Baldassare Fontana (1661–1733), whose output has already been extensively documented. The fulcrum of this investigation are two notarial deeds of great importance: his will and testament, drawn up in the house in Chiasso on 17 June 1733, and his property inventory drawn up in 1737. The two documents open up new perspectives regarding his life and his affective relationships, which are important for investigating some of the dynamics of the society to which Fontana belonged; work relations, socio-economic relations also developped thanks to his marriage. The testament clarifies the kinship ties, also verified in the parish registers that preserve fundamental sources for inferring spiritual alliances, family mobility, etc., as well as the bonds of belonging to the community of Chiasso and in the will to keep the fuoco acceso, namely the family lineage and residence in Chiasso. The inventory, on the other hand, gives us an insight into the wealth in which his family lived and the significant property assets he accumulated during his life. To this must be added credits and policies to be redeemed at home and 'in the City of Olmiz in Moravia', as the notarial deed states, revealing social and professional networks which are useful for further investigations. Stefania Bianchi Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-12-01 2025-12-01 74 1 74 89 10.5817/OHA2025-1-6