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> cs-CZ oha@phil.muni.cz (Opuscula historiae artium) journals@phil.muni.cz (Technická podpora OJS FF MU) Ne, 29 pro 2024 00:00:00 +0100 OJS 3.2.1.4 http://blogs.law.harvard.edu/tech/rss 60 https://journals.phil.muni.cz/oha/article/view/40863 The temporary decoration of churches before the Lenten season formed an important part of post-Tridentine visual culture and was inherently linked to Catholic eucharistic cultic practice. The study focuses on the ephemeral decorations within the pre-Lenten Eucharistic Devotion in selected Jesuit colleges in Moravia and Silesia in the second half of the 17th century. The aim is to reconstruct the iconography of several ephemeral displays based on surviving written accounts and to interpret it in the context of the religious practice, imagination and social interaction of the day. Martin Deutsch Copyright © https://journals.phil.muni.cz/oha/article/view/40863 Ne, 29 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/oha/article/view/40864 In the archbishop's gallery at the Kroměříž castle there is a painting whose mysterious theme and very author have occupied researchers for many years. The painting recorded in the collection inventories as "Grosses Histori-Bild" or "Sterbescene" can now be interpreted as an iconographically exceptional work, drawing its theme not only from ancient Roman history, but also from the chapters of ancient medicine; on the order of crowned heads fearing for their lives, the latter attempted to create and perfect an effective cure for poisoning. This "istoria" became an example of a 17th-century artist's non-dogmatic approach to depicting an episode taken from the books of the ancient classics and their modern compilations. Zdeněk Kazlepka Copyright © https://journals.phil.muni.cz/oha/article/view/40864 Ne, 29 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/oha/article/view/40865 The work of painter Karl Joseph Aigen (1685–1762) remains a poorly understood category in Moravian and Austrian art history. In efforts to evaluate Aigen's oeuvre, emphasis has been placed primarily on the recognition of his skill as a painter together with his esteemed academic position, which served as indisputable proof of his qualities as an artist. The same emphasis is also shown in the partial research on many church commissions and his output of cabinet paintings. It appears that Aigen also made considerable use of his drawing skills, especially in the design of prints, which could have been an important addition to his finances in the early years of his Viennese career. He collaborated with many renowned engravers of the time on designs for prints with a wide range of iconographic themes. Aigen did not, however, limit his draughtsmanship just to designs for print production. An equally important category demonstrating Aigen's abilities is his academic teaching, which was strictly oriented towards the mastery of drawing. During the 1750s, the artist had the opportunity to help a number of the successors of the younger generation of painters to develop basic drawing skills. Jiří Štefaňák Copyright © https://journals.phil.muni.cz/oha/article/view/40865 Ne, 29 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/oha/article/view/40866 The oeuvre of the sculptor Georg Raphael Donner (1693–1741) has long been considered a core component of the Baroque canon in Central Europe and has consistently drawn the attention not only of art historians but also of a broader audience. However, further investigation and analysis remain to be conducted. This paper presents a previously unknown contract signed by Donner in 1734 relating to the high altar of the new parish church of St Stephen in Jablonica (Slovakia). At that time, Donner was employed at the court of Archbishop and Hungarian Primate Emmerich Eszterházy (1664–1745) in Bratislava. Ladislaus Korlátköy de Laps († 1750) served as the primary patron of the church in Jablonica and was instrumental in commissioning the high altar. Although the altarpiece was apparently not implemented, the detailed contract is an important document for the history of the church in Jablonica and for an understanding of Donner's creative and economic activities during his ten-year tenure in presentday Slovakia. The contract demonstrates not only Donner's collaboration with a circle of artists close to the court of Emmerich Eszterházy, but also the considerable breadth of the sculptor's competence. This ranged from the supply of stone, perhaps in part from a quarry he managed himself, to the design of an altarpiece intended for the centre of the altar, as well as the provision of collaborators and subcontractors. Tomáš Janura, Katarína Kolbiarz Chmelinová Copyright © https://journals.phil.muni.cz/oha/article/view/40866 Ne, 29 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/oha/article/view/40867 The study presents a newly found archive of the Seminar of Art History of the Faculty of Arts of Palacký University in Olomouc, which maps a period (1948–1956) of the existence of this unjustly marginalized university institute of art history (1946–1956). At the same time, it tries to present the programme and specifics of this "forgotten" department of art history. Ondřej Jakubec, Vilém Urban Copyright © https://journals.phil.muni.cz/oha/article/view/40867 Ne, 29 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/oha/article/view/40868 Journal Opuscula historiae artium Copyright © https://journals.phil.muni.cz/oha/article/view/40868 Ne, 29 pro 2024 00:00:00 +0100