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Štěpán Vácha

Academy of Sciences of the Czech Republic, Institute of Art History, Department of Early Modern Art, Head of Department

Academy of Fine Arts Prague, Art History and Theory Department, Faculty Member

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PhDr. Štěpán Vácha, Ph.D., is a research scholar at the Institute of Art History of the Czech Academy of Sciences and editor-in-chief of the journal Studia Rudolphina. His primary research interest concerns Rudolfine painting and Baroque art in Bohemia, also a visual representation of the Habsburg dynasty and art of religious orders. He also teaches art history at the Academy of Fine Arts in Prague.
Address: Institute of Art History, Czech Academy of Sciences
Husova 4
110 00 Prague 1

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Dirk Jacob Jansen

Universität Erfurt

Isabella di Lenardo

Ecole Polytechnique Federale de Lausanne

Lehigh University

Stefan Bartilla

Martin Zlatohlavek

Markéta Ježková

Academy of Sciences of the Czech Republic

Goethe-Universität Frankfurt am Main

Michaela Pejčochová

National Gallery in Prague

Simone Bardazzi

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Papers by Štěpán Vácha

The Man of Sorrows by Hans von Aachen in Břevnov Monastery in Prague

RIHA Journal no. 274, 2022

This study presents a hitherto unpublished painting of The Man of Sorrows, located in Břevnov mon... more This study presents a hitherto unpublished painting of The Man of Sorrows, located in Břevnov monastery in Prague, by the Rudolfine court painter Hans von Aachen. The aim is to investigate not only the provenance of the work and the presumable commissioner, Abbot Wolfgang Selender of Prošovice, but also the painting's place in Von Aachen's oeuvre, possible sources of inspiration for its iconography as well as formal design in Italy and Prague. Among other findings, a technological survey conducted during its restoration revealed a man's face in the lower layers of paint, possibly a portrayal of the Emperor Rudolf II.

The Picturesque Motif of the Rotunda in the Work of Roelandt Savery

Oud Holland 132, 2019

The article examines the motif of the Romanesque rotunda, a simple building with a circular groun... more The article examines the motif of the Romanesque rotunda, a simple building with a circular ground plan, in the drawings and paintings of Netherlandish painter Roelandt Savery. So far, scholars have only paid marginal attention to the occurrence of this picturesque motif in Savery’s oeuvre. In fact, some of the drawn examples can be identified very accurately as particular churches in Prague, and their presence in his paintings seems not random, but rather systematic; it is in line with the historical imagination constantly present in Netherlandish painting.

The School of Prague or Old German Masters: Rudolfine Painting in the Literary and Visual Discourse of the 17th and 18th Centuries

Zeitschrift für Kunstgeschichte 77, 2014

Although painting at the court of the Emperor Rudolf II in Prague has been regarded as a distinct... more Although painting at the court of the Emperor Rudolf II in Prague has been regarded as a distinctive artistic phenomenon since the early 20th century, finding a place for Rudolfine art in the history of European painting and in the art historiography of the individual Central European countries is still an open issue. The aim of this study is to identify the roots of this process by observing the changes that occurred in the discourse on Rudolfine painters in the course of the 17th and 18th centuries, making use of contemporary literature and records about how their works were displayed in the visual context of the time.

An Unknown Work by Francesco Cozza in the Czech Republic

The Burlington Magazine 153, 2011

The article deals with an outstanding altarpiece in the pilgrimage church of Stará Boleslav (Bohe... more

New Insights into the Performance of Fux's Opera Costanza e Fortezza in Prague in 1723

Music in Art: International Journal of Music Iconography 34, 2009

A comprehensive source study and analysis of the theatre building for the festive opera Costanza ... more

Michael Willmann als Leser der Sandrart’schen Teutschen Academie

Zuzana Macurová – Tomáš Valeš (eds.), Od objevu k interpretaci. Znalectví, sběratelství a ikonografie umění raného novověku, Brno, 2019

In possession of the Czech National Library there is a copy of Joachim von Sandrart’s art encyclo... more In possession of the Czech National Library there is a copy of Joachim von Sandrart’s art encyclopedia Teutsche Academie (1675), which was originally owned by the Silesian painter Michael Willmann. This is testified by his signatures on the title pages of both volumes. Since some passages about painting were marked by Willmann himself, the book must have been an object of painter's intensive reading.

Santa Maria della Vittoria a Roma e a Praga. Nuove riflessioni sulla sacra immagine e sul suo culto

Bollettino dell’Istituto Storico Ceco di Roma 9, 2014

The article brings new insights about the origin and the cult of the miraculous image of Our-Lady... more

Aus frommer Pflicht: Das Engagement Kaiser Karls VI. für die Vollendung des Veitsdoms in Prag (1728)

H. Karner – E.-B. Krems – J. Niebaum – W. Telesko (eds.), Sakralisierungen des Herrschers an europäischen Höfen. Bau – Bild – Ritual – Musik (1648–1740), Regensburg, 2019

The article deals with the hitherto unknown initiative of the emperor Charles VI to complete the ... more

Bohemia pia et bellicosa. Les saints patrons de la Bohême au service de la recatholicisation avant et après 1620

Marie-Élizabeth Ducreux (ed.), Dévotion et légitimation. Patronages sacrés dans l’Europe des Habsbourg (= Collection Religions. Comparatisme – Histoire – Anthropologie 8), Liège, 2016

The article is focused on the cult of Bohemian Saints in the period of confessional struggle in t... more

Rodová zbožnost a panovnická reprezentace: Habsburkové jako patroni katedrály sv. Víta [Dynastic Piety and Sovereign Representation: The Habsburgs as Patrons of St. Vitus Cathedral]

Petr Kroupa – Jan Novák (eds.), Pražský hrad – srdce českého státu, Prague, 2022

The Habsburgs as Czech kings significantly influenced the shape of St. Vitus Cathedral at Prague ... more The Habsburgs as Czech kings significantly influenced the shape of St. Vitus Cathedral at Prague Castle for almost 400 years. The study examines various manifestations of their representation in the church such as coronation ceremonies, participation in divine services and burials, also artistic patronage, i.e. the building of a new mausoleum, creation of cathedral furnishings, interior decoration or initiatives to complete the Cathedral.

Město Labyrint [The City of Labyrinth]

Lenka Stolárová – Vít Vlnas (eds.), Comenius 1592—1670. Doba mezi rozumem a šílenstvím. Jan Amos Komenský a jeho svět, Brno – Ústí nad Labem, 2020

A colored drawing of the City of Labyrinth is a part of the manuscript of John Amos Comenius' "La... more A colored drawing of the City of Labyrinth is a part of the manuscript of John Amos Comenius' "Labyrinth of the World and Paradise of the Heart" from 1623. Its composition is grounded on a panoramic landscape seen from an elevated viewpoint (Weltlandschaft), in detail the draughtsman responds to the moralizing genre, which was also developed in Netherlandish painting. Following the example of Brueghel’s Tower of Babel and similar depictions, the dystopic structure of the overcrowded city of Labyrinth is presented as a parable of the inverted world and human society.

Kultovní inscenace náboženského obrazu: Případ obrazu sv. Františka Xaverského v jezuitském kostele Nejsvětějšího Salvátora v Praze

Opuscula historiae artium 68, 2019

The study is devoted to the cult of the sacred image Death of St. Franciscus Xaverius from 1733 w... more

Eine unbekannte Zeichnung der böhmischen Krönung Ferdinands II. im Jahr 1617 – ein mögliches Werk von Aegidius Sadeler

Studia Rudolphina 19, 2019

The unpublished drawing from the possession of the City of Prague Museum represents the coronatio... more The unpublished drawing from the possession of the City of Prague Museum represents the coronation of Ferdinand II to the Bohemian King in St. Vitus Cathedral in 1617. The picture stands out in the detailed depiction of the individual participants of the ceremony and the church furnishings. Based on the historical circumstances and a comparison with a similar work (esp. copper-engraving View into the Vladislav Hall), the presumption of authorship by Aegidius Sadeler II is suggested.

Joachim von Sandrarts Kreuzauffindung in Brünn im Lichte neuer Erkenntnisse

Umění/Art 65, 2017

The article is focused on the altar piece painted by German 17th-century painter Joachim von Sand... more

Škréta, Sandrart und Merian d. J.: Überlegungen zur Vita Karel Škrétas in der Teutschen Academie

Susanne Meurer – Anna Schreurs-Morét – Lucia Simonato (eds.), Aus aller Herren Länder. Die Künstler der Teutschen Academie von Joachim von Sandrart, 2015

The subject of the study is a detailed analysis of the biography of the Czech painter Karel Škrét... more The subject of the study is a detailed analysis of the biography of the Czech painter Karel Škréta, published by Joachim von Sandrart in the Teutsche Academie in 1675, one year after the artist´s death. This text is not only the first comprehensive reflection on the painter´s life and work, but it also constituted the historical evaluation of Škréta as the founder of Baroque painting in Bohemia.

Stevensovy obrazy z Martinické kaple ve Svatovítské katedrále

Slánské rozhovory 2013 a 2014. Památky a historie Slánska, Slaný, 2015

The article is focused on the iconography of paintings by Anton Stevens von Steinfels painted for... more

Imaginum elegantia. K estetické působivosti náboženského obrazu v českých zemích v 17. a 18. století [On the aesthetic quality of the religious image in the Czech Lands in the seventeenth and eighteenth centuries]

Umění/Art 62, 2014

This study, which draws on the interpretative methods developed by Pamela Jones and Gabriela Wimb... more This study, which draws on the interpretative methods developed by Pamela Jones and Gabriela Wimböck, examines the response of the baroque-era public to religious art, and demonstrates that the aesthetic quality of an image was indeed of importance. Information on this can be drawn from reports of worshippers´ responses to painting decorations in churches or from stories dealing with the painters as creators of miraculous images.

Nově nalezené dílo Karla Škréty. Sv. Antonín Paduánský s Ježíškem a obrazová výzdoba kostela hybernů na Novém Městě pražském

Art/Umění 62, 2014

The study deals with the newly discovered altare piece painted by Karel Škréta for the sepulchral... more

Noch einmal zum Altarretabel von 1598

Studia Rudolphina 14, 2014

In 1598 an altarpiece was painted in Prague by three leading court painters, Hans von Aachen, Jos... more In 1598 an altarpiece was painted in Prague by three leading court painters, Hans von Aachen, Joseph Heintz, and Bartholomäus Spranger, the two side panels from which have been preserved in the Kunsthistorisches Museum in Vienna. The as yet unpublished archival discoveries provide new information about the circumstances of its origin: The altarpiece was originally commissioned by the Archduchess Maria in close cooperation with the Emperor Rudolf II., who ultimately confiscated it.

Mathey delineavit: Náhrobek hraběte Humprechta Jana Černína z Chudenic ve světle písemných pramenů (1683–1688) [The Tombstone of Count Humprecht Jan Černín of Chudenice in Light of the Written Sources (1683–1688)]

Sepulchralia et epigraphica 5, 2014

The tombstone of Count Humprecht Jan Černín in the chapel of St Sigismund in St. Vitus cathedral ... more The tombstone of Count Humprecht Jan Černín in the chapel of St Sigismund in St. Vitus cathedral in Prague is one of the unjustly forgotten sepulchral monument of the 17th century in Bohemia. Based on so-far unpublished correspondence from 1683 until 1688, it is possible not only to document the complicated course of the building of this monument but also to determine the designer of the monument who is the prominent architect active in Bohemia in the 1670s-90s Jean Baptiste Mathey. Some hitherto unknown Mathey´s works are newly published here – the altar retables in Stará Boleslav (Altbunzlau) and in Litvínov (Leutensdorf), also the graphic portrait of the prioress of the Discalced Carmelites in Prague´s Malá Strana the venerable Maria Electa à Jesu.

The Man of Sorrows by Hans von Aachen in Břevnov Monastery in Prague

RIHA Journal no. 274, 2022

This study presents a hitherto unpublished painting of The Man of Sorrows, located in Břevnov mon... more This study presents a hitherto unpublished painting of The Man of Sorrows, located in Břevnov monastery in Prague, by the Rudolfine court painter Hans von Aachen. The aim is to investigate not only the provenance of the work and the presumable commissioner, Abbot Wolfgang Selender of Prošovice, but also the painting's place in Von Aachen's oeuvre, possible sources of inspiration for its iconography as well as formal design in Italy and Prague. Among other findings, a technological survey conducted during its restoration revealed a man's face in the lower layers of paint, possibly a portrayal of the Emperor Rudolf II.

The Picturesque Motif of the Rotunda in the Work of Roelandt Savery

Oud Holland 132, 2019

The article examines the motif of the Romanesque rotunda, a simple building with a circular groun... more The article examines the motif of the Romanesque rotunda, a simple building with a circular ground plan, in the drawings and paintings of Netherlandish painter Roelandt Savery. So far, scholars have only paid marginal attention to the occurrence of this picturesque motif in Savery’s oeuvre. In fact, some of the drawn examples can be identified very accurately as particular churches in Prague, and their presence in his paintings seems not random, but rather systematic; it is in line with the historical imagination constantly present in Netherlandish painting.

The School of Prague or Old German Masters: Rudolfine Painting in the Literary and Visual Discourse of the 17th and 18th Centuries

Zeitschrift für Kunstgeschichte 77, 2014

Although painting at the court of the Emperor Rudolf II in Prague has been regarded as a distinct... more Although painting at the court of the Emperor Rudolf II in Prague has been regarded as a distinctive artistic phenomenon since the early 20th century, finding a place for Rudolfine art in the history of European painting and in the art historiography of the individual Central European countries is still an open issue. The aim of this study is to identify the roots of this process by observing the changes that occurred in the discourse on Rudolfine painters in the course of the 17th and 18th centuries, making use of contemporary literature and records about how their works were displayed in the visual context of the time.

An Unknown Work by Francesco Cozza in the Czech Republic

The Burlington Magazine 153, 2011

The article deals with an outstanding altarpiece in the pilgrimage church of Stará Boleslav (Bohe... more

New Insights into the Performance of Fux's Opera Costanza e Fortezza in Prague in 1723

Music in Art: International Journal of Music Iconography 34, 2009

A comprehensive source study and analysis of the theatre building for the festive opera Costanza ... more

Michael Willmann als Leser der Sandrart’schen Teutschen Academie

Zuzana Macurová – Tomáš Valeš (eds.), Od objevu k interpretaci. Znalectví, sběratelství a ikonografie umění raného novověku, Brno, 2019

In possession of the Czech National Library there is a copy of Joachim von Sandrart’s art encyclo... more In possession of the Czech National Library there is a copy of Joachim von Sandrart’s art encyclopedia Teutsche Academie (1675), which was originally owned by the Silesian painter Michael Willmann. This is testified by his signatures on the title pages of both volumes. Since some passages about painting were marked by Willmann himself, the book must have been an object of painter's intensive reading.

Santa Maria della Vittoria a Roma e a Praga. Nuove riflessioni sulla sacra immagine e sul suo culto

Bollettino dell’Istituto Storico Ceco di Roma 9, 2014

The article brings new insights about the origin and the cult of the miraculous image of Our-Lady... more

Aus frommer Pflicht: Das Engagement Kaiser Karls VI. für die Vollendung des Veitsdoms in Prag (1728)

H. Karner – E.-B. Krems – J. Niebaum – W. Telesko (eds.), Sakralisierungen des Herrschers an europäischen Höfen. Bau – Bild – Ritual – Musik (1648–1740), Regensburg, 2019

The article deals with the hitherto unknown initiative of the emperor Charles VI to complete the ... more

Bohemia pia et bellicosa. Les saints patrons de la Bohême au service de la recatholicisation avant et après 1620

Marie-Élizabeth Ducreux (ed.), Dévotion et légitimation. Patronages sacrés dans l’Europe des Habsbourg (= Collection Religions. Comparatisme – Histoire – Anthropologie 8), Liège, 2016

The article is focused on the cult of Bohemian Saints in the period of confessional struggle in t... more

Rodová zbožnost a panovnická reprezentace: Habsburkové jako patroni katedrály sv. Víta [Dynastic Piety and Sovereign Representation: The Habsburgs as Patrons of St. Vitus Cathedral]

Petr Kroupa – Jan Novák (eds.), Pražský hrad – srdce českého státu, Prague, 2022

The Habsburgs as Czech kings significantly influenced the shape of St. Vitus Cathedral at Prague ... more The Habsburgs as Czech kings significantly influenced the shape of St. Vitus Cathedral at Prague Castle for almost 400 years. The study examines various manifestations of their representation in the church such as coronation ceremonies, participation in divine services and burials, also artistic patronage, i.e. the building of a new mausoleum, creation of cathedral furnishings, interior decoration or initiatives to complete the Cathedral.

Město Labyrint [The City of Labyrinth]

Lenka Stolárová – Vít Vlnas (eds.), Comenius 1592—1670. Doba mezi rozumem a šílenstvím. Jan Amos Komenský a jeho svět, Brno – Ústí nad Labem, 2020

A colored drawing of the City of Labyrinth is a part of the manuscript of John Amos Comenius' "La... more A colored drawing of the City of Labyrinth is a part of the manuscript of John Amos Comenius' "Labyrinth of the World and Paradise of the Heart" from 1623. Its composition is grounded on a panoramic landscape seen from an elevated viewpoint (Weltlandschaft), in detail the draughtsman responds to the moralizing genre, which was also developed in Netherlandish painting. Following the example of Brueghel’s Tower of Babel and similar depictions, the dystopic structure of the overcrowded city of Labyrinth is presented as a parable of the inverted world and human society.

Kultovní inscenace náboženského obrazu: Případ obrazu sv. Františka Xaverského v jezuitském kostele Nejsvětějšího Salvátora v Praze

Opuscula historiae artium 68, 2019

The study is devoted to the cult of the sacred image Death of St. Franciscus Xaverius from 1733 w... more

Eine unbekannte Zeichnung der böhmischen Krönung Ferdinands II. im Jahr 1617 – ein mögliches Werk von Aegidius Sadeler

Studia Rudolphina 19, 2019

The unpublished drawing from the possession of the City of Prague Museum represents the coronatio... more The unpublished drawing from the possession of the City of Prague Museum represents the coronation of Ferdinand II to the Bohemian King in St. Vitus Cathedral in 1617. The picture stands out in the detailed depiction of the individual participants of the ceremony and the church furnishings. Based on the historical circumstances and a comparison with a similar work (esp. copper-engraving View into the Vladislav Hall), the presumption of authorship by Aegidius Sadeler II is suggested.

Joachim von Sandrarts Kreuzauffindung in Brünn im Lichte neuer Erkenntnisse

Umění/Art 65, 2017

The article is focused on the altar piece painted by German 17th-century painter Joachim von Sand... more

Škréta, Sandrart und Merian d. J.: Überlegungen zur Vita Karel Škrétas in der Teutschen Academie

Susanne Meurer – Anna Schreurs-Morét – Lucia Simonato (eds.), Aus aller Herren Länder. Die Künstler der Teutschen Academie von Joachim von Sandrart, 2015

The subject of the study is a detailed analysis of the biography of the Czech painter Karel Škrét... more The subject of the study is a detailed analysis of the biography of the Czech painter Karel Škréta, published by Joachim von Sandrart in the Teutsche Academie in 1675, one year after the artist´s death. This text is not only the first comprehensive reflection on the painter´s life and work, but it also constituted the historical evaluation of Škréta as the founder of Baroque painting in Bohemia.

Stevensovy obrazy z Martinické kaple ve Svatovítské katedrále

Slánské rozhovory 2013 a 2014. Památky a historie Slánska, Slaný, 2015

The article is focused on the iconography of paintings by Anton Stevens von Steinfels painted for... more

Imaginum elegantia. K estetické působivosti náboženského obrazu v českých zemích v 17. a 18. století [On the aesthetic quality of the religious image in the Czech Lands in the seventeenth and eighteenth centuries]

Umění/Art 62, 2014

This study, which draws on the interpretative methods developed by Pamela Jones and Gabriela Wimb... more This study, which draws on the interpretative methods developed by Pamela Jones and Gabriela Wimböck, examines the response of the baroque-era public to religious art, and demonstrates that the aesthetic quality of an image was indeed of importance. Information on this can be drawn from reports of worshippers´ responses to painting decorations in churches or from stories dealing with the painters as creators of miraculous images.

Nově nalezené dílo Karla Škréty. Sv. Antonín Paduánský s Ježíškem a obrazová výzdoba kostela hybernů na Novém Městě pražském

Art/Umění 62, 2014

The study deals with the newly discovered altare piece painted by Karel Škréta for the sepulchral... more

Noch einmal zum Altarretabel von 1598

Studia Rudolphina 14, 2014

In 1598 an altarpiece was painted in Prague by three leading court painters, Hans von Aachen, Jos... more In 1598 an altarpiece was painted in Prague by three leading court painters, Hans von Aachen, Joseph Heintz, and Bartholomäus Spranger, the two side panels from which have been preserved in the Kunsthistorisches Museum in Vienna. The as yet unpublished archival discoveries provide new information about the circumstances of its origin: The altarpiece was originally commissioned by the Archduchess Maria in close cooperation with the Emperor Rudolf II., who ultimately confiscated it.

Mathey delineavit: Náhrobek hraběte Humprechta Jana Černína z Chudenic ve světle písemných pramenů (1683–1688) [The Tombstone of Count Humprecht Jan Černín of Chudenice in Light of the Written Sources (1683–1688)]

Sepulchralia et epigraphica 5, 2014

The tombstone of Count Humprecht Jan Černín in the chapel of St Sigismund in St. Vitus cathedral ... more The tombstone of Count Humprecht Jan Černín in the chapel of St Sigismund in St. Vitus cathedral in Prague is one of the unjustly forgotten sepulchral monument of the 17th century in Bohemia. Based on so-far unpublished correspondence from 1683 until 1688, it is possible not only to document the complicated course of the building of this monument but also to determine the designer of the monument who is the prominent architect active in Bohemia in the 1670s-90s Jean Baptiste Mathey. Some hitherto unknown Mathey´s works are newly published here – the altar retables in Stará Boleslav (Altbunzlau) and in Litvínov (Leutensdorf), also the graphic portrait of the prioress of the Discalced Carmelites in Prague´s Malá Strana the venerable Maria Electa à Jesu.

[review] Jaromír Neumann, Petr Brandl. Praha, 2016

Umění/Art, 2018

Review of Jaromír Neumann's monograph about the prominent Czech Baroque painter Petr Brandl.

[review] Martin Elbel – Ondřej Jakubec (edd.), Olomoucké baroko. 1. Úvodní svazek. Proměny ambicí jednoho města / Ondřej Jakubec – Marek Perůtka (edd.), Olomoucké baroko. Výtvarná kultura let 1620–1780. 2. Katalog. 3. Historie a kultura. Olomouc, 2010

by Štěpán Vácha and Tomáš Malý

Umění/Art, 2012

Review of three publications issued on the occasion of the exhibition "Olomouc Baroque" in 2011.

[review] Jiří Hrbek, České barokní korunovace, Praha, 2010

Český časopis historický, 2011

[review] Michal Šroněk, Jan Jiří Heinsch (1647–1712). Malíř barokní zbožnosti. Praha, 2006

Umění/Art 56, 2008

Review of Michal Šroněk's monograph about the Czech Baroque painter Johann Georg Heinsch.

[review] Andrzej Kozieł, Angelus Silesius, Bernhard Rosa i Michael Willmann, czyli sztuka i mistyka na Śląsku w czasach baroku. Wrocław, 2006

Umění/Art 55, 2007

Hans von Aachen in Context. Proceedings of the International Conference, Prague 22–25 September 2010

The publication consists of papers presented at an international conference which took place at t... more The publication consists of papers presented at an international conference which took place at the Institute for Art History, Czech Academy of Sciences, on 22-25 September 2010, to accompany the exhibition "Hans von Aachen (1552-1615): Court Artist in Europe". A total of thirty contributions by researchers from seven European countries, the USA, and Canada, examine from a variety of viewpoints the question of the links between Hans von Aachen and the Italian milieu, and his significance as a leading figure on the Central European painting scene around the year 1600.

Panovnický majestát: Habsburkové jako čeští králové v 17. a 18. století [Royal Majesty: The Habsburgs as Bohemian Kings in the 17th and 18th Centuries]

by Štěpán Vácha and Marc Niubo

Jiří Hrbek a kol., Panovnický majestát: Habsburkové jako čeští králové v 17. a 18. století, Praha: NLN, 2021. 626 pp. ISBN 978-80-7286-378-5, 978-80-7422-804-9, 2021

Ve stínu Karla Škréty. Pražští malíři v letech 1635–1680. Antonín Stevens – Jan Bedřich Hess – Matěj Zimprecht [In the Shadow of Karel Škréta: Prague Painters in 1635–1680]

Štěpán Vácha – Radka Heisslerová, Ve stínu Karla Škréty. Pražští malíři v letech 1635–1680. Antonín Stevens – Jan Bedřich Hess – Matěj Zimprecht [In the Shadow of Karel Škréta: Prague Painters in 1635–1680], Praha: Academia, 2017. 662 pp. ISBN 978-80-200-2801-3, 2017

Painting in 17th century in Bohemia is generally associated with Karel Škréta who is considered t... more Painting in 17th century in Bohemia is generally associated with Karel Škréta who is considered to be a major protagonist of the new, i.e. Baroque style in the country. Nevertheless, to admit such importance it is necessary to get known also with Škréta’s contemporaries active in Prague, the most important of which are Anton Stevens, Johann Friedrich Hess and Matthias Zimprecht. Beside this, 17th century painting in Prague is evaluated in its institutional and development continuity with regard to the religious and social-political changes, traditionally negative valuated in the Czech art historiography, attention is paid to social-economic aspects of artistic business and to the rank of Prague as an artistic metropolis for Bohemia and Central Europe.

Katedrála viditelná a neviditelná I, II

by Jana Maříková-Kubková, Milena Bartlová, David Eben, Vendula Hnídková, Václav Kapsa, Marek Suchý, Mariana Šindelková, and Štěpán Vácha

Katedrála viditelná a neviditelná, 2019

j a n a m a ř í k o v á-k u b k o v á a k o l e k t i v Průvodce tisíciletou historií katedrály... more j a n a m a ř í k o v á-k u b k o v á a k o l e k t i v
Průvodce tisíciletou historií katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě
Vstupte do fascinujícího příběhu tisícileté kontinuity jedinečného mís-ta, do neustále se měnícího prostoru výjimečné stavby, mezi nejvý-znamnější umělecká díla na našem území, mezi mimořádné osobnosti, které tento symbol naší země utvářely. Ve dvou dílech, celkově na 928 stranách, publikace unikátně zpracovává historii katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě. Zásluhou spolupráce odborníků z řad archeologů, geologů, histo-riků architektury, umění, liturgie a hudby nově představuje v šesti hlav-ních kapitolách všechny stavební fáze katedrály mezi 10. a 21. stoletím a každodenní provoz, který výstavbu jedinečného díla provázel. Původní texty, vycházející z aktuálního stavu výzkumu a jsou opatřeny bohatou obrazovou dokumentací, která sestává ze souboru 1500 foto-grafií a archivních dokumentů, plánů či snímků, speciálně pořízených pro tuto publikaci-značná část jich dosud nebyla nikdy zveřejněna. Zcela nové a ojedinělé jsou také kresby a modely všech zaniklých či neuskutečněných stavebních fází chrámu. O výslednou podobu Katedrály viditelné a neviditelné se zasloužilo 17 autorů textů, dva fotografové a 11 dalších spolupracovníků.