Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-21T18:19:40Z No. of bitstreams: 1 karen-mylena-de-gouvea-osera.pdf: 1265820 bytes, checksum: 36fe37aa0e3a66b52336672ebb3ad5d7 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T11:24:39Z (GMT) No. of bitstreams: 1 karen-mylena-de-gouvea-osera.pdf: 1265820 bytes, checksum: 36fe37aa0e3a66b52336672ebb3ad5d7 (MD5) / Made available in DSpace on 2016-06-22T11:24:39Z (GMT). No. of bitstreams: 1 karen-mylena-de-gouvea-osera.pdf: 1265820 bytes, checksum: 36fe37aa0e3a66b52336672ebb3ad5d7 (MD5) Previous issue date: 2014-09-01 / O tema desta dissertação de mestrado concentra-se no estudo acerca do estatuto do artífice no tratado Da pintura de Leon Battista Alberti. Para atingir esse objetivo, mostrar-se-á como a Renascença italiana tinha por base a filosofia aristotélica, cujo entendimento pode ser buscado nas classificações dos saberes no Renascimento. Isto posto, interessa analisar o tratado de Alberti para pensar que as artes na época faziam parte do contexto da filosofia num sentido amplo e, assim, podem ser estudadas pela História da Filosofia a partir de um “olhar de época”, diverso do olhar da História da Arte, a fim de pensar a posição do artífice na Renascença italiana. / This dissertation focuses on studying the artificer status as described in the treatise On Painting, by Leon Battista Alberti. To do so, it will show how Italian Renaissance was based on Aristotelian philosophy, whose understanding can be sought in the knowledge ratings during Renaissance. That said, it is interesting to analyze Alberti treatise to perceive the arts at the time as part of a philosophy context in a broad sense; and capable of being studied by Philosophy History from an “period eye”, different from Art History looking, in order to think about the artificer position during Italian Renaissance.

This work deals with overlapping paintings in other media, while maintaining an emphasis on "the essence of painting" (Painting) approach. It remains crucial for the whole session, overlaps paintings will be investigated as a function of the new language of discourse, supplementing traditional painting as a medium.

The thesis is focused on medieval mural defined period 13th and 14th century in selected churches former settlements near Prague, which became a part of it in the course of the following centurie. In the introductory part I pursue the mural itself, its technology, mission and function in the space of a medieval church (cap. 2.). I did not forget outline stylish currents that came through from neighboring countries and were absorbed into the painter's developement in our country during 13th and 14th century (cap. 2.2.). The next section is devoted each painting decoration in selected churches. Most attention was directed to the former church of St. Lawrence bellow Petrin hill, which thanks to the unique preservation of several layers of time and style mural lets as show the developement of painting in selected two centurie (cap. 3.). Followes the paintings in the church of the Beheading of st. John the Baptist in Dolní Chabry, in the church of St. John and Paul in Krteň, in the church of St. Bartholomew in Kyje, in the church of the Assumption in Dolní Počernice, in the church of the Beheading of St. John the Baptist in Hostivař and in the church of the Birth of the Virgin Mary in Průhonice (cap. 4.-9.). Powered by TCPDF (www.tcpdf.org)