Thesis (Ph. D.)--Universität Marburg, 1913. / Includes bibliographical references (p. [vii]-ix).

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Esta investigação analisa um número determinado de obras em gravura e desenho de Albrecht Dürer (1471 - 1528) e Hans Baldung Grien (1484 - 1545) residentes nos territórios germânicos da Europa no período do Renascimento, produzidos entre 1497 e 1545. Constata-se que o corpo da bruxa concebido na Europa pré-moderna foi um corpo carregado de preceitos excessivamente masculinos e opressivos. É reconhecido também que, independente das pretensões dos artistas, fosse para desenvolver suas faculdades imaginativas, fosse para melhorar seu status social e econômico, a capacidade de criação do artista resultou numa imagem feminina adulterada. Para compreensão dos recursos culturais, políticos e sociais dos artistas em questão, analisou-se no primeiro capítulo, as perspectivas historiográficas de uma teorização da bruxaria, divididas em duas principais concepções: a crise na fé cristã e a questão de gênero. Após a publicação dos primeiros incunábulos no final do século XV, em especial o primeiro tratado inquisitorial ilustrado, De Laniis et phitonicis mulieribus (1489) de Ulrich Molitor, no segundo capítulo, observou-se o início de uma tradição iconográfica específica na Europa e a instauração da representação da bruxaria no âmbito das Artes Visuais por Albrecht Dürer, que estabeleceu dois modelos de representação, a bruxa de corpo grotesco e a bruxa de corpo afrodisíaco. No terceiro e último capítulo, analisou-se as obras do discípulo de Dürer, Hans Baldung Grien, que no decorrer da sua trajetória artística, tornou o corpo da bruxa protagonista de seus trabalhos. Elementos como a forquilha, os cabelos soltos, o corpo nu e os voos em animais são sancionados por ele e, de modo consequente, de seus contemporâneos. Assim, a última tarefa nesta parte foi apresentar uma herança iconográfica oriunda da tradição estabelecida por Dürer e Hans Baldung, como nas obras de Lucas Cranach, Peter Bruegel, Frans Francken, entre outros. / This research analyzes a number of engraving and drawing works by Albrecht Dürer (1471 - 1528) and Hans Baldung Grien (1484 - 1545) residing in the Germanic territories of Europe during the Renaissance period, produced between 1497 and 1545. The body of the witch conceived in Early modern Europe will be a body laden with excessively masculine and oppressive precepts. It is also recognized that, regardless of the artists' pretensions, whether to develop their imaginative faculties or to improve their social and economic status, the artist's creative capacity has resulted in an adulterated female image. In order to understand the cultural, political and social resources of the artists in question, the historiographical perspectives of a theorizing of witchcraft were analyzed in the first chapter, divided into two main concepts: the crisis in the Christian faith and the question of gender. After the publication of the first incunabula, at the end of the 15th century, in particular the first illustrated inquisitorial treatise De Laniis et phitonicis mulieribus (1489) by Ulrich Molitor, the second chapter notes the beginning of a specific iconographic tradition in Europe and the establishment of representation of witchcraft in the field of Visual Arts by Albrecht Dürer, who established two models of representation, the grotesque body and the aphrodisiac body of the witch. In the third and last chapter, the work of Dürer's disciple, Hans Baldung Grien, who in the course of his artistic career, made the witch's body the protagonist of his works analyzed. Elements such as the fork, loose hair, naked body and flights on animals are sanctioned by him and, consequently, by his contemporaries. Thus, the last task in this part is to present an iconographic heritage derived from the tradition established by Dürer and Hans Baldung, as in the works of Lucas Cranach, Peter Bruegel, Frans Francken, among others.

My project examines the pictorial and theoretical dimensions of the concept of melancholy as they were understood, expressed, and, most importantly, figured by Renaissance artists. By focusing on the figural pose traditionally associated with the melancholic state and humor, it presents a hitherto unexplored connection between Northern and Southern Europe, considering the different ways in which artists self-identified as melancholics and expressed this understanding in their art. In both Italy and the North, the basic figural structure is appropriated for somewhat different ends. The relationship of the isolated figure to its cultural context varies, either declaring a special creative status, responsive to a higher inspiration, or setting the figure apart as an outsider with special insight into the follies of this lower world. Chapter One serves as an introduction to the pose of melancholy, its historical weight and the visual meaning carried by the isolated, brooding figure, generally wth lowered head supported by a hand and often with legs crossed. This is the figure epitomized in Dürer's Melancolia I. Chapter Two considers Michelangelo as the exemplar of a melancholic and addresses the cultural and personal identification of him as such. The relevance of the melancholy pose to the identification of the artist in sixteenth-century Italy is demonstrated by Raphael's depiction of the melancholy Heraclitus in The School of Athens, which I accept as portrait of Michelangelo; articulated in his poetry, the artist's self-identification as melancholic is visually declared in his Last Judgment. Chapter Three addresses the works of Hieronymus Bosch, in whose art the figure of melancholy runs as something of a leitmotif, although it has remained generally unobserved; the figure serves as a running comment on the thematic concerns of the paintings--such as The Garden of Earthly Delights and Death and the Miser--at once participant and outsider. Chapter Four explores the role of melancholics in specific paintings by Bruegel, especially The Triumph of Death, and the relationship between melancholics and fools in the artist's oeuvre. Chapter Five has at its focus Titian's Flaying of Marsyas and the artist's self-inclusion in the guise of the melancholy Midas. As a conclusion, this chapter reflects on the personal significance of melancholy for Renaissance artists.

This essay aims to examine what the figure of the witch as a motif in art has looked like and how it has changed through history. The study focuses on witches in the iconography of the renaissance, the 19th century and contemporary art. Two artworks are chosen from each period, one typical for the witchcraft iconography of that specific era and one atypical. The artworks are then analyzed in relation to literary sources concerning the role of the witch in the time period they were made. By doing this, the essay also examines how the witch-hunts of the 1400-1600s affected the iconography of that period, and how in later epochs other societal shifts and situations such as the widespread prostitution of the 19th century and our own struggles today with issues such as the climate crisis can be related to the witch through the lens of art. The essay argues that the witch as a motif has changed throughout art history, from being depicted as a mostly dangerous or at best satirical figure during the renaissance, to a seductive femme fatale in the 19th century, and at last a symbol of feminist, post-colonial and environmental resistance in contemporary art. It is also argued that some aspects of the witch have survived thoughout these five hundred years, such as the idea of the witch as a disruptor of the norm and her ability to create a new world that is an upside-down version of our own.

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In second half of 15th century, Bohemia was confronted with many social changes. One of the most important was the effort to codify land law which was finalized by the publishing of Vladislaus's land law. It's leading author was Albrecht Rendl of Ousava. Because of it Rendl became well known among his contemporaries and in general historical awareness. There are only few known facts about the rest of his life. He served as royal prosecutor for a long time, but he also obtained two of the highest land offices - the supreme land scribe and the prosecutor. Rendl represents a kind of person able to promote himself to the highest points of contemporary policy due to his formidable personal abilities.

The Circle of architects of Albrecht of Wallenstein in early Baroque period. The first rare indications of early Baroque productions/ creations are appearing already in second decade of 17th century, mainly in the work of imperial architect Giovanni Mario Filippi. We can consider his work as a first stage of the architectonical production which was implemented for the one of the most important personality of the Thirty Year War - the duke Albrecht of Walenstein. The circle of Walenstein architects was created by three distinctive representatives, those proved successfully individually but also as a team working above the joint projects. They were able to fulfill the Wallenstein magnificent intentions. These architects were Andrea Spezza, Giovanni Pieroni and Nicola Sebregondi. These three Italians architects and builders were leading figures of the mentioned circle of which part were also Vincenzo Bocacci, Baccio Bianco and Giovanni Marini. Their activities is possible to trace on our territory in the period 1621-1634 except Giovanni Pieroni, who was focused after the duke death to the projects of fortification systems, mainly in Bohemia. Studies showed that the origin of architects, including the places where they have been raised and received the first training, was always important and influenced their...

Diploma thesis has an aim to present to students of elementary school graphical methods of relief printing by method of methodological video, for better understanding and imagination of students. The theoretical part occupies with graphic, the fenomena, that accompanies us from prehistoric times. The thesis is going to present method of relief printing, its development and important authors of relief printing. It makes the students familiar with the most important graphic works in history and makes their analysis. It presents the most common subjects and social aspects of graphical production in the final part. The practical part elaborates technology of instructive video and following application for students of various age and its final marking their work. The conclusion of thesis create supplements of the practical part, examples of models and final works.