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Lecturer(s)
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Kindl Miroslav, Mgr. Ph.D.
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Course content
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From the ceremonies of imperial and royal coronations, ceremonial entries, tributes and their documentation to festivities combining dramatic and fine arts. From the ways of spending free time at the courts of Rudolf II, Matthias I, Ferdinand II, Ferdinand III and Leopold I to the ways of relevant representation and significance of graphic techniques.
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Learning activities and teaching methods
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Dialogic Lecture (Discussion, Dialog, Brainstorming), Work with Text (with Book, Textbook), Projection (static, dynamic)
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Learning outcomes
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Coronation ceremonies, ceremonial entries, ephemeral architecture, hunts, theater performances, ballets, horse ballets, operas, etc. began to become an increasingly common topic of visual artists in the 17th century, and in the second half of the century, Vienna became, next to Paris, he most important center of dramatic arts in Europe. In the capital of the monarchy, artists from different parts of Europe met. The young Emperor Leopold and the aristocrats of the Viennese court attracted composers, musicians, dancers, architects, painters, graphic artists, but also fireworks makers and horse trainers to the banks of the Danube. In the cosmopolitan world of the Habsburg court, Italian artists excelled in the roles of composers, librettists and stage designers. Italian culture was accepted in the aristocratic strata of Central Europe with the obviousness that stems from the ancestral connection of the Austrian Habsburgs with leading Italian families. If Italian artists have dominated the performing arts at the Habsburg court throughout the 17th century, then since the 1650s there have been Dutch artists (Flemish and Dutch), dominating the fine arts, slowly being replaced by German artists since the 1670s. Festivities and accompanying activities of the Central European Habsburg's court could be imagined as a sort of a pyramid. Its top was represented by the celebration of the Habsburg family with its world-dominating ideas, carried on the shoulders of their main exponents the holy roman emperor and the empress with their family. Below them, besides the crowds of the courtiers, were the composers, librettists and choreographers, stage designers, dance masters and band-masters, including musicians, dancers, and artists painting the scenes in the form of ephemeral architecture. This entire structure stood on the backs of drawers, graphic artists and publishers, who would draw, engrave, etch, print, and distribute the evidence of the grandeur throughout Europe. A sophisticated organism producing gems of musical, dance, and fine art culture of baroque not just for a pastime, but mainly as one of the means of the complicated story of imperial politics and representation, struggle for the European hegemony, and search for order in the endangered Europe. It is precisely the description of this organism, which has grown in Central Europe since the beginning of the 17th century, what is the main subject of the lecture.
Basic orientation in the connection of dramatic and fine arts - development of scenography and graphic techniques. Understanding the specifics of court presentation and representation and the involvement of artists of various specializations.
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Prerequisites
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Orientation in stylistic development and elementary history of the 17th Century, especially Central Europe.
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Assessment methods and criteria
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Oral exam
- regular attendance at lectures, - successful completion of the final colloquium
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Recommended literature
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Andrea Rousová (ed.). (2008). Tance a slavnosti 16.?18. století (kat. výst.). Národní Galerie v Praze.
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Andrea Sommer-Mathis - Daniela Franke - Rudi Risatti (eds.). (2016). Spettacolo barocco! Triumph des Theaters (kat. výst). Österreichisches Theater Museum, Wien.
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Andrea Sommer-Mathis. (2004). Feste am Wiener Hof unter der Regierung von Kaiser Leopold I. und seiner ersten Frau Margarita Teresa (1666?1673), in: Fernando Checa Cremades (ed.), Arte Barroco e ideal clásico. Aspectos del arte cortesano de la segunda mitad del siglo XVII. Madrid.
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Franz Matsche. (2006). Frühneuzeitliche Kaiserkrönungen und ihre Dar- stellung in der Kunst, in: Hainz Schilling ? Werner Heun ? Jutta Götzman (eds.), Heiliges Römisches Reich Deutscher Nation 962 bis 1806 ? Altes Reich und Neue Staaten 1495 bis 1806 (Essays). Dresden.
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Friedrich Polleroß. (2017). Repräsentation und Reproduktion. Der ?Kaiserstil? in den zeitgenössischen ?Massenmedien?, in: Werner Telesko (ed.), Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur/ Representing the Habsburg-Lorraine Dynasty in Music, Visual Media and Architecture 1618-1918. Wien - Köln - Weimar, s. 38-61.
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Herbert Seifert. (1985). Die Oper am Wiener Kaiserhof. Tutzing.
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John R. Mulryne ? Krista de Jonge ? Pieter Martens ? R. L. M. Morris (eds.). (2018). Architectures of Festival in Early Modern Europe. Fashioning and Re-fashioning Urban and Courtly Space. Abingdon - New York.
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Kateřina Fajtlová - Miroslav Kindl (eds.). (2017). Koně v piškotech. Slavnosti na dvoře císaře Leopolda I.. Olomouc.
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Martina Jandlová-Sošková. (2017). Portrait historié a šlechtická reprezentace v českých zemích, in: Zuzana Macurová ? Lenka Stolárová ? Vít Vlnas (eds.), Tváří v tvář. Barokní portrét v zemích Koruny české. Brno.
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Miroslav Kindl. (2018). Maškaráda a díl komedie: Slavnosti, ceremonie a jejich obrazové a grafické dokumentace na habsburském dvoře ve střední Evropě v 17. století. dizertační práce FF UPOL.
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Rostislav Smíšek. (2007). Leopold I., Markéta Tereza Španělská a Ferdinand z Dietrichsteina. Návštěva císařské rodiny v Mikulově roku 1672 jako prostředek symbolické komunikace, in: Václav Bůžek ? Jaroslav Dibelka (eds.), Člověk a sociální skupina ve společnosti raného novověku. České Budějovice.
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Tünde Lengyelová ? Géza Pálffy (eds.). (2016). Korunovácie a pohreby. Mocenské rituály a ceremónie v ranom novoveku. Budapest.
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Václav Bůžek a kol. (2010). Společnost českých zemí v raném novověku. Struktury, identity, konflikty. Praha.
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