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Italské Motivy a Inspirace V Barokním Sochařství Českých Zemí

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Italské Motivy a Inspirace V Barokním Sochařství Českých Zemí UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA DĚJIN UMĚNÍ ITALSKÉ MOTIVY A INSPIRACE V BAROKNÍM SOCHAŘSTVÍ ČESKÝCH ZEMÍ magisterská diplomová práce BC. PETR HOLOUŠ doc. Martin Pavlíček, Ph.D. Olomouc 2018 Místopřísežně prohlašuji, že jsem magisterskou diplomovou práci s názvem „Italské motivy a inspirace v barokním sochařství českých zemí“ vypracoval samostatně s využitím uvedených zdrojů. V Olomouci dne 5. 5. 2018 ……………………….. Petr Holouš Rozsah práce Tato magisterská diplomová práce na téma „Italské motivy a inspirace v barokním sochařství českých zemí“ má XXXXXXXX znaků včetně mezer. Poděkování V první řadě chci poděkovat doc. Martinu Pavlíčkovi, Ph.D. za doporučení tématu, odborné vedení, připomínky, cenné rady a zaštítění interního grantového projektu Univerzity Palackého IGA FF 20 Multiplikace černých Madon v akademickém roce 2014-2015, kterého jsem byl s Mgr. Veronikou Polákovou součástí. Rovněž děkuji Mgr. Gabriele Kodysové, která mne následně přizvala k internímu grantovému projektu IGA FF 20 Ikonografie ctihodných sluhů Božích v českých zemích v kontextu Evropy v akademickém roce 2015-2016. Prostřednictvím těchto projektů jsem mohl navštívit zahraniční knihovny, archivy a další místa, bez čehož bych jen těžko přišel do kontaktu s potřebnými zdroji pro tuto práci. Za to patří všem z těchto projektů, i samotné Univerzitě Palackého v Olomouci, která grantově financovala tyto projekty, mé uznání a velké poděkování. Nejen v návaznosti na to děkuji všem zaměstnancům navštívených nebo kontaktovaných institucí (zejména pracovníkům Zentralinstitut für Kunstgeschichte v Mnichově, Bayerisches Nationalmuseum v Mnichově, Biblioteca Nazionale Centrale di Roma v Římě, Richterovy knihovny Katedry dějin umění FF UPOL, Meziknihovních výpůjčních služeb Knihovny UPOL a Meziknihovních výpůjčních služeb Vědecké knihovny v Olomouci), kteří mi pomohli při řešení formálních nebo tranzitních problémů. V neposlední řadě velmi děkuji mým přátelům a nepřátelům, kteří při mně po dlouhá léta pomyslně stáli a dodávali mi naději a možnosti k dopsání této práce. Koneckonců, bez vás všech by tato práce nikdy nevznikla. Za vaši spoluvinu na jejich kladech a záporech vám budu navždy zavázán. Věnováno Zuzaně a Valerii OBSAH ÚVOD ........................................................................................................................................ 8 1 SOUČASNÝ STAV BÁDÁNÍ ............................................................................................ 10 1. 1 ITÁLIE .......................................................................................................................... 10 1. 2 ČESKÉ ZEMĚ .............................................................................................................. 18 2 ITÁLIE VS. ČESKÉ ZEMĚ: VLIVY A INSPIRACE .................................................... 25 2. 1 UMĚNÍ .......................................................................................................................... 26 2. 1. 1 STATUA ............................................................................................................... 27 2. 1. 2 STYL ..................................................................................................................... 37 2. 1. 3 MANIERA............................................................................................................. 42 2. 1. 4 MODUS ................................................................................................................. 43 2. 2 BAROKNÍ SOCHAŘSTVÍ .......................................................................................... 43 2. 2. 1 ITÁLIE .................................................................................................................. 44 2. 2. 2 ČESKÉ ZEMĚ ....................................................................................................... 44 2. 2. 3 EVROPA ............................................................................................................... 44 2. 3 KULTURNĚ-HISTORICKÝ KONTEXT .................................................................... 44 2. 3. 1 ITÁLIE .................................................................................................................. 44 2. 3. 2 ČESKÉ ZEMĚ ....................................................................................................... 44 2. 3. 3 EVROPA ............................................................................................................... 44 3 KATALOG .......................................................................................................................... 45 3. 1 TEORIE ......................................................................................................................... 46 3. 2 TVAR ............................................................................................................................ 46 3. 3 FIGURA ........................................................................................................................ 46 3. 4 IMAGO ......................................................................................................................... 46 4 CELKOVÉ ZHODNOCENÍ .............................................................................................. 48 ZÁVĚR.................................................................................................................................... 49 SUMMARY ............................................................................................................................ 50 SEZNAMY.............................................................................................................................. 51 SEZNAM PRAMENŮ A LITERATURY ........................................................................... 51 SEZNAM INTERNETOVÝCH ZDROJŮ .......................................................................... 75 SEZNAM OBRAZOVÉ PŘÍLOHY .................................................................................... 80 SEZNAM TEXTOVÉ PŘÍLOHY ........................................................................................ 81 OBRAZOVÁ PŘÍLOHA ....................................................................................................... 82 5 TEXTOVÁ PŘÍLOHA .......................................................................................................... 83 1. Giovanni Paolo Lomazzo, Idea del Tempio della Pittura, Bologna 1590 ........................ 83 2. Nicolas Poussin, Dopis panu de Chantelou ze dne 24. listopadu 1647, Řím ................... 88 3. Giovan Battista Agucchi, Il Trattato della Pittura, Roma 1646 ....................................... 92 4. Giovan Pietro Bellori, L’Idea del pittore, dello scultore e dell’architetto, Roma 1664 . 116 5. Giovan Pietro Bellori, The Idea of the Painter, the Sculptor and the Architect, Rome 1664 .................................................................................................................................... 126 6. Giovan Pietro Bellori, Idea malíře, sochaře a architekta, Řím 1644 .............................. 143 7. Émile Mâle, L’art religieux après le Concile de Trentem: étude sur l’iconographie de la fin du XVIe siècle, du XVIIe, du XVIIIe siècle, Paris 1932 .............................................. 154 8. Václav V. Štech, Malba a sochařství, Umění v Čechách ............................................... 161 XVII-XIII století, Praha 1938 ............................................................................................ 161 9. Jan Białostocki, Das Modusproblem in den bildenden Künsten, Dresden 1966 ........... 172 10. Oldřich J. Blažíček, Italské podněty a ohlasy v barokovém sochařství Čech, Praha 1980 ............................................................................................................................................ 196 ANOTACE............................................................................................................................ 209 6 ITALIA, MAGISTRA ARTIUM1 1 James Joyce, Odysseus, Praha 2012, s. 115. 7 ÚVOD „Příběhy často začínají úslovím „byl jednou jeden…“ Náš příběh chce vyprávět o tom, co jednou bylo. Jednou jsi byl malý a málem jsi nedosáhl na ruku své maminky. Pamatuješ? Kdybys chtěl, mohl bys vyprávět příběh, který by začínal takto: Byl jednou jeden chlapeček – nebo holčička – a to jsem byl já.“2 Sám Oldřich J. Blažíček ve svém textu Italské podněty a ohlasy v barokovém sochařství Čech, z něhož v této práci vycházíme, hned první větou přiznává: „Název úvahy může připadnout pleonasticky: barok si přece při svém šíření z jihu do ostatních oblastí Evropy přirozeně uchoval nejen svou italskou elementární podobu v koncepcích i v základních formálních přístupech, ale i mnoho z vnějších momentů jednotlivých svých italských středisek, a v nových prostředích – také v Čechách – se proměňoval zprvu jen různou asimilací a redukcí těch momentů.“ a dodává, že „Naší přehlídce však nepůjde o to, co lze označit jako loci communes baroku, ale spíš o postup a vnější děj slohového pronikání v oblasti skulptury, kde – po předchozím zjištění veškeré činnosti – jsou rysy obzvlášť patrné.“3 Z toho vyplývá, že zabývat se italskými motivy a inspiracemi v barokním sochařství českých zemí hraničí s poměřováním baroka barokem, jehož geografickou komparací získáme loci communes, a pouhého nahromadění dosavadního bádání. Jako možné metodické východisko nám Blažíček nabízí v přehledu generační vrstvení italských stylových podnětů, předloh, tendencí
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