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Of the National Gallery in Prague BULLETIN OF THE NATIONAL GALLERY IN PRAGUE XVIII–XIX / 2008–2009 The Bulletin is published by the National Gallery in Prague, Staroměstské náměstí 12, 110 15 Praha 1 (tel./fax: +420-224 301 302/235, e-mail: [email protected]). Please address all correspondence to the Editor-in-Chief at the same address. The Bulletin (ISSN 0862-8912, ISBN 978-80-7035-437-7) invites unsolicited articles in major languages. Articles appearing in the Bulletin are indexed in the BHA. Editor-in-Chief: Vít Vlnas Editors: Lenka Zapletalová Editorial Board: Naděžda Blažíčková-Horová (National Gallery in Prague), Anna Janištinová (National Gallery in Prague), Lubomír Konečný (Academy of Sciences of the Czech Republic in Prague), Roman Prahl (Charles University in Prague), Anna Rollová (National Gallery in Prague), Filip Suchomel (National Gallery in Prague), Tomáš Vlček (National Gallery in Prague) Design and graphic layout: Lenka Blažejová Printing: Tisk Horák a. s., Ústí nad Labem We would like to thank the Society of Friends of the National Gallery in Prague for the financial support of this issue. © National Gallery in Prague, 2009 BULLETIN NÁRODNÍ GALERIE V PRAZE XVIII–XIX / 2008–2009 Bulletin vydává Národní galerie v Praze, Staroměstské náměstí 12, 110 15 Praha 1 (tel./fax: +420-224 301 302/235, e-mail: [email protected]). Korespondenci adresujte, prosím, šéfredaktorovi na tutéž adresu. Bulletin (ISSN 0862-8912, ISBN 978-80-7035-437-7) uveřejňuje příspěvky ve světových jazycích a v češtině. Články vycházející v Bulletinu jsou indexovány bibliografií BHA. Šéfredaktor: Vít Vlnas Redakce: Lenka Zapletalová Redakční rada: Naděžda Blažíčková-Horová (Národní galerie v Praze), Anna Janištinová (Národní galerie v Praze), Lubomír Konečný (Akademie věd České republiky v Praze), Roman Prahl (Univerzita Karlova v Praze), Anna Rollová (Národní galerie v Praze), Filip Suchomel (Národní galerie v Praze), Tomáš Vlček (Národní galerie v Praze) Grafická úprav a sazba: Lenka Blažejová Tisk: Tisk Horák a. s., Ústí nad Labem Za finanční podporu tohoto čísla děkujeme Společnosti přátel Národní galerie v Praze. © Národní galerie v Praze, 2009 Cover photograph: Ferdinand Tietz, St Sebastian, c. 1750, National Gallery in Prague. Reprodukce na obálce: Ferdinand Tietz, Sv. Šebestián, kolem 1750. Národní galerie v Praze. Hlavní partner NG v Praze / Major partner of the NG in Prague: Patron NG v Praze / Sponsor of the NG in Prague: Hlavní mediální partner NG v Praze / Major media partner of the NG in Prague: BULLETIN of the National Gallery in Prague XVIII–XIX / 2008–2009 NárodNí Galerie v Praze Contents Pavel Štěpánek Dos tablas de Juan de Flandes y Pedro de Campañ a en la colección 6 de la Galería Nacional de Praga Jan Mikeš The Pietà of Lásenice and Sculpture of the Late Beautiful Style 21 in South Bohemia Olga Kotková Adam Pokorný Technological Research into the Painting, St Luke Drawing the Virgin, 31 by Jan Gossaert, called Mabuse Olga Pujmanová L’eco dei dipinti rinascimentali italiani negli schizzi delle collezioni barocche 42 Tomáš Hladík Two Unknown Works of Ferdinand Tietz in the Collections of the National 50 Gallery in Prague Zoltán Dragon Károly Markó und sein Prager Gemälde 60 Tomáš Sekyrka “A Vision of the Tired Souls” – Re-discovered Hand-Written Magazines 67 of the Mánes Society of Fine Artists Obsah Pavel Štěpánek Juan de Flandes a Pedro de Campaña ve sbírce Národní galerie v Praze 76 Jan Mikeš Pieta z Lásenice a sochařství pozdního krásného slohu na jihu Čech 87 Olga Kotková Adam Pokorný Technologický průzkum obrazu Sv. Lukáš kreslí P. Marii od Jana Gossaerta, 93 zv. Mabuse Olga Pujmanová Ohlas italských renesančních obrazů v skicách barokních sbírek 99 Tomáš Hladík Dvě neznámé práce Ferdinanda Tietze ve sbírkách Národní galerie v Praze 105 Zoltán Dragon Károly Markó a jeho pražská malba 112 Tomáš Sekyrka „Vise znavených duší“ – znovuobjevené rukopisné časopisy Spolku 116 výtvarných umělců Mánes Dos tablas de Juan de Flandes y Pedro de Campaña en la colección de la Galería Nacional de Praga Problemas de atribución y datación PAVEL Š T ĚPÁNEK Pavel Štěpánek es catedrático de la Universidad Palacký de olomouc. Se especializa en el arte español. 1. Juan de Flandes Juan de Flandes es una asignación La atribución y la datación de dos cuadros para un pintor todavía anónimo, en la Galería Nacional de Praga que probablemente flamenco, (o, aunque con se relacionan a la vez con dos países menos probablilidad, español, formado gobernados por la misma dinastía, España en los Países Bajos), quien estaba activo y los Países bajos, de los pintores Juan en los años de 1496 a 1504 en España, de Flandes y Pedro de Campaña (Peeter primero al servicio de Isabel de Castilla, Kempeneer), respectivamente, varían desde y después de fallecer ésta, en diferentes hace casi un siglo sin haberse llegado lugares de la Península Ibérica, al a conclusiones irrefutables. Se trata de menos hasta el año 1519, cuando muere. dos pinturas pequeñas, casi miniaturas, Lamentablemente, sobre la vida de este pero de altísmia cualidad, situadas hoy en excepcionalmente buen pintor no tenemos la instalación permanente de la Galería documentos, menos una docena, pero Nacional de Praga, que desperataban, que se refieren a sus encargos y no nos desde hace tiempo, dudas acerca de la dicen absolutamente nada acerca de su atribución y la datación, pero no en personaje. Tampoco conocemos su origen, cuanto a la calidad. su formación y sus destinos en España, Puesto que en el últimos tiempos han solo su nombre que se da como Juan aparecido no pocos estudios que prestan de Flandes. Casi todo lo que sabemos atención al asunto tanto en detalle de él, ha sido derivado de la lectura de como en la visión global, – lo cual es su obra. Puede suponerse que antes que importante en caso de un artista como fuera llamado a los servicios de la Reina, Juan de Flandes, cuya obra fue comentada debía haber mostrado cierta experiencia hasta hace poco sólo por una pequeña y calidad, de modo que la fecha de su monografía,1 pero no se han sacado nacimiento se estima por lo menos hacia conclusiones definitivas ni en el libro más 1465. Según las señas de su estilo se nuevo de la investigadora española Pilar piensa que su posible formación pudo Silva Maroto2 –, intentaré presentar aquí haber ocurrido en la zona de Brujas algunos argumentos y señalar aquellas o de Gante. Hubo también un intento de relaciones nuevas o marginadas, o subrayar identificarle con Jan Straat, pues una de otras que ya han sido aceptadas hasta las tablas del Políptico de Isabel la Católica cierto punto.3 lleva una inscripción „Juan Astrat“, lo cual La tabla de pequeñas dimensiones Cristo es la forma hispanizada de ese nombre.6 mostrado al pueblo (Ecce Homo)4 (fig. 1) Dado que no se trata de su firma, no atribuida hasta ahora a Juan de Flandes puede tomarse como punto de partida (nacido hacia 1465; activo en España desde justificable. Recientemente, se ha intentado 1496; murió en 1519 en Palencia),5 fue identificar, a Juan de Flandes con Annekin legado a la Pinacoteca de la Sociedad de (es decir „pequeño Juan“) Veranneman, amigos patrióticos del arte, antecesora de formado bajo Hans Memling antes de la actual Galería Nacional de Praga, por el 1464.7 doctor en derecho Jan Kaňka en 1866. Sus Precisamente a Juan de Flandes (aunque destinos anterirores no son conocidos. no exclusivamente) se le hace responsable Bulletin of the National Gallery in Prague 6 XVIII–XIX / 2008–2009 Fig. 1 Juan de Flandes, Cristo mostrado al pueblo (Ecce Homo), Galería Nacional de Praga. Bulletin of the National Gallery in Prague XVIII–XIX / 2008–2009 7 porque en la pintura castellana del paso portando la cruz, y en el fondo, la subida del gótico al renacimiento perduran restos al Calvario, casi en miniatura. de un naturalismo aún medieval, aún En la escena principal se nota a Cristo, góticamente narrativo, así como formulas envuelto en el manto, con corona de arcáicas, que sobreviven hasta bien entrado espinas, de pie en la escalera de un el s. XVI.8 edificio, al lado de Pilatos, quien apacigua Juan de Flandes sigue siendo, en el gentío reunido abajo. Presencian la sustancia, pintor expresionista de vieja escena unas figuras asomadas de las índole en la técnica virtuosa flamenca, ventanas de un palacio de dos plantas ante todo en comparación con Jan van en estilo del renacimiento temprano. La Eyck, cuya visita a la Península Ibérica escena está completada por dos perros dentro del marco de una comitiva que yacen en el primer plano, delante diplomática, culminando con la audiencia de la escalera, cuyas juntas, de geometría ofrecida por el Rey de Castilla Juan II regular, están animadas apenas por escasas el año de 1429, ha sido considerada cañas de hierba. Al fondo se divisan como una apertura del arte flamenco en edificios en estilo románico, utilizado por este campo y un estímulo para crearse los pintores del gótico tardío para expresar hoy ya generalmente reconocido estilo las escenas del Viejo Testamento. El estilo hispanoflamenco. Aparte de la Virgen de romano representó, entonceds, los edificios Covarrubias, la copia de la época de la „orientales“ en aquellas situaciones, Fuente de la vida en el Prado y La Virgen cuando debía distinguirse entre el mundo de los consejeros en Barcelona, hoy nada cristiano y el judaismo („oriente“). Se testimonia o copias o recepción directa trata del llamado simbolismo camuflado.11 de la manera de van Eyck. Según otras La preponderancia del estilo renacentista opiniones,9 para la recepción del estilo a manera de bambalinas en toda la obra flamenco en la pintura española fue del pintor llevó a la investigadora española mucho más importante el pintor catalán Elisa Bermejo a pronunciar un hipótesis Lluís Dalmau, a quién el rey de Aragón que después de su salida de Flandes, el Alfonso V mandó a los Países Bajos.
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