Books by Blanka Kubikova
Národní galerie Praha , 2022
Druhý svazek nové edice představuje další výběr malířských a sochařských
děl od středověku k ma... more Druhý svazek nové edice představuje další výběr malířských a sochařských
děl od středověku k manýrismu z fondů hradů a zámků, které jsou ve
správě Národního památkového ústavu. Úvodní studie knihy se zabývá
problematikou záchrany státem konfiskovaného uměleckého majetku po druhé
světové válce. Hlavní část knihy sestává z šedesáti odborných textů
věnovaných přibližně stovce obrazů a soch. Významnou část knihy tvoří
fotografická dokumentace, která zahrnuje dosud neznámé dobové snímky
vybraných interiérů, záznamy archiválií, snímky z restaurátorských průzkumů a
kompletní fotodokumentaci představených děl a vybraných analogií.
The second volume of the new edition represents another group of paintings
and sculptures from the medieval times up to the Mannerist period from the
collections of several chosen Czech castles, which are managed by the
National Heritage Institute.The opening study focuses on the rescuing of the
properties, which were confiscated by Czechoslovakia after the WWII. The
core of the book consists of sixty expert texts, dealing with approximately
one hundred art pieces. The important part of the book is constituted by
images, consisting of the excellent photographs of the debated objects, the
archival sources, the documentation from the restorations or from the up to
now unpublished historical pictures.
Die Noblesse im Bild: Die adeligen Porträtgalerien in der Frühen Neuzeit in den Ländern der ehemaligen Habsburgermonarchie (Spectrum Slovakia, Band 13). Peter Lang GmbH, Internationaler Verlag der Wissenschaften - VEDA, Frankfurt am Main - Bratislava, 2016. , 2016
Zu den aufwendigsten und aus diesem Grund wenig bearbeiteten Themen gehört die Problematik der En... more Zu den aufwendigsten und aus diesem Grund wenig bearbeiteten Themen gehört die Problematik der Entstehung und der Anfangsphasen der Entwicklung von adeligen Porträtgalerien in den ehemaligen Ländern der Habsburgermonarchie in Mitteleuropa.
Die vorliegende Publikation ist das gemeinsame Werk eines internationalen Autorenkollektivs. Die einzelnen Kapitel bieten einen aktuellen und möglichst kompletten Stand der Erkenntnisse über die Entstehung und Entwicklung der Porträtgalerien in Tschechien und Mähren: die Neuhaus-Sammlung und die Rosenberger-Sammlung (B. Kubíková), die Lobkowitz-Sammlung (P. Štěpánek) und die Porträtgalerie der Familie Dietrichstein (P. Medříková).
Bezüglich des ehemaligen Königreichs Ungarn wird ein allgemeiner Überblick über die Entwicklung des adeligen Porträts im 17. Jahrhundert am Beispiel von Malern und Auftraggebern präsentiert (E. Buzási).
In den einzelnen Fallstudien werden zwei Porträtsammlungen analysiert: die Bibersburger Porträtgalerie der Familie Pálffy (I. Halászová) und die Esterházy-Sammlung auf Burg Forchtenstein (M. Kopp). Die österreichische Seite der Donau repräsentiert die Galerie des Adelsgeschlechts Lamberg auf Schloss Ottenstein (F. Polleroß).
Articles by Blanka Kubikova
UMĚNÍ /ART LXVII/4 , 2019
Anne of Bohemia and Hungary (1503–1547), the daughter of Vladislaus II, King of Bohemia and Hunga... more Anne of Bohemia and Hungary (1503–1547), the daughter of Vladislaus II, King of Bohemia and Hungary, played an important role in European history. Her claim to the throne facilitated Ferdinand I’s acquisition of the Bohemian and Hungarian crowns in 1526 and the Habsburg dominance over Central Europe. This study illustrates how Anne’s portraits reflected the changes of her position and also the importance of Anne’s public image when carrying out the Jagiellonian and mainly Habsburg political plans.
The double betrothal of the Habsburgs and Jagiellonians in 1519 is an important milestone after which Anne was portrayed as a symbol of the pledged alliance, yet not with her groom but rather with the other fiancée, Archduchess Mary. The reason behind this unusual presentation was the long uncertainty over which Habsburg would marry Anne. When Archduke Ferdinand and Anne began to rule over the Austrian lands after their marriage in 1521, the new couple was presented in a traditional portrait style. After 1526, Anne’s portraits referring to the continuance of the Jagiellonian rule were instrumental in the adoption of Ferdinand I and the Habsburgs by Bohemia and Hungary. In these portraits, the queen’s position is emphasised over Ferdinand’s compared to the portraits intended for Austria and later for the empire where different priorities prevailed. After Ferdinand I was crowned as King of the Romans in 1531, Anne’s role was diminished; the Habsburg presentation mainly focused on familial cohesion, which means the concord between Ferdinand and his brother, Emperor Charles V, and on the introduction of the new generation of rulers.
It is difficult to estimate the extent to which Queen Anne actively shaped her image. Nevertheless, compared to some Renaissance female rulers, mostly dowagers and maidens who shaped their images in accordance with their more or less independent reigns, Anne’s contribution was less distinctive. Although Queen Anne lived by King Ferdinand’s side and was a caring mother of a large family, she did not lead an absolutely passive public life. She was Ferdinand’s deputy and advisor; the king appreciated her support by ordering that she be portrayed with a royal sceptre on their joint tomb. Anne’s overall image in the Habsburg portrait presentation corresponds to this complex characteristic.
Journal of the History of Collections , 2022
Queen Anne of Bohemia and Hungary (1503–1547), wife of Ferdinand I of Austria, assembled a remark... more Queen Anne of Bohemia and Hungary (1503–1547), wife of Ferdinand I of Austria, assembled a remarkable collection of jewellery and valuables. Analysis of her collection is aided by the survival of four inventories, as well as household accounts, which not only reveal its origins, development and structure during the queen’s lifetime, but also its fate after her death. The complex distribution of the artefacts involved Anne’s children and other Habsburg family members, as well as other European female rulers and noblewomen. Some of the jewels have been identified in portraits of Queen Anne and her daughters. The present study seeks to shed light on the role of jewellery in establishing personal bonds within the Habsburg family and within the cultural and political networks that linked European elites during the Renaissance.
Papers by Blanka Kubikova
Journal of The History of Collections, May 18, 2022
Queen Anne of Bohemia and Hungary (1503–1547), wife of Ferdinand I of Austria, assembled a remark... more Queen Anne of Bohemia and Hungary (1503–1547), wife of Ferdinand I of Austria, assembled a remarkable collection of jewellery and valuables. Analysis of her collection is aided by the survival of four inventories, as well as household accounts, which not only reveal its origins, development and structure during the queen’s lifetime, but also its fate after her death. The complex distribution of the artefacts involved Anne’s children and other Habsburg family members, as well as other European female rulers and noblewomen. Some of the jewels have been identified in portraits of Queen Anne and her daughters. The present study seeks to shed light on the role of jewellery in establishing personal bonds within the Habsburg family and within the cultural and political networks that linked European elites during the Renaissance.
Od objevu k interpretaci. Znalectví, sběratelství a ikonografie umění raného novověku, Zuzana Macurová - Tomáš Valeš (eds.), 2019
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Books by Blanka Kubikova
děl od středověku k manýrismu z fondů hradů a zámků, které jsou ve
správě Národního památkového ústavu. Úvodní studie knihy se zabývá
problematikou záchrany státem konfiskovaného uměleckého majetku po druhé
světové válce. Hlavní část knihy sestává z šedesáti odborných textů
věnovaných přibližně stovce obrazů a soch. Významnou část knihy tvoří
fotografická dokumentace, která zahrnuje dosud neznámé dobové snímky
vybraných interiérů, záznamy archiválií, snímky z restaurátorských průzkumů a
kompletní fotodokumentaci představených děl a vybraných analogií.
The second volume of the new edition represents another group of paintings
and sculptures from the medieval times up to the Mannerist period from the
collections of several chosen Czech castles, which are managed by the
National Heritage Institute.The opening study focuses on the rescuing of the
properties, which were confiscated by Czechoslovakia after the WWII. The
core of the book consists of sixty expert texts, dealing with approximately
one hundred art pieces. The important part of the book is constituted by
images, consisting of the excellent photographs of the debated objects, the
archival sources, the documentation from the restorations or from the up to
now unpublished historical pictures.
Die vorliegende Publikation ist das gemeinsame Werk eines internationalen Autorenkollektivs. Die einzelnen Kapitel bieten einen aktuellen und möglichst kompletten Stand der Erkenntnisse über die Entstehung und Entwicklung der Porträtgalerien in Tschechien und Mähren: die Neuhaus-Sammlung und die Rosenberger-Sammlung (B. Kubíková), die Lobkowitz-Sammlung (P. Štěpánek) und die Porträtgalerie der Familie Dietrichstein (P. Medříková).
Bezüglich des ehemaligen Königreichs Ungarn wird ein allgemeiner Überblick über die Entwicklung des adeligen Porträts im 17. Jahrhundert am Beispiel von Malern und Auftraggebern präsentiert (E. Buzási).
In den einzelnen Fallstudien werden zwei Porträtsammlungen analysiert: die Bibersburger Porträtgalerie der Familie Pálffy (I. Halászová) und die Esterházy-Sammlung auf Burg Forchtenstein (M. Kopp). Die österreichische Seite der Donau repräsentiert die Galerie des Adelsgeschlechts Lamberg auf Schloss Ottenstein (F. Polleroß).
Articles by Blanka Kubikova
The double betrothal of the Habsburgs and Jagiellonians in 1519 is an important milestone after which Anne was portrayed as a symbol of the pledged alliance, yet not with her groom but rather with the other fiancée, Archduchess Mary. The reason behind this unusual presentation was the long uncertainty over which Habsburg would marry Anne. When Archduke Ferdinand and Anne began to rule over the Austrian lands after their marriage in 1521, the new couple was presented in a traditional portrait style. After 1526, Anne’s portraits referring to the continuance of the Jagiellonian rule were instrumental in the adoption of Ferdinand I and the Habsburgs by Bohemia and Hungary. In these portraits, the queen’s position is emphasised over Ferdinand’s compared to the portraits intended for Austria and later for the empire where different priorities prevailed. After Ferdinand I was crowned as King of the Romans in 1531, Anne’s role was diminished; the Habsburg presentation mainly focused on familial cohesion, which means the concord between Ferdinand and his brother, Emperor Charles V, and on the introduction of the new generation of rulers.
It is difficult to estimate the extent to which Queen Anne actively shaped her image. Nevertheless, compared to some Renaissance female rulers, mostly dowagers and maidens who shaped their images in accordance with their more or less independent reigns, Anne’s contribution was less distinctive. Although Queen Anne lived by King Ferdinand’s side and was a caring mother of a large family, she did not lead an absolutely passive public life. She was Ferdinand’s deputy and advisor; the king appreciated her support by ordering that she be portrayed with a royal sceptre on their joint tomb. Anne’s overall image in the Habsburg portrait presentation corresponds to this complex characteristic.
Papers by Blanka Kubikova
děl od středověku k manýrismu z fondů hradů a zámků, které jsou ve
správě Národního památkového ústavu. Úvodní studie knihy se zabývá
problematikou záchrany státem konfiskovaného uměleckého majetku po druhé
světové válce. Hlavní část knihy sestává z šedesáti odborných textů
věnovaných přibližně stovce obrazů a soch. Významnou část knihy tvoří
fotografická dokumentace, která zahrnuje dosud neznámé dobové snímky
vybraných interiérů, záznamy archiválií, snímky z restaurátorských průzkumů a
kompletní fotodokumentaci představených děl a vybraných analogií.
The second volume of the new edition represents another group of paintings
and sculptures from the medieval times up to the Mannerist period from the
collections of several chosen Czech castles, which are managed by the
National Heritage Institute.The opening study focuses on the rescuing of the
properties, which were confiscated by Czechoslovakia after the WWII. The
core of the book consists of sixty expert texts, dealing with approximately
one hundred art pieces. The important part of the book is constituted by
images, consisting of the excellent photographs of the debated objects, the
archival sources, the documentation from the restorations or from the up to
now unpublished historical pictures.
Die vorliegende Publikation ist das gemeinsame Werk eines internationalen Autorenkollektivs. Die einzelnen Kapitel bieten einen aktuellen und möglichst kompletten Stand der Erkenntnisse über die Entstehung und Entwicklung der Porträtgalerien in Tschechien und Mähren: die Neuhaus-Sammlung und die Rosenberger-Sammlung (B. Kubíková), die Lobkowitz-Sammlung (P. Štěpánek) und die Porträtgalerie der Familie Dietrichstein (P. Medříková).
Bezüglich des ehemaligen Königreichs Ungarn wird ein allgemeiner Überblick über die Entwicklung des adeligen Porträts im 17. Jahrhundert am Beispiel von Malern und Auftraggebern präsentiert (E. Buzási).
In den einzelnen Fallstudien werden zwei Porträtsammlungen analysiert: die Bibersburger Porträtgalerie der Familie Pálffy (I. Halászová) und die Esterházy-Sammlung auf Burg Forchtenstein (M. Kopp). Die österreichische Seite der Donau repräsentiert die Galerie des Adelsgeschlechts Lamberg auf Schloss Ottenstein (F. Polleroß).
The double betrothal of the Habsburgs and Jagiellonians in 1519 is an important milestone after which Anne was portrayed as a symbol of the pledged alliance, yet not with her groom but rather with the other fiancée, Archduchess Mary. The reason behind this unusual presentation was the long uncertainty over which Habsburg would marry Anne. When Archduke Ferdinand and Anne began to rule over the Austrian lands after their marriage in 1521, the new couple was presented in a traditional portrait style. After 1526, Anne’s portraits referring to the continuance of the Jagiellonian rule were instrumental in the adoption of Ferdinand I and the Habsburgs by Bohemia and Hungary. In these portraits, the queen’s position is emphasised over Ferdinand’s compared to the portraits intended for Austria and later for the empire where different priorities prevailed. After Ferdinand I was crowned as King of the Romans in 1531, Anne’s role was diminished; the Habsburg presentation mainly focused on familial cohesion, which means the concord between Ferdinand and his brother, Emperor Charles V, and on the introduction of the new generation of rulers.
It is difficult to estimate the extent to which Queen Anne actively shaped her image. Nevertheless, compared to some Renaissance female rulers, mostly dowagers and maidens who shaped their images in accordance with their more or less independent reigns, Anne’s contribution was less distinctive. Although Queen Anne lived by King Ferdinand’s side and was a caring mother of a large family, she did not lead an absolutely passive public life. She was Ferdinand’s deputy and advisor; the king appreciated her support by ordering that she be portrayed with a royal sceptre on their joint tomb. Anne’s overall image in the Habsburg portrait presentation corresponds to this complex characteristic.