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Max Dvořák a objev kostela Santa Maria Antiqua

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dc.contributor.authorHečková, Petra
dc.date.accessioned2016-11-25T09:53:52Z
dc.date.available2016-11-25T09:53:52Z
dc.date.issued2013
dc.description.abstract-translatedThe discovery of the early Medieval Church Sta Maria Antiqua, which was made within the archeological campaign at Forum Romanum in 1901, influenced not only the level of knowledge regarding the area of the Roman archaeology, but also contributed to the crucial turn of understanding and interpretation of the oldest Medieval art within the Roman area and in a broader perspective also to the modification of opinions on the nature of the oldest Medieval art and its relation to the preceding artistic tradition. The uncovered painting decoration originating in several phases of the period between ca. 550 - 850 AD, became a focus of attention of an array of archeologists and art historians almost immediately after its revelation. The discovery of the paintings in Sta Maria Antiqua also attracted the attention of art historian Max Dvořák, at that time a young professor Franz Wickoff‘s assistant at the institute of historical research, who repeatedly made journey to Rome because of his scholarship study stays. Even if the Sta Maria paintings were not the main focus of his scientific work, we know that Dvořák became instantly interested in such an outstanding discovery. The encounter with the new evidence of the development of wall painting from the key period between the end of the Antiquity and the beginning of the Medieval Ages provided him with a theme for a new approach to the topic concering the nature of the oldest Medieval art and its relation to the preceding artistic period of the Antiquity, which he dealt with in detail in the first years of the 20th century. It is quite peculiar that such an event, when an expected discovery of interesting archeological findings required tearing down all the building (of the Baroque church Sta Maria Liberatrice), which was discussed by experts and general public, unprecedented up to now, was not considered a preservation case by Dvořák, who later became a distinguished conservationist.eng
dc.eventInterdisciplinarita v péči o kulturní dědictví (26.-27. April 2012, 23.-24. May 2013, Litomyšl, Czech Republic)eng
dc.formatp. 133-144eng
dc.identifier.isbn978-80-7395-594-6 (Print)
dc.identifier.isbn978-80-7395-595-3 (PDF)
dc.identifier.urihttps://hdl.handle.net/10195/66817
dc.language.isocze
dc.peerreviewedyeseng
dc.publicationstatuspublishedeng
dc.publisherUniverzita Pardubicecze
dc.rightsopen accesseng
dc.subjectSta Maria Antiquacze
dc.subjectMax Dvořákcze
dc.subjectpalimpsestcze
dc.subjectPompejánský andělcze
dc.subjectForum Romanumcze
dc.subjecthistoriografie uměnícze
dc.subjectarcheologiecze
dc.subjectGiacomo Bonicze
dc.subjectdemolicecze
dc.subjectiluzionismuscze
dc.subjectraně středověké nástěnné malbycze
dc.subjectPalimpsesteng
dc.subjectAngelo Belloeng
dc.subjectRoman Forumeng
dc.subjectArt Historiographyeng
dc.subjectArchaeologyeng
dc.subjectDemolitioneng
dc.subjectIllusionismeng
dc.subjectEarly Mediaeval wall-paintingseng
dc.titleMax Dvořák a objev kostela Santa Maria Antiquacze
dc.title.alternativeMax Dvořák and the Discovery of Santa Maria Antiquaeng
dc.typeConferenceObjecteng
dspace.entity.typePublication

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2013 Interdisciplinarita v péči o kulturní dědictví