Adaptation and interpretation of models and motives' migration
The search into the problematic and suggestion of possible method of its research was the work on the author's previous research grant project in 2004-2006. The continuation of systematic comparative research of the graphics in the process of Baroque painting production allows to extend, deepen and synthesize the existing findings and specify the alleged conclusions. The present project "Baroque inspirations" builds on the existing systematic investigation of the relationship between graphics and paintings and the role of models in the process of Baroque painting production and presents its organic completion.
The analysis of some selected specific examples of using graphic models and inspiration of painting by the graphics allows to formulate more general conclusions and to synthesize the results of the research in the relationship between domestic Baroque painting to widespread graphic models.
Description of the research project "Baroque inspirations"
The project's work will focuse on the continuation in the study of the European graphic production in the 16th - 18th century, its provenance and ways of distribution, following the frequency of the occurance of observed models and popularity of the used models, documented as an inspiration for the painted artworks. The collecting and gathering of relevant documents will require, except an excerption of the huge corpus of arthistorical literature (monographs, thematic studies, catalogs and corpuses) and sources available on the web, also a systematic arthistorical research and research in graphic collections of inland and foreign specialized institutions - museums, galleries, libraries and archives. The analysis of various forms of dependence and relationship between painted realizations and graphic models suggests also a research and documentation of selected painted artworks preserved in Slovakia.
By the origin of the artwork, the inspiration of his creator by other works of his contemporaries and predecessors must be taken in attention. Therefore it is useful to try to find analogies, visual sources and if possible the direct used models, mediated in painting most often by graphics. The research of compositional and content inspirations, identification of specific patterns and adapted motifs, relationship between an artwork and identified models and methods of their use by their author are part of the iconographic research as well as the formal analysis of artworks.
The inventions of leading artists of the epoch, reproduced, multiplied, copied and varied by the Netherlands, southern German, French or Italian engravers, were published in large quantities and distributed throughout Europe. The universal expansion and availability of reprographics and book illustration in the early modern period caused, that the graphics become a suitable medium to mediate contemporary updated impulses, bringing new iconographic and formal solutions and stylish innovation in all Central European regions. The various forms of the process of transformation and adaptation are one of the characteristics of the general development of the Central European Baroque painting.
The use of graphic models as a legitimate creative principle in the early modern art is a phenomenon that deserves systematic attention. The role and importance of graphics by the origin of Baroque painted artworks in our area, are studied just in the marginality. The relationship between the identified model and the resulting realisation was only taken in attention when analyzing some painted artworks from the 16th to 18th century.
The existing knowledge has been extended by the examples of the use of graphic models analyzed within the author's previous grant project "Invenit / sculpsit / pinxit" solved in 2004-2006. The material research, thematic and case studies published in this context confirmed, that the situation in our area in this period was analogous to that in other neighboring Central European regions. Popular graphic prints, reproducing the artworks of famous artists, pattern books and book illustrations published by the press, as well as sketches and drawings by foreign models formed a repertoire of every prosperous painting workroom, from that the guild painters draw ideas and finished designs of solutions for the realisation of standard painting orders. This dependence, from the late Gothic generall, is documented by many examples of anonymous painting of domestic production, which makes up a significant portion of our surviving artworks from the 16th to 18th century, but the study of graphic models can be observed also in the work of significant painters of this period, active in the territory of Slovakia.
The margin range yet from general inspiration by decisive models, through the selective adaptation and compilation of individual motives, to mechanical copying of figural compositions and passive acceptance of completed compositional and iconographic solutions. The adaptation and connection
The real conclusion in using of the graphic models in the general level of thinking, of course, don't bring anything new. In the case of an individual artwork, however, the exploring of compositional and motif's dependencies as one of the possible interpretative strategies is beneficial. The specification
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