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rdf:type
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Description
| - There is the classical threedimensional sketch that initially helped the artist to determine the preliminary composition and spatial arrangement of the final sculpture, followed by a more carefully executed model carving that provided visual information to the patron of the sculpture and that subsequently served as firm guidance in the work carried out by the workshop’s assistants. With the changing aesthetic criteria and newly formulated requirements of the younger generation of ecclesiastical and aristocratic patrons of sculpture in the emerging Rococo period, Pacák’s mature output evinced a growing number of strictly cabinetsize pieces. Like in the cases of the formally refined creations by leading master sculptors of the early Rococo period in Prague, the artist’s late Calvary group also shows exceptional craftsmanship and technical prowess. In effect, these are exclusive artefacts, in which the Litomyšl master was able to reduce both volume and form over a minimal space, without the carvings losing anything of their power of expression and intended artistic impact.
- There is the classical threedimensional sketch that initially helped the artist to determine the preliminary composition and spatial arrangement of the final sculpture, followed by a more carefully executed model carving that provided visual information to the patron of the sculpture and that subsequently served as firm guidance in the work carried out by the workshop’s assistants. With the changing aesthetic criteria and newly formulated requirements of the younger generation of ecclesiastical and aristocratic patrons of sculpture in the emerging Rococo period, Pacák’s mature output evinced a growing number of strictly cabinetsize pieces. Like in the cases of the formally refined creations by leading master sculptors of the early Rococo period in Prague, the artist’s late Calvary group also shows exceptional craftsmanship and technical prowess. In effect, these are exclusive artefacts, in which the Litomyšl master was able to reduce both volume and form over a minimal space, without the carvings losing anything of their power of expression and intended artistic impact. (en)
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Title
| - Wood-carvings by Jiří František Pacák in the Holdings of the National Gallery in Prague
- Wood-carvings by Jiří František Pacák in the Holdings of the National Gallery in Prague (en)
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skos:prefLabel
| - Wood-carvings by Jiří František Pacák in the Holdings of the National Gallery in Prague
- Wood-carvings by Jiří František Pacák in the Holdings of the National Gallery in Prague (en)
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skos:notation
| - RIV/00023281:_____/14:#0000720!RIV15-MK0-00023281
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http://linked.open...avai/riv/aktivita
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http://linked.open...avai/riv/aktivity
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http://linked.open...iv/cisloPeriodika
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http://linked.open...vai/riv/dodaniDat
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http://linked.open...aciTvurceVysledku
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http://linked.open.../riv/druhVysledku
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http://linked.open...iv/duvernostUdaju
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http://linked.open...titaPredkladatele
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http://linked.open...dnocenehoVysledku
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http://linked.open...ai/riv/idVysledku
| - RIV/00023281:_____/14:#0000720
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http://linked.open...riv/jazykVysledku
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http://linked.open.../riv/klicovaSlova
| - Jiří František Pacák; Late Baroque sculpture; Francesco Trevisani; Piarist church in Litomyšl; The Crucifixion altarpiece; sculptural models and sketches; Calvary woodcarvings (en)
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http://linked.open.../riv/klicoveSlovo
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http://linked.open...odStatuVydavatele
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http://linked.open...ontrolniKodProRIV
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http://linked.open...i/riv/nazevZdroje
| - Bulletin of the National Gallery in Prague
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http://linked.open...in/vavai/riv/obor
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http://linked.open...ichTvurcuVysledku
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http://linked.open...cetTvurcuVysledku
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http://linked.open...UplatneniVysledku
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http://linked.open...v/svazekPeriodika
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http://linked.open...iv/tvurceVysledku
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issn
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number of pages
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