"Kaiser, Jozef" . "Mimo\u0159\u00E1dn\u00E9 gotick\u00E9 d\u00EDlo, cestovn\u00ED Olt\u00E1\u0159\u00EDk Roberta z Anjou je jedn\u00EDm z t\u011Bch, jimi\u017E Jan II. z Liechten\u0161tejna obdaroval roku 1896 Franti\u0161kovo museum v Brn\u011B. Nov\u011B v\u0161ak byly objasn\u011Bny okolnosti kn\u00ED\u017Eec\u00ED akvizice, kter\u00E9 vyvr\u00E1tily \u00FAvahy o st\u0159edoevropsk\u00E9 provenienci olt\u00E1\u0159\u00EDku, nebo\u0165 je dokladov\u00E1no, \u017Ee n\u00E1kup byl proveden p\u0159\u00EDmo ve Florencii v roce 1890. Ji\u017E tehdy byl zaznamen\u00E1n i fakt, \u017Ee tabern\u00E1kl je opat\u0159en (po\u0161kozenou) so\u0161kou \u010Cern\u00E9 Madony z kararsk\u00E9ho mramoru. Popis jej\u00EDho po\u0161kozen\u00ED, druhotn\u00FDch dopl\u0148k\u016F a v\u00FDstavby polychromie byl hlavn\u00EDm c\u00EDlem v\u00FDzkumu d\u00EDla neinvaz\u00EDvn\u00EDmi metodami (mobiln\u00ED XRF, po\u010D\u00EDta\u010Dov\u00E1 tomografie); na z\u00E1klad\u011B jejich v\u00FDsledk\u016F pak byl uskute\u010Dn\u011Bn i \u0161etrn\u00FD odb\u011Br mik-rovzork\u016F a materi\u00E1lov\u00FD rozbor. Bylo zji\u0161t\u011Bno p\u0159edev\u0161\u00EDm, \u017Ee materi\u00E1lem sochy nen\u00ED kararsk\u00FD mramor ale alabastr, co\u017E sice nen\u00ED v rozporu s p\u0159edpokl\u00E1danou provenienc\u00ED (severn\u00ED It\u00E1lie), t\u011B\u017Eko v\u0161ak pro svoji hmotnost a k\u0159ehkost mohla b\u00FDt so\u0161ka p\u016Fvodn\u00ED sou\u010D\u00E1st\u00ED Olt\u00E1\u0159\u00EDku. Rovn\u011B\u017E anal\u00FDza nejstar\u0161\u00EDch vrstev polychromie prok\u00E1zala, \u017Ee Madona p\u016Fvodn\u011B nebyla \u010Dern\u00E1 a \u017Ee tato \u00FAprava byla provedena druhotn\u011B a z\u00E1m\u011Brn\u011B."@cs . "Black Madonna; travel altar; alabaster; Gothic art; Florence; Liechtenstein"@en . "RIV/00094871:_____/14:#0001176" . "Mimo\u0159\u00E1dn\u00E9 gotick\u00E9 d\u00EDlo, cestovn\u00ED Olt\u00E1\u0159\u00EDk Roberta z Anjou je jedn\u00EDm z t\u011Bch, jimi\u017E Jan II. z Liechten\u0161tejna obdaroval roku 1896 Franti\u0161kovo museum v Brn\u011B. Nov\u011B v\u0161ak byly objasn\u011Bny okolnosti kn\u00ED\u017Eec\u00ED akvizice, kter\u00E9 vyvr\u00E1tily \u00FAvahy o st\u0159edoevropsk\u00E9 provenienci olt\u00E1\u0159\u00EDku, nebo\u0165 je dokladov\u00E1no, \u017Ee n\u00E1kup byl proveden p\u0159\u00EDmo ve Florencii v roce 1890. Ji\u017E tehdy byl zaznamen\u00E1n i fakt, \u017Ee tabern\u00E1kl je opat\u0159en (po\u0161kozenou) so\u0161kou \u010Cern\u00E9 Madony z kararsk\u00E9ho mramoru. Popis jej\u00EDho po\u0161kozen\u00ED, druhotn\u00FDch dopl\u0148k\u016F a v\u00FDstavby polychromie byl hlavn\u00EDm c\u00EDlem v\u00FDzkumu d\u00EDla neinvaz\u00EDvn\u00EDmi metodami (mobiln\u00ED XRF, po\u010D\u00EDta\u010Dov\u00E1 tomografie); na z\u00E1klad\u011B jejich v\u00FDsledk\u016F pak byl uskute\u010Dn\u011Bn i \u0161etrn\u00FD odb\u011Br mik-rovzork\u016F a materi\u00E1lov\u00FD rozbor. Bylo zji\u0161t\u011Bno p\u0159edev\u0161\u00EDm, \u017Ee materi\u00E1lem sochy nen\u00ED kararsk\u00FD mramor ale alabastr, co\u017E sice nen\u00ED v rozporu s p\u0159edpokl\u00E1danou provenienc\u00ED (severn\u00ED It\u00E1lie), t\u011B\u017Eko v\u0161ak pro svoji hmotnost a k\u0159ehkost mohla b\u00FDt so\u0161ka p\u016Fvodn\u00ED sou\u010D\u00E1st\u00ED Olt\u00E1\u0159\u00EDku. Rovn\u011B\u017E anal\u00FDza nejstar\u0161\u00EDch vrstev polychromie prok\u00E1zala, \u017Ee Madona p\u016Fvodn\u011B nebyla \u010Dern\u00E1 a \u017Ee tato \u00FAprava byla provedena druhotn\u011B a z\u00E1m\u011Brn\u011B." . . "An exceptional Gothic work of art, a travel altar of Robert of Anjou, is one of those donated by John II of Liechten-stein to the Franz Museum in Brno in 1896. Light has been newly shed on the circumstances of Princes acquisition of the altar; it refuted the thoughts about the altars Central European provenance, because as it is being documented, the purchase took place directly in Florence in 1890. It has been recorded already back then that the Tabernacle is complemented by a (damaged) statuette of Black Madonna made of Carrara marble. The description of its damage, secondary additions and polychromy construction was the main aim of the artworks survey by non-invasive methods (mobile XRF, computed tomography); on the basis of their results, a careful micro-sampling has been performed fo-llowed by material analysis. Most importantly, it was found out that the material of the statue is not Carrara marble, but an alabaster, which is not in disagreement with the assumed provenance (northern Italy), but due to its weight and fragility, the statuette could only hardly be an original part of the altar. Concurrently, the analysis of the oldest layers of polychromy proved that the Madonna has not been originally black and that this adjustment has been executed secondarily and intentionally."@en . "6"^^ . "Investigation of Madonna in the travel Altar of Robert of Anjou from the Collections of Moravian Gallery in Brno"@en . . "Hradil, David" . "40712" . . "Hradilov\u00E1, Janka" . "Pr\u016Fzkum Madony cestovn\u00EDho olt\u00E1\u0159\u00EDku Roberta z Anjou ze sb\u00EDrek Moravsk\u00E9 galerie v Brn\u011B" . . "W\u00F6rg\u00F6tter, Zora" . . . "8"^^ . "Pr\u016Fzkum Madony cestovn\u00EDho olt\u00E1\u0159\u00EDku Roberta z Anjou ze sb\u00EDrek Moravsk\u00E9 galerie v Brn\u011B"@cs . "2"^^ . . . "Investigation of Madonna in the travel Altar of Robert of Anjou from the Collections of Moravian Gallery in Brno"@en . "Akademie v\u00FDtvarn\u00FDch um\u011Bn\u00ED v Praze" . . . . . . "Praha" . . "[D571A58DA58B]" . "Foga\u0161, Igor" . "978-80-87108-48-2" . "V" . "Praha" . "Pr\u016Fzkum Madony cestovn\u00EDho olt\u00E1\u0159\u00EDku Roberta z Anjou ze sb\u00EDrek Moravsk\u00E9 galerie v Brn\u011B" . "RIV/00094871:_____/14:#0001176!RIV15-MK0-00094871" . . . . . "2014-01-01+01:00"^^ . "Acta Artis Academica 2014. Interpretace anal\u00FDz v\u00FDtvarn\u00E9ho um\u011Bn\u00ED v r\u016Fzn\u00FDch kontextech" . "Zikmund, Tom\u00E1\u0161" . . "Pr\u016Fzkum Madony cestovn\u00EDho olt\u00E1\u0159\u00EDku Roberta z Anjou ze sb\u00EDrek Moravsk\u00E9 galerie v Brn\u011B"@cs .