Publication details
Mähren in der ersten Hälfte des 18. Jahrhunderts. Kreuzungs- und Knotenpunkt künstlerischer Tendenzen im Donauraum
| Title in English | Moravia in the first half of the 18th century. Intersection and hub of artistic tendencies in the Danube region |
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| Authors | |
| Year of publication | 2014 |
| Type | Chapter of a book |
| MU Faculty or unit | |
| Citation | |
| Description | In the last quarter of the 17th and the first half of the 18th century, a complex of artistic and cultural baroque universe was created in Moravia. But the character of artistic production in this region, on the one hand one of the countries of the Bohemian crown, but on the other hand, a relative independence retained as "Margraviate of Moravia", was hardly uniform. Since then, constituted the medieval state administration, there was, in fact, actually two Moravia, namely the southern Moravia with its center Brno and the northern one with center of Olomouc. Although after the end of the Thirty Years' War just the South Moravian Brno became the only capital that dualism was visible throughout the era of Baroque culture. While Brno but more and more as a focal point of political, social and gradually prevailed and economic development, Olomouc played a special role in the visual culture of the Catholic Baroque as episcopal residence, seat of an important cathedral chapter, as well as some important monasteries. South Moravia sat there in his development of Vienna and the Danube region, while Northern Moravia remained a relatively autonomous region, which was in contact with the particular area of Bohemia. Despite the already cited, rather schematic designs, the characteristics of Baroque culture in Moravia can hardly reduce; there are here merely inspiration and streams cut through that emerged in the large neighboring centers. Also came here, as in other countries around the Habsburg Danube region, artists and craftsmen from the south (from Italy) and from the west (from Bavaria). However, was hardly less interesting to the reverse movement, because some young artists met the points arising from these centers, art movements first in Moravia, then return full of experiences in their home. I would therefore show how some especially South Moravian towns in the first half of the 18th century a part of the wider development of "Danube Art" formed. |