出版社：Institute of the History of Art of the Academy of Sciences of the Czech Republic
摘要：The article responds to criticism of Czech art history expressed by major art
historians abroad (Gerhard Schmidt, 1992, Erno Marossi, 1999). They have charged
that Czech research on the bronze sculpture of St George at Prague Castle, cast
in 1373 by the brothers Martin and George of Klausenburg, has shown a patriotic
bias. The first part of the article treats the view of Czech art historians of
the early 20th century that the sculpture of St George was recast
after 1562 and thereby changed in a Renaissance style, in particular the horse
(Václav Vilém Štech-Zdenek Wirth, 1913, Jaromír Pecírka, 1931, 1934 etc.). This
view was predominant in the first half of the 19th century. Béla
Lázár (1917) and Wilhelm Pinder (1924) did not agree. Albert Kutal (1949, 1962)
and Viktor Kotrba (1962, 1969) put an end to these doubts. Yet neither mentioned
that from the middle of the 19th century on, the founders of Czech
art history, Ferdinand B. Mikovec, Karel Vladislav Zap and August Ambros, were
convinced of the authenticity of this unique Gothic sculpture based on the basis
of an analysis of mechanical damage. The second part of the article treats the
view expressed by Albert Kutal (1949, 1962) that the Transylvanian metalworkers
Martin and George of Klausenburg cast the sculpture of St George in 1373
according to a model by an anonymous sculpture from the Prague workshop of Peter
Parler, as well as Jaromír Homolka's (1978, 1983) suggestion that Peter Parler
designed the model. Unlike the abovementioned art historians, who fundamentally
disagreed, the author of the article points out that the question as to whether
or not the artistic draft of the sculpture originated in Prague is still serious
and relevant. The recent uncovering of the original wall paintings on the
staircase of the great tower at Karlštejn Castle (around 1365-1367) has
confirmed the earlier observation (Vlasta Dvoráková, 1961, Albert Kutal, 1962)
that the unusually vivid and anatomically accurate depiction of the horses there
prefigured the statue of St George. Such a complex sculpture would have required
a model, which, for stylistic reasons, must have been drawn in the 1360s. The
person who drew the bronze statue of St George may have been inspired by
classical and Italian sources in Bohemia, and not just in Italy. It may be
identified as the potential work of Master Osvald, who probably painted the
great part of the scenic miracles of St Wenceslas on the staircase of the great
tower at Karlštejn and later also wall paintings in St Vitus Cathedral in
Prague. There were woodcarvers and sculptors in Prague and Vienna who would have
been able to construct a primary model and collaborate with the Transylvanian
metalworkers on the wax model of this sculpture as well.
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