PT Journal
AU Klazar, J
TI Prague footprints of Jaroslav Pantaleon Major : Work of a Pupil of the Beuron Art School as a Picture of the TimeDie Prager Spuren von Jaroslav Pantaleon Major : Das Werk eines Schulers der Beuroner Kunstschule als Abbild seiner Zeit
SO Staleta Praha
PY 2019
BP 51
EP 97
VL 35
IS 1
DI 10.56112/sp.2019.1.03
WP https://staletapraha.cz/en/artkey/pha-201901-0003.php
DE Jaroslav Pantaleon Major - Prague - Beuron art - Beuron Art School - Atelier of Religious Art - restoration - mosaic - liturgical objects - Stations of the Cross - World War I - St. Wenceslaus Millennium - Beuronese Benedictine Congregation - Society of St. Boniface - Heritage Church Fund in The Czechoslovak Republic - Association for the Adaptation of the Way of the Cross to Petrin and to Support the Poor in Prague - Emmaus Monastery Na Slovanech - Emmaus cycle - Convent of St. Gabriel in Prague - Convent of Sacre Coeur in Prague - St. Nicolas Church at The Old Town of Prague - Chapel of Our Lady of Sorrows in Hlubocepy - St. Wenceslaus' Church in Dejvice - The Way of the Cross to Petrin and The Holy Sepulchre - St. Ann's church at Zizkov - Rome - Papal College of St. John of Nepomuk (Nepomucenum) - Monte Cassino - Trevi - Archabbey of St. Martin in Beuron - Ceske Budejovice - Church of Our Lady of the Rosary - Church of St. John of Nepomuk in Ceske Budejovice - Chotec - Filipov - Miletin - Male Svatonovice - Ronov nad Doubravou - Viktor Foerster - Karel Dostal-Lutinov - Fra. Frantisek Antonin Vrbik - P. Desiderius Lenz - Abbot Alban Schachleiter - genmjr. Viktor Raudnitz - Dr. Lubos Jerabek - Martin Matous - Jiri Jelinek
SN 02316056
AB The biographical study introduces in detail the hitherto not very well-known Beuron painter, restorer and organiser of the art projects, layman brother from Prague's Emmaus Monastery, Jaroslav Pantaleon Major (1869-1936). The author captures his work in all the complex aspects of his rich life and cultural context at the time. Major is presented not only as a pupil of the Beuron Art School, painter, illustrator, restorer, designer of religious paintings and liturgical objects and church furniture, but also as a capable organizer of activities related to art projects, a proficient businessman and owner of the Atelier of Religious Art, well capable of using his knowledge and contacts from the ecclesiastical environment. However, his attempts to invent materials suitable for the artistic practice and everyday life of the clergy, and for the satisfactory use of ordinary households, nowadays seem curious.A completely unique insight into the position of visual artists during the First World War is provided in the chapter on uncovering and restoring baroque frescoes of Cosma Damian Asam in the Church of St. Nicholas in the Old Town of Prague, under Major's leadership in 1916 attended by outstanding painters such as Josef Ullmann, Karel Spilar, Oldrich Blazicek, Vaclav Spala, Frantisek Jakub, Frantisek Xaver Naske etc. Similarly engaging is the characterization of other personalities of Czech Catholic Modernism and Catholic communities in Austria-Hungary and the First Czechoslovak Republic.The study is based on an unprecedented extensive archive and field research, including the period press, Jaroslav Major's private estate and the yet not fully reviewed biographies from the Nepomucenum archive in Rome. The possibilities of this research were far from being exhausted.
ER