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423:. The preparatory black underdrawing in brush is linear and highly detailed in places. In the final painting, however, numerous divergences have been found, for example in the position of hands. The preparatory drawing is covered with a layer of oil-based lead white paint. This layer also reflects diffuse light falling on it through translucent lazure layers and shines through the uppermost parts of the drapery. The painting itself is executed in egg tempera alternating with layers of oil. The oil base enabled both the arranging of contrasting colour layers and the gradual modelling of the volume. Theodoric's painting is characterised by laying down of semi-lazure layers with the help of the slow-drying oil (possibly walnut) base that enabled
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182:. The waiting period for civic rights in Prague was three years, and the newly arrived person wasn't able to become a member of the fraternity of painters straightaway. The date he was entered in the list of the Prague painters' fraternity (Brotherhood of Saint Luke, established 1346), where he was described as a superior ("primus magister") and as "malerius imperatoris", is uncertain. Earlier it was assumed to be 1348, however it is possible that an honorary function was only offered to him when he executed the painting of the royal palace at
258:
Famous for his use of light and reflection, he created the illusion of endless space in his work by allowing light to travel beyond the frame. Art historians have disagreed on several aspects of
Theodoric's career. One historian noted that Theodoric was a "unique phenomenon" whose works could not be explained by stylistic evolution, as there were no precedents for his art work, making one believe that he may have been self-taught. Another scholar holds an opposite opinion—that he was influenced both by Italian and French contemporary art.
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attributed to
Theodoric on the basis of analysing the underdrawings and comparing the execution of the painting. The drawn designs of the compositions, details of the faces and drapery, as well as the overall completion of the most important portraits in the Chapel of the Holy Cross were ascribed to Theodoric. Theodoric's brush drawing on the heads of the paintings is delicate and firm. On the draperies it is strong and energetic and overlaps onto the frame.
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Known for his bold and vigorous style, he is seen as a central figure in the development of
Bohemian art. As many other Gothic painters, he used very bright and attention-grabbing colors and bold lines. He painted powerful figures in small frames, filling the viewer with the notion of monumentality.
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It was necessary for other specialised artists, who created a complex system of decorations, to collaborate on the final form of the pictures. These included relief decoration of the background and frame of the pictures (pastiglia), glued plastic decoration, small goldsmith's applications cast from
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between 1356 and 1357. This master was familiar with Franco-Flemish art of the 1350th and brought major innovations to mural painting in
Bohemia. Several panel paintings ascribed to Theodoric's workshop repeat the typology of faces and patterns of movement in figures of the Genealogy. According to
658:
painting method. The faces are closely related to several of
Theodoric's panel paintings and repeatedly feature the characteristic motif of hair and whiskers coiled into individual strands. The painting is embellished with gilded relief decorations and the backgrounds of the scenes are filled out
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there are two places that testify to the juxtaposition of different painting styles. They can be found in the perfectly executed preparatory drawings on the altar wall that is then repeated in a simpler form or in mirror reverse in the underdrawings of the paintings. Theodoric's predecessor, the
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Study of the typology of the heads showed that the shape of the head and the details of the face, i.e. eyes, nose, are completely identical in a number of cases, as though they originated through tracing. However, some of the faces of saints captivate the viewer's attention with their prominent,
679:
With the high quality of its execution, the scene of the
Annunciation has much in common with the most advanced techniques used in panels paintings by Theodoric's workshop (St Ambrose). Archangel Gabriel's wings are made from strips of tin sheet decorated with lazure painting and gilded plastic
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Specialised craftsmen took care of a series of secondary tasks such as preparing the picture panels, the plastic decoration and goldsmith's elements. There are no records of the painters employed at
Theodoric's workshop, however there must have been several of them judging by the scale of the
317:
With the stylisation of the figures, the abandoning of the Gothic linear style and the modelling of the faces and drapery using light and shade, Theodoric's paintings surpass the preceding artistic style. It is clear that he was acquainted with French grisaille painting. The pictures can be
688:
The largest and best-preserved painting depicts the holy family in a hut with animals and three kings bearing gifts. The high artistic quality of the execution, the specific typology of the faces and the painting style attest to Master
Theodoric as the artist of this work. The painting is
350:. Theodoric presumably devised the concept of the entire Chapel about 1360, establishing the composition and palette of all the paintings. His distinctive painting style can be identified in several portraits of the prophets, kings and knights that are part of the overall series.
218:. Mikuláš Mendl of Jílové, father of the goldsmith Jorg, and the goldsmith Jan Waczenser, sold the court to Zdena, the widow of Ješek Mráz of Lazevice. This document is the only one that establishes Theodoric's death before 8 March 1381 and indicates that he left no descendants.
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characterised above all by the careful execution of the details (the figure of the Infant Christ, the strands of whiskers and hair, the woven wicker fence, the plastically executed royal crown and fine gifts). The figure of the third king, considered to be a cryptoportrait of
654:. The walls opposite each other on the vaults of the window niches of the chapel are ascribed to Master Theodoric and his workshop. The drapery of the figures is characterised by the soft modelling of light. With its muted colour tones, it has an affinity to the
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would be freed of all taxes and other charges. This privilege also applied to
Theodoric's heirs and was granted in recognition of his decoration of the royal chapel at Karlštejn. Theodoric's court was mentioned again in 1381, when it was sold, in a letter by
814:
Vinni
Lucherini, La Cappella di San Ludovico nella Cattedrale di Napoli, le sepolture dei sovrani angioini, le due statue dei re e gli errori della tradizione storiografica moderna, Zeitschrift für Kunstgeschichte 70. Bd., H. 1 (2007), pp.
278:
could have directly originated in the workshop of the Master of the Luxembourg Genealogy, since the technology of their foundation layers is more typical of mural painting and thus differs significantly from the other paintings.
1331:
Jiří Fajt, Hana Hlaváčková, Jaromír Homolka, Jan Royt, Katalog kreseb na omítce a nástěnných maleb v kapli sv. Kříže, s. 547–577, in: Jiří Fajt (ed.), Magister Theodoricus, dvorní malíř císaře Karla IV., Národní galerie v Praze
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in the 1350s. Pujmanová states that in about 1309 a sculptor described as 'Magister Theodoricus de Alemania', who could have been an ancestor of his and his brother - the painter Giletto, were active at the court of
153:. The whole decoration of the chapel was commissioned in 1359 and completed over a number of years. The decoration of the Chapel of the Holy Cross was unique and unprecedented at the north of the Alps. Theodoric's
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The rich composition with its landscape scenery in the background is badly damaged, however numerous similar formal analogies rank it alongside Master Theodoric's mural paintings in the Chapel of the Holy Cross.
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The paintings are heavily damaged, however the chiaroscuro modelling of the clothes, typology of the faces and execution of the hands has closely related counterparts in the panel paintings of Master Theodoric.
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485:
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Jaromír Homolka, Malíři a dílny pracující na výzdobě kaple sv. Kříže vedle Mistra Theodorika, pp. 350–368, in: Jiří Fajt (ed.), Magister Theodoricus, dvorní malíř císaře Karla IV., Národní galerie v Praze
503:
1335:
Mojmír Hamsík, Mistr Theodorik. Technologie malby a její historické souvislosti, pp. 578–579, in: Jiří Fajt (ed.), Magister Theodoricus, dvorní malíř císaře Karla IV., Národní galerie v Praze 1997
727:"magister Theodoricus de Alemannia et Gilectus frater eius exposuerunt noviter nobis quod pro scultura et pictura figurae piae personae clarae memoriae domini avi nostri statuta fuerunt eis gagia"
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is similar to Theodoric's paintings. According to Homolka, the illuminators of the A2 and A3 Chapter House Bibles had much in common with Theodoric or else came out of his workshop. Although the
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and their sophisticated colour scheme. With these qualities, they anticipate the development of painting progressing towards the early 15th century and the northern European Renaissance.
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The painting's colour scheme is adapted to the opposite wall depicting the Adoration of the Twenty-four Old Men (twelve prophets and twelve apostles, or 24 world rulers) ascribed to the
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in Paris. The decoration comprises 129 (originally 130) panel paintings in four rows, portraying the half-length figures of male saints, female saints and prophets who represented the '
1328:
Hana Hlaváčková, Kresby na stěnách v kapli sv. Kříže ve Velké věži, pp. 270–279, in: Jiří Fajt (ed.), Magister Theodoricus, dvorní malíř císaře Karla IV., Národní galerie v Praze 1997
395:
most probably also came out of Theodoric's workshop as well. In terms of its technology and composition, the mural painting of the Adoration of the Three Kings in the Saxon Chapel of
1341:
Pujmanová Olga, Umění doby Karla IV. a jeho vztahy k Neapoli, pp. 217–240, in: Mezinárodní vědecká konference: Doba Karla IV. v dějinách národů ČSSR, Univerzita Karlova, Prague 1982
1338:
Hana Blochová, Výtvarné technologie a výzdoba kaple sv. Kříže, pp. 600–610, in: Jiří Fajt (ed.), Magister Theodoricus, dvorní malíř císaře Karla IV., Národní galerie v Praze 1997
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was directly linked to the veneration of their relics. The presence of relics of the Passion perhaps served to guarantee, that on his return Christ would descend to the chapel.
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said that they "only few equals in the world: we believe that it is no exaggeration to say that they bear comparison with such artistic monuments and phenomena as the Arena in
310:' guarding the relics kept in the chapel. Several of the picture frames had small openings into which reliquaries could be inserted. The depiction of the saints in the
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Theodoric's magnum opus is a collection of panel paintings and wall paintings that were done on the commission of Charles IV for the Chapel of the Holy Cross at
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197:. His house was mentioned once again in 1368 (house no. 185/IV above Úvoz on Hradčany Square. Between 1359 and 1367 he worked as the leading court painter of
1428:
536:
1199:
Jaromír Homolka, Painters and workshops involved in the pictorial decoration of the Chapel of the Holy Cross besides Master theodoric, in: Jiří Fajt (ed.),
671:. The monumental painting of God is executed in grisaille. In his hand, God is holding seven stars and a book above which there hang seven candleholders.
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tin and lead into moulds, the gilding of the background and goldsmith's products as, for example, small crosses attached to the panel with silver nails.
392:
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614:
1238:
Zora Grohmannová, Master Theodoric's Paintings on Wood and their Restoration by the National Gallery, Bulletin of the National gallery 1, 1991
137:. and the first Bohemian painter whose name can be linked to a body of work. Theodoric is considered the chief representative of the phase of
878:"Magister Theodoricus, court painter of Emperor Charles IV" by Jiri Fajt & Jan Royt, published by the National Gallery in Prague in 1998
556:
388:
1460:
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Vratislav Nejedlý, The Fate of the Chapel of the Holy Rood at Karlštejn Castle in the Light of Written Sources, Technologia Artis 2, 1992
403:"Soft style" had no direct successors, the context of the workshop itself influenced succeeding generations of Bohemian Gothic painters.
1271:
Jiří Třeštík, Figural Drawings in the Holy Rood Chapel, found under the panel Paintings, and New Discoveries, Technologia Artis 2, 1992
1265:
Jindřich Tomek, Dorothea Pechová, Analysis of the Wall Paintings in the Holy Rood Chapel at Karlštejn Castle, Technologia Artis 2, 1992
373:). Clearly made by another talented artist, these paintings stand out with their unusual degree of realism, the spatial design of their
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seemingly individualized features and psychologized expressions, which anticipate portrait painting of 15th century. The portrait of St
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between 1360 and 1365. The chapel belongs to the tradition of lavishly decorated reliquary chapels that include the emperor chapel in
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decoration. The space is deepened by polygonal Gothic architecture of a cathedral and by the Virgin Mary's diagonal reading stand.
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painting. In the flesh tones, the moist oil base allows the modelling of smooth transitions into a single layer by adding pigment
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Mojmír Hamsík, Jindřich Tomek, Technical Parallels between the 14. Century Mural and Panel paintings, Technologia Artis 2, 1992
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Mojmír Hamsík, Jindřich Tomek, Technical Parallels between the 14. Century Mural and Panel paintings, Technologia Artis 2, 1992
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Magister Theodoricus, Court Painter to Emperor Charles IV : The Pictorial Decoration of the Shrines at Karlstejn Castle
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Magister Theodoricus, Court Painter to Emperor Charles IV : The Pictorial Decoration of the Shrines at Karlstejn Castle
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Magister Theodoricus, Court Painter to Emperor Charles IV : The Pictorial Decoration of the Shrines at Karlstejn Castle
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Magister Theodoricus, Court Painter to Emperor Charles IV : The Pictorial Decoration of the Shrines at Karlstejn Castle
411:
The preparation of the panels (beechwood), including a double-layered siliceous and chalk base, is identical to practice in
149:, containing a large series of slightly over-lifesize half-length panel portraits of saints and other notable figures on a
1539:
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Christ meeting Mary Magdalene and Martha / The anointing of Christ in the home of Simon (south-east niche, north vault)
1138:
Jan Pasálek, Master Theodoric - Mural Paintings in the Holy Rood Chapel at Karlštejn Castle, Technologia Artis 2, 1992
971:
Radana Hamsíková, Variations of preparatory drawings and questions of workshop practice, in: Fajt J, 1998, pp. 526-527
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commission and the short time frame of execution, as well as by the ascertained types of underdrawings, confirmed by
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Hana Hlaváčková, The drawings on the walls of the Chapel of the Holy Cross in the Great tower, in: Jiri Fajt (ed.),
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209:. In a special document of 28 April 1367, Charles IV certified that Theodoric's court and fields in the village of
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Vlasta Dvořáková, Dobroslava Menclová, Karlštejn, Státní nakladatelství krásné literatury a umění, Prague 1965
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Jiří Fajt (ed.), Magister Theodoricus, dvorní malíř císaře Karla IV., 621 pp., Národní galerie v Praze 1997,
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Hana Blochová, The medieval art techniques of the painted decoration of Karlštejn, in: Fajt J, 1998, p. 532
334:. Certain art historians even suppose that several masters and their workshop collaborators were involved.
1295:
Radana Hamsíková, Theodoric's Workshop Practice: Composition and Form Patterns, Technologia Artis 3, 1993
1259:
Věra Frömlová, Preliminary Findings on the Historical Repairs to the Pictures, Technologia Artis 2, 1992
961:
Radana Hamsíková, Theodoric´s Workshop Practice: Composition and Form Patterns, Technologia Artis 3, 1993
1559:
1192:
Hana Blochová, The medieval art techniques of the painted decoration of Karlštejn, in: Jiří Fajt (ed.),
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Aleksandr Mikhaĭlovich Prokhorov. Great Soviet encyclopedia, Volume 25. New York: Macmillan, 1973. p 584
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Hana Kohlová, Further Results of the Investigation on Theodoric's Paintings, Technologia Artis 2, 1992
646:
Mural paintings in the Chapel of the Holy Cross feature the apocalyptic prophesy - anticipation of the
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known as "the Soft style". His masterpiece is the Chapel of the Holy Cross at Charles' newly completed
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951:
Věra Frömlová, Notes on the decoration of the Chapel of the Holy Cross, in: Fajt J, 1998, pp. 508-515
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43:
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Hana Blochová, Relief Decoration in Czech Painting of the 14th Century, Technologia Artis 3, 1993
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Mojmír Hamsík, Master Theodoric's Painting Technique ant its Origin, Technologia Artis 2, 1992
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Mojmír Hamsík, Master Theodoric´s Painting Technique ant its Origin, Technologia Artis 2, 1992
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Vítovský, Několik poznámek k problematice Karlštejna, Zprávy památkové péče 11, 1992. pp. 1-14
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Antonín Friedl, Magister Theodoricus. Das Problem seiner malerischen Form, Artia Prague 1956
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Mojmír Hamsík, Pastiglia - Origin and Their Technical History, Technologia Artis 2, 1992
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Theodoric followed on from the work of his predecessor in the service of Charles IV, the
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Mojmír Hamsík, Pastiglia - Origin and Their Technical History, Technologia Artis 2, 1992
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Radana Hamsíková, Master Theodoric's Preparatory Drawings, Technologia Artis 2, 1992
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Radana Hamsíková, Master Theodoric´s Preparatory Drawings, Technologia Artis 2, 1992
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The apocalyptic God in a mandorla is surrounded by choirs of angels (the west niche)
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is not comparable to anything in European art after the mid-14th century (1360th).
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Web Gallery of Art: MASTER THEODERIC, Bohemian painter (active 1350-70 in Prague)
1206:
Gerhard Schmidt, Karlstein, in: K.M. Swoboda (ed.), Gothic in Böhmen, Munich 1969
1241:
Zora Grohmannová, Master Theodoric - The Crucifixion, Technologia Artis 2, 1992
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Ferdinand Tadra - Josef Patera, Pražské malířské bratrstvo a jeho cechovní kniha
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Josef Teige, Listiny děkanství karlštejnského, Prague 1906, pp. 24-25, No.14.
230:. All together, there are 129 works, all of saints, prophets, or angels. The
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170:
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Homolka, two heavily damaged panel paintings of SS Peter and Paul from the
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Radana Hamsíková, Master Theodoric - St Claire, Technologia Artis 2, 1992
189:
In 1359 he is mentioned as "malerius imperatoris" and owner of a house in
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Radana Hamsíková, Master Theodoric - St Claire, Technologia Artis 2, 1992
247:
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Mojmír Hamsík, Master Theodoric technique, in: Fajt J, 1998, pp. 506-507
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The Raising of Lazarus / Noli me tangere (south-east niche, south vault)
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Theodoric's workshop carried out the unique overall decoration of the
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173:(workshop of William of Cologne?) following a study trip to northern
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The Annunciation to the Virgin Mary (north-east niche, north vault)
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Mural Paintings in the Chapel of the Holy Cross at Karlštejn Castle
693:, is the very first such appearance of a monarch in European art.
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346:, in all likelihood created the drawn designs on the wall of the
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The Adoration of the Three Kings (north-east niche, south vault)
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265:, who painted the decoration of the imperial castle-palace at
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Karel Stejskal, Umění na dvoře Karla IV., Artia Prague 1978
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Barbara Drake Boehm, in: Drake Boehm B, Fajt J, 2005, p. 76
1347:
Albert Kutal, České gotické umění, Obelisk Prague 1972
1128:
Jiří Fajt, Jan Royt, in: Fajt J, 1998. p. 175, p. 178
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might even be the autoportrait of Theodoric himself.
1161:, 384 pp., Metropolitan Museum of Art Series, 2005,
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Jiří Fajt, in: Drake Boehm B, Fajt J, 2005, p. 13-14
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Castle. The emperor called his painter and courtier
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60:
34:
1175:, 549 pages, National Gallery Publications 1998,
912:Jiří Fajt, in: Drake Boehm B, Fajt J, 2005, p. 12
894:Jiří Fajt, in: Drake Boehm B, Fajt J, 2005, p. 10
121:) was a Czech painter. He is the best documented
387:, evidently worked in Theodoric's workshop. The
1398:
903:Jiří Fajt, Jan Royt, in: Fajt J, 1998. p. 136
8:
407:The technique of Theodoric's panel paintings
114:(before 1328? – before 3 March 1381, active
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1391:
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1096:Blochová H, in: Fajt J (ed.), 1998, p. 533
31:
1054:Homolka J, in: Fajt J (ed.), 1998, p. 284
1045:Homolka j, in: Fajt J (ed.), 1998, p. 295
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1116:Hamsík M, in: Fajt J (ed.), 1998, p. 507
1027:Homolka J, in: Fajt J (ed.) 1998, p. 289
361:that originate in Theodoric's workshop (
1159:Prague, The Crown of Bohemia, 1347-1437
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1503:Chapel of the Holy Cross at Karlštejn
780:A. Matějček, in: Fajt J, 1998, p. 219
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357:appear in the panel paintings of the
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771:V. Kramář, in: Fajt J, 1998, p. 219
353:Innovations in the form of painted
1373:Oxford Reference: Master Theodoric
1018:Hana Hlaváčková, 1998, pp. 206-215
669:Master of the Luxembourg Genealogy
393:Votive Panel of Jan Očko of Vlašim
344:Master of the Luxembourg Genealogy
263:Master of the Luxembourg Genealogy
25:
1157:Barbara Drake Boehm, Jiří Fajt,
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659:with gold plastic star shapes.
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391:and the artist who painted the
389:Master of the Třeboň Altarpiece
250:and the palace of the popes in
27:Bohemian painter (c. 1328–1381)
269:and the 'relic scenes' in the
135:Charles IV, Holy Roman Emperor
1:
180:Charles II of Anjou in Naples
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49:
1445:Saint Matthew the Evangelist
605:, Chapel of the Holy Cross,
585:, Chapel of the Holy Cross,
567:, Chapel of the Holy Cross,
547:, Chapel of the Holy Cross,
473:Saint Matthew the Evangelist
195:Records of the Hradčany town
207:Pictor noster et familiaris
55:), a supposed self-portrait
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805:Pujmanová O., 1982, p. 226
383:, who was later active in
232:National Gallery in Prague
1429:Saint Luke the Evangelist
271:Chapel of the Virgin Mary
41:
1350:Vlasta Dvořáková et al.
1203:, 1998, pp. 278–295
1196:, 1998, pp. 528–538
348:Chapel of the Holy Cross
339:Chapel of the Holy Cross
284:Chapel of the Holy Cross
276:Chapel of the Holy Cross
939:Homolka J, 1997, p. 362
921:Homolka J, 1997, p. 354
648:Second coming of Christ
625:National Gallery Prague
514:National Gallery Prague
496:National Gallery Prague
492:Catherine of Alexandria
478:National Gallery Prague
458:National Gallery Prague
332:infrared reflectography
165:He most likely came to
129:. He was the favourite
643:
641:Adoration of the Kings
419:but doesn't appear in
1550:14th-century painters
639:
1437:Saint Jude Thaddaeus
1036:Fajt J, 1998, p. 458
1009:Fajt J, 1998, p. 247
980:Fajt J, 1998, p. 243
851:Fajt J, 1998, p. 229
750:Fajt J, 1998, p. 226
401:International Gothic
139:International Gothic
112:Magister Theodoricus
64:before 1328?, Italy?
1540:Czech male painters
1354:, SNKLU Prague 1967
1213:, Odeon Prague 1967
842:Fajt J, 1998, p 228
324:Luke the Evangelist
72:before 3 March 1381
18:Theodoric of Prague
1209:Vlasta Dvořáková,
1152:Books and chapters
644:
529:Louis IX of France
397:St Vitus Cathedral
238:, the churches at
48:Apostle Barnabas (
1527:
1526:
1461:Saint Charlemagne
1171:Jiri Fajt (ed.),
602:St Jude Thaddaeus
312:Holy Cross Chapel
201:in Prague and at
105:
104:
98:court painter of
16:(Redirected from
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1414:Master Theodoric
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1378:Karlštejn Castle
1211:Master Theodoric
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288:Karlštejn Castle
143:Karlštejn Castle
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36:Master Theodoric
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1488:(1360–1365)
1485:Saint Simon
1480:(1360–1365)
1472:(1360–1365)
1464:(1360–1365)
1456:(1360–1365)
1440:(1360–1364)
1309:Other (cs.)
564:Saint Simon
510:Charlemagne
435:Charlemagne
375:still lifes
355:still lifes
151:gold ground
110:, in Latin
87:Nationality
53: 1365
1534:Categories
1519:Gothic art
735:References
691:Charles IV
621:St Gregory
430:alla prima
425:wet-on-wet
199:Charles IV
100:Charles IV
95:Occupation
1432:(c. 1360)
1421:Paintings
656:grisaille
607:Karlštejn
587:Karlštejn
569:Karlštejn
549:Karlštejn
267:Karlštejn
228:Karlštejn
203:Karlštejn
186:in 1360.
171:Rhineland
169:from the
90:uncertain
1221:Articles
248:Florence
242:or Sta,
191:Hradčany
1512:Related
1496:Chapels
1303:on line
1297:on line
1291:on line
1285:on line
1279:on line
1273:on line
1267:on line
1261:on line
1255:on line
1249:on line
1243:on line
1234:on line
1228:on line
454:St Luke
417:Germany
385:Hamburg
337:In the
298:in the
252:Avignon
193:in the
145:, near
127:Bohemia
80:Bohemia
1318:
1189:, 1998
1179:
1165:
882:
527:Saint
413:France
240:Assisi
211:Mořina
167:Prague
155:oeuvre
147:Prague
76:Prague
715:Notes
421:Italy
302:, or
244:Croce
236:Padua
175:Italy
1332:1997
1325:1997
1316:ISBN
1177:ISBN
1163:ISBN
880:ISBN
815:1-22
415:and
222:Work
161:Life
69:Died
61:Born
650:on
437:).
286:at
254:."
246:in
133:of
125:in
1536::
1121:^
944:^
785:^
755:^
743:^
623:,
512:,
494:,
476:,
456:,
369:,
365:,
294:,
116:c.
78:,
50:c.
1406:e
1399:t
1392:v
433:(
20:)
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