600:. However, his vedute are the most valued part of his work, because they are depicted quite true to reality and with a sense of detail. Willenberg is not trying to show just the dominants, but also other parts of the cities, without stylisation. In the case of small formats, he was also well able to depict vedute in summarized form. Thanks to this, Willenberg's work was valued and reprinted several times. Today, his vedute are valued the most as a historical source. Most of his vedute are depicted from the side-view, very rarely from the bird's view. His first vedute of seven Moravian cities for Paprocki's book are quite cumbersome, parts like sky or fields lack a softness, but later vedute from Louka print-shop have more quality and finer lineation, however, the image is confusing and less plastic. Willenberg's arrival in Prague did not have a major impact on the quality of his vedute and works from Louka can be marked as the top in quality. In the case of views in Harant's travelbook, Willenberg followed sketches, but architecture is less precise in woodcuts and the landscape is very stylized. Willenberg hasn't even improved Harant's quite unskilled depiction of staffage figures, most likely to preserve authenticity. His depiction of frequently idealised Jerusalem is much more accurate than the older depictions, but his inspiration can be found, for example, in the veduta of Jerusalem by
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239:. Willenberg personally visited depicted cities like Brno or Olomouc and made sketches for woodcuts. After this commission, Willenberg made a woodcut for prints of graduation theses of Olomouc university from 1597 and 1598, printed in the shop of Georg Handl. This print depicts the IHS monogram, a crest of bishop Stanislav Pavlovský and
207:. Willenberger's diary was a unique source of information about the artist's life and several historians researched it since the early 20th century, but the diary got lost after the death of his last possessor Florian Zapletal in 1969, and most likely subsequently destroyed with other archival papers from his inheritance.
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Despite the existence of copperplate engraving, which allowed much finer line drawing, Willenberg used the woodcut technique throughout his life. The copper engraving was relatively expensive and did not spread until the beginning of the 17th century. The quality of
Willenberger's work is very
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from 1584. The same situation as with figures is apparent in the case of animals like dolphin which were unknown to
Willenberg, so he followed the sketches. These animals, therefore, look like beasts or monsters. Some illustrations of animals in Harant's book were copied from a book by
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and Samuel Adam z
Veleslavína. His health was subdued by excessive alcohol consumption, to which he confesses in his diary note from 1611. Jan Willenberg wrote his last note to the diary on 3 October, which is assumed as the day of his death.
166:. Around 1600 Willenberg moved to Prague where he remained until his death in 1613, but he left city several times. Between 1600 and 1602 he travelled and prepared sketches of cities, in 1610 he went to Přerov and continued to Olomouc,
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variable, which makes it difficult to attribute him woodcuts without a signature. Willenberg's technique is quite cumbersome and the depiction of figure compositions is not as skilful as in the case of other artists like
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Jan
Willenberg (also known as Johann or Joannes Willengerger or Villenperger) was born in 1571 in Silesian Trzebnica to German speaking gardener Thomas Willenberg (?–1584). He soon moved with his family to Moravian
335:
1008:
Jakubec, Ondřej. ""Neznámé" a nejstarší grafické teze olomoucké univerzity z konce 16. století" ["Unknown" and the oldest
Graphic Thesis of Olomouc University from the End of the 16th century].
793:
Zapletal, Florian (1954). "Willenbergerovy pohledy na města moravská, rakouská, slovenská, česká i slezská" [Willenberger's views of the
Moravian, Austrian, Slovak, Czech and Silesian cities].
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could be attributed to him. Woodcuts were made probably after Harant's own sketches, even though there is no proof, this is likely because the ability to draw was part of the education of a nobleman.
910:
Jakubec, Ondřej (2006). "Florian
Zapletal a renesanční umění na Moravě: „Případ Jana Willenbergera"" [Florian Zapletal and Renaissance Art in Moravia: "Jan Willenberger's Causa"].
321:
In the subsequent period in
Bohemia, during travels Willenberg captured several pen sketches of cities without any staffage and transformed them to fifteen simplified woodcuts for
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Jakubec, Ondřej (2007). "Johann
Willenberger - Draughtsman and Graphic Artist of the Late Renaissance. Silesian or Moravian, Catholic or Protestant?".
174:
and returned to Prague. Jan was married and had a daughter
Ludmila. In Prague, Willenberg worked in print-shops of Daniel Sedlčanský, Johann Schumann,
401:(Prague 1611) and other publications by Jiří Závěta ze Závětic. Religious motives are as well part of Willenberg's work, for example picture of
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Putování aneb Cesta z Království českého do města Benátek, odtud po moři do Země svaté, Země judské a dále do Egypta a velikého města Kairu
199:. He inserted several of his prints into the book and recorded various events, travel experiences, family events, poems and other notes in
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333:(most likely Prague 1603) by Kašpar Ladislav Stehlík. An extensive series of 47 illustrations by Willenberg were published in travelbook
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confession, but since he worked in the Louka monastery, he had to be a catholic. After moving to Prague he most likely converted back to
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Willenberg's confession was the subject of discussion. He came from a catholic family, some of his diary notes supported his
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Feldleger des durchleüchtigsten Fürsten und Hern Hern Matthya, … ein Meil von Prag, … wie es aigentlich zusehn gewesen ist
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138:. Willenberg is one of a few known printmakers of the turn of the 16th and 17th centuries, whose name and work are known.
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286:(Louka 1595) also by Sebastian II. von Baden, monastic scenes, cycle of saints and several motives from New Testament in
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Willenberg most likely created already in 1590's several unsigned vedute and portraits in Milichthaler's print-shop for
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646:[Graphic Work and Prints of Johann Willenberger around 1600. Between Reality, Imagination and Conceptuality.]
644:"Grafické dílo Jana Willenbergera a knižní tisky přelomu 16. a 17. století: Mezi realitou, imaginací a konceptualitou"
248:
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Florian Zapletal - život a dílo: sborník příspěvků z konference Muzea Komenského v Přerově, p.o. 18.-19. října 2005
912:
Florian Zapletal - život a dílo: sborník příspěvků z konference Muzea Komenského v Přerově, p.o. 18.-19. října 2005
329:. Another vedute of cities and castles were incorporated to twelve allegories of urban and rural life published in
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Indra, Bohumír (1949). "Slezský dřevorytec Jan Willenberger" [Silesian xylographer Jan Willenberger].
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During his employment in Louka monastery at least six publications contained his woodcut illustrations with
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318:. Willenberg travelled from Louka to Wien and as far as Zvolen and Banská Bystrica which he also sketched.
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613:(1602), it's apparent that he simplified the views and made them more associative than documentary.
343:, including depictions of contemporary foreign costumes, architecture, fauna, flora and also map of
1038:"Nejstarší olomoucké univerzitní teze z konce 16. století nalezeny ve sbírce univerzity v Bamberku"
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from where he returned after 1585. Between 1595 and 1600 he worked for the print-shop of
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Glacová, Kristina (2006). "Z pozůstalosti Floriana Zapletala – deníky z let 1914–1969".
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A frequent theme of Willenberg's woodcuts from the Prague period were also portraits,
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Jan Willenberg, knižní ilustrace [Jan Willenberg and His Book Illustration]
609:. From Willenberg's preserved sketches of cities, later transferred to woodcuts in
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370:(Prague 1608) and very likely illustrations in publications by Georgius Nigrinus.
306:(Louka 1608) by Sigismundus Kohel. Willenberger most likely portraited himself as
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Geistliche Kriegszrüstung wider den gemeinen blutdurstigen Tyrannen … den Türken
282:(Louka 1595) by Sebastian II. von Baden, woodcut of soldier in front of Wien in
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151:. After 1582 he was in training in the print-shop of Friedrich Milichthaler in
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Willenberger kept a diary during his life by taking notes into print of
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Svatej svatého divy a zázraky schváleného obcování život Ignácia Lojoly
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765:(in Czech). Vol. 3. Dodatky. Praha: Academia. pp. 847–848.
741:(Master thesis) (in Czech). Brno: Masaryk university Faculty of Arts.
627:. Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego. pp. 163–173.
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409:(Prague 1604), picture of angel and devil beating a seated person in
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Diadochos, id est Successio jinák Posloupnost knížat a králův českých
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Agendarium sive Ordo rituum et ceremoniarum ... cand. Praemonst. Ord.
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Postill … uber die sontäglichen Euangelia durch das gantze Jahr
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Figůra jakým způsobem trestá ženu, která se krádeže dopustila
914:(in Czech). V Přerově: Muzeum Komenského. pp. 129–134.
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Breviarium juxta ritum candidisimi Ordinis praemonstratensis
939:(in Czech). V Přerově: Muzeum Komenského. pp. 15–18.
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Korunování Jeho Milosti Matyáše … na Království české
654:. Olomouc: Univerzita Palackého v Olomouci: 185–203.
413:(Prague 1613) by Matěj Poličanský or crucifixion in
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389:(Prague 1610), crest of printmaker Samuel Adam in
304:Praemonstratensis ordinis nonnullorum patrum vitae
453:Graduation thesis of the Olomouc University, 1597
871:"Daniel Adam z Veleslavína – Encyklopedie knihy"
821:"Daniel Sedlčanský nejst. – Encyklopedie knihy"
411:Pokuty a trestání přestupníkův Božích přikázání
485:Figůra krásně ozdobených žen sedících na zemi
8:
761:Jakubec, Ondřej (2006). "Willenberger Jan".
366:Willenberg also made a picture of siege in
763:Nová encyklopedie českého výtvarného umění
407:Vojenská ouprava krále Davida aneb Žalmové
26:
15:
1011:Střední Morava: Kulturně historická revue
233:Zrcadlo slavného Margkrabství moravského
32:Supposed self-portrait of Jan Willenberg
846:"Jan Schumann st. – Encyklopedie knihy"
665:
506:, 1602, ink drawing for veduta of Plzeň
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331:Kalendář Nowý s Pranostykau Hwězdářskau
290:(Louka 1597), moravian coat of arms in
126:of several cities in Bohemia, Moravia,
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981:"Jan Willenberg – Encyklopedie knihy"
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625:Śląsk i Czechy. Wspólne drogi sztuki
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540:in Jerusalem, ca 1606 for book
385:with lion and other crests in
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596:, Philipp van den Bossche or
795:Vlastivědný věstník moravský
538:Church of the Holy Sepulchre
393:(Prague 1613), portrait of
274:, abbot's coat of arms and
118:. He is best known for his
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735:Hlavicová, Zuzana (2008).
69:woodcuts, prints, drawings
298:(Louka 1603 and 1605) by
180:Daniel Adam z Veleslavína
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1156:Hlavicová 2008, p. 29–32
985:www.encyklopedieknihy.cz
959:Hlavicová 2008, p. 48–49
897:Hlavicová 2008, p. 13–18
875:www.encyklopedieknihy.cz
850:www.encyklopedieknihy.cz
825:www.encyklopedieknihy.cz
642:Jakubec, Ondřej (2004).
472:(1608) by Kryštof Harant
725:Hlavicová 2008, p. 7, 8
381:. He did a portrait of
245:Catherine of Alexandria
602:Christian van Adrichem
1147:Hlavicová 2008, p. 26
1138:Hlavicová 2008, p. 23
1129:Hlavicová 2008, p. 48
1120:Hlavicová 2008, p. 46
1111:Hlavicová 2008, p. 44
1099:Hlavicová 2008, p. 51
1075:Hlavicová 2008, p. 49
1061:Hlavicová 2008, p. 47
677:Hlavicová 2008, p. 50
405:kneeling at altar in
302:and illustrations in
155:and probably also in
419:Pedro de Ribadeneira
1178:Renaissance artists
583:Style and technique
558:, woodcut for book
522:, ca 1606 for book
652:Studia Moravica II
235:(Olomouc 1593) by
120:book illustrations
90:– 3 October 1613,
1036:Jakubec, Ondřej.
634:978-83-229-2862-2
594:Pieter Stevens II
518:Signed veduta of
417:(Prague 1617) by
387:Artikule sněmovní
345:Mediterranean sea
339:(Prague 1608) by
292:Artikule sněmovní
176:Georgius Nigrinus
161:Premonstratensian
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77:late-renaissance
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66:Known for
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989:. Retrieved
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41:23 June 1571
801:: 163–165.
391:Bible česká
308:xylographer
268:investiture
221:Catholicism
96:renaissance
1167:Categories
991:2021-02-26
987:(in Czech)
881:2021-02-26
877:(in Czech)
856:2021-02-26
852:(in Czech)
831:2021-02-26
827:(in Czech)
700:: 97–106.
660:References
617:Literature
573:Vedute of
403:King David
383:Rudolf II.
353:Alexandria
262:signature
217:Protestant
211:Confession
197:Strasbourg
110:active in
98:author of
1045:Žurnál 17
1023:1212-1134
1017:: 93–98.
807:0323-2581
706:0037-6833
611:Diadochos
556:Ichneumon
520:Jerusalem
487:for book
468:for book
359:or mount
349:Jerusalem
157:Nuremberg
88:Trzebnica
45:Trzebnica
560:Putování
542:Putování
524:Putování
489:Putování
470:Putování
327:Paprocki
312:vignette
260:monogram
132:Slovakia
108:drawings
100:woodcuts
440:Zrcadlo
425:Gallery
316:Postill
227:Artwork
172:Wroclaw
153:Olomouc
136:Austria
128:Silesia
116:Bohemia
112:Moravia
1021:
943:
918:
805:
769:
704:
631:
577:, 1601
575:Prague
375:crests
253:Ursula
201:German
149:Přerov
124:vedute
104:prints
92:Prague
59:Prague
1041:(PDF)
648:(PDF)
504:Plzeň
361:Sinai
357:Cairo
205:Czech
74:Style
1051:: 8.
1049:2019
1019:ISSN
941:ISBN
916:ISBN
803:ISSN
767:ISBN
702:ISSN
629:ISBN
377:and
251:and
203:and
170:and
168:Nysa
142:Life
122:and
114:and
106:and
52:Died
38:Born
397:in
310:in
270:of
134:or
1169::
1104:^
1092:^
1080:^
1066:^
1043:.
1015:24
1000:^
983:.
964:^
902:^
890:^
873:.
848:.
823:.
781:^
747:^
714:^
696:.
682:^
668:^
650:.
592:,
421:.
355:,
351:,
264:JW
255:.
247:,
243:,
223:.
178:,
130:,
102:,
1025:.
994:.
949:.
924:.
884:.
859:.
834:.
809:.
799:4
775:.
708:.
698:2
637:.
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