0142 Der Planetenhumpen von Neusohl/ Banská Bystrica

Meisterliches Objekt – sichere Anlage – elitäre Repräsentation

  • Barbara Balážová (Author)
    Institute of Art History, Slovak Academy of Sciences, Bratislava, and Department of Art Education, Faculty of Education, Trnava University, Trnava

    Barbara Balážová holds a MA in Art History (Faculty of Arts, Comenius University, Bratislava), a MA in Fine Arts (Academy of Fine Arts and Design, Bratislava), and a PhD in Art History (Institute of Art History, Slovak Academy of Sciences, Bratislava). Her research focuses on the period 1550-1800, corresponding to the Late Renaissance and Baroque art and culture in Central Europe, in a global, as well as a local context. She has published a number of scholarly articles and monographs often bearing on the area of the Central Slovakian mining towns as an interpretative space. In her current book, Zlatníctvo stredoslovenských banských miest v ranom novoveku. Majstrovský objekt - životná investícia - elitná reprezentácia (Bratislava, 2016), the formulation of (methodological) questions and the search for answers to them - especially on how to illustrate the history of art in a certain area using the outstanding artisanal craftworks instead of fine arts - takes place within the framework of goldsmithery in the area of Central Slovakian mining towns. Book-length publications: Pictorissa Cremniciensis (Bratislava, 2003); Medzi nebom a zemou. Majstri barokovej fresky na Slovensku (Bratislava, 2009, together with J. Medvecký); Medzi Prahou a Norimbergom, Viedňou a Banskou Štiavnicou. Ulrich Reutter a jeho svet okolo 1600 (Bratislava, 2013).

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Following an analysis of the exceptional tankard decorated with the signs of the zodiac and the planet lords preserved in the collection of Stredoslovenské múzeum in Banská Bystrica, Slovakia, this case study brings attention to the huge European market of goldsmithery in the Renaissance era and the intercultural exchange in Central Slovakian mining towns around 1550. In the economically highly prosperous cities, where a long-time living, though, was regarded dangerous because of the closeness to the border with the Ottoman Empire, one could consider this kind of movable artwork as an investment preferable over, for instance, architecture. Besides, this study is trying to answer the question how to capitalize on the results of the basic arthistorical research and how to articulate its theoretical frames, since the systematics of the research, in this case of Renaissance art in Slovakia around 1550, is missing.