{"title":"Artwork","description":"","products":[{"product_id":"vit-soukup-rozsevac-1996-malba-na-platne-245x101-cm","title":"Vít Soukup: Rozsévač (1996, malba na plátně, 245x101 cm)","description":"\u003cp\u003eVít Soukup byl významný český malíř na přelomu dvacátého a jednadvacátého století. Je také autorem mnoha literárních, divadelních a teoretických textů. Podle některých vznikly inscenace i filmy, na kterých se autorsky podílel nebo v nich přímo vystupoval.\u003c\/p\u003e\n\u003cp\u003eToto dílo pochází z raného období jeho tvorby, ze kterého se zachovalo jen velmi málo.\u003c\/p\u003e","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46628182851835,"sku":"","price":10000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/Rozsevac_01_WEB.jpg?v=1729442174"},{"product_id":"lucia-dovicakova-my-personal-apocalypse-2021-malba-na-platne-100-x-100-cm","title":"Lucia Dovičáková: My personal apocalypse (2021, malba na plátně, 100 x 100 cm)","description":"","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46628392894715,"sku":"","price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/mypersonalapocalypse01_mensi_WEB.jpg?v=1729453412"},{"product_id":"stepanka-simlova-mezi-stromy-1-2023-malba-na-platne","title":"Štěpánka Šimlová: Mezi stromy 1 (2023, malba na plátně)","description":"\u003cp\u003eŠtěpánka Šimlová je významná česká umělkyně za bývající se malbou a fotografií. Tento obraz pochází z její přelomové vástavy Krvavé Kapradí, která byla vytvořena pro Národní galerii v Nové Perle.\u003c\/p\u003e","brand":"publishig-house-divus","offers":[{"title":"Default Title","offer_id":46634448486651,"sku":"","price":3000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/Simlova_stromy_jasno_WEB.jpg?v=1729622732"},{"product_id":"stepanka-simlova-mezi-stromy-2-2023-malba-na-platne","title":"Štěpánka Šimlová: Mezi stromy 2 (2023, malba na plátně)","description":"\u003cp\u003eŠtěpánka Šimlová je významná česká umělkyně za bývající se malbou a fotografií. Tento obraz pochází z její přelomové vástavy Krvavé Kapradí, která byla vytvořena pro Národní galerii v Nové Perle.\u003c\/p\u003e","brand":"publishig-house-divus","offers":[{"title":"Default Title","offer_id":46634635657467,"sku":"","price":3000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/Simlova_stromy_mlha_WEB.jpg?v=1729628561"},{"product_id":"pavel-reisenauer-superbia","title":"Pavel Reisenauer: Superbia (Lucifer)","description":"\u003cp\u003e\u003cstrong\u003eOriginal signed print from the 2013 Prague and 2014 Berlin exhibition THE SEVEN DEADLY SINS.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition text:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBöhmen und Mähren Kunst – Stories from the sewer of Europe \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Czech Republic is the polar opposite of all real or imagined inhospitable lands. There is nothing here that might inspire respect for nature or fear of its elements. It is simply an adorable country, an enlarged village rock garden – if you have those things in Germany and know what they are. The Czech Republic is a former part of a now-defunct, repeatedly failed state that eagerly anticipated its demise. Its next-to-last resurrection, which was in exchange for the life of just one Jew, Hilsner, led to the Second World War. If there had been no Czecho-Slovakia (and later the Czech Republic), it would have been possible to build a motorway from Berlin straight to Munich, the world would have never heard the term “humanitarian bombing”, and robots would still be called automatons. The most important figures in modern Czech history are \u003cem\u003etatíček\u003c\/em\u003e (“little father”), a third-rate philosopher in riding boots surrounded by naked children, Hitler, \u003cem\u003eMr. Werich\u003c\/em\u003e, the two-headed monster Klavel, and agent 009 Schwartsumberg.\u003c\/p\u003e\n\u003cp\u003eSo let’s only talk about this accursed region without using its name, about this crater that looks as if it had been carved by a meteorite, whose margins provide natural defense but also isolation. Rivers flow from it as from a cracked jar, dirty, acidic and steaming because the Czechs produce electricity by burning old rags from the mounds of garbage cheaply acquired from the rich Germans. The Czechs are known as the only Slavs to hide their crimes against humanity. They have stuck their own foot in extreme unction, and yet they hand out advice until the hyenas start to choke with laughter. They hate all the surrounding tribes, except for the Roma, whom they consider to be descendents of the Romanians – who refused to occupy the crater in 1968. The Roma don’t have to work; they can drink, dance, and swear in their own language. Czechs don’t dance. And foreigners in general are not popular – except for Americans, whom they have never seen but they like the flag.\u003c\/p\u003e\n\u003cp\u003eAlthough in such an environment art flourishes about as much as in the Gaza Strip, every now and then an artist appears who is willing to work in public despite the unctuous admiration of the uneducated and vulgar populace. One such public-yet-invisible artist is Pavel Reisenauer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA grumpy loner, a skeptical mystic and a Christian in a tight spot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pavel Reisenauer was born on 7 October 1961 in Prague, where he lives to this day. After graduating from secondary school, he held various jobs (including work as a furnaceman and security guard) that allowed him to work on his paintings. He has three daughters. He has been employed by the weekly \u003cem\u003eRespekt \u003c\/em\u003emagazine since 1991, and has published a book, \u003cem\u003e209 Drawings and 33 Paintings\u003c\/em\u003e. He has held numerous exhibitions, and in order to avoid succumbing to this temptation in the future, he recently set up a website gallery of his work” – which is also where this short bio comes from: \u003ca href=\"http:\/\/www.pavelreisenauer.cz\/\"\u003ewww.pavelreisenauer.cz\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eLike his web gallery, Reisenauer’s work can be divided into two areas. The first includes journalistic illustrations for \u003cem\u003eRespekt\u003c\/em\u003e, the Saturday insert “Orientation” for the \u003cem\u003eLidové noviny\u003c\/em\u003e newspaper, and book illustrations for various publishers. Thanks to his illustrations – with their characteristic style and unrelenting humor – he is known to the Czech public if not by name then definitely from his drawings on the cover of these publications. The second area of his work are his non-commissioned drawings and paintings, through which we can get to know him in his own world: “Where solitude beginneth there endeth the market-place; and where the market-place endeth, there endeth also the noise of the great actors, and the buzzing of the poison-flies.” Aliens, the underworld, suburban landscapes, daughters, out-of-place animals, sex, alcohol, and above all loneliness. Also, the streets of Reisenauer’s favorite neighborhood, Prague’s Nusle district, where tourists and developers are still rare, and so it remains a haven for outsiders and crumbling tenements in a sold-out city. In recent years, he has preferred to work in series that give him greater freedom. The pictures in each series share a common motif, technique, use of color and style. These include the computer drawings from \u003cem\u003eThe Ten Commandments \u003c\/em\u003eand \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e, as well as the temperas from \u003cem\u003eStreets\u003c\/em\u003e and the recently completed \u003cem\u003eNusle\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visitation every day\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis artist – who has successfully avoided public recognition and exhibits only rarely – has decided to bring to Berlin his highly personal interpretation of the Ten Commandments. Reisenauer has taken these basic rules for Jews and Christians (as contained in the Catholic catechism) and transformed them in his image, knocked them from the diction of church language and down to the ground of his reality: God appears as Superman, divine punishment falls upon a desolate suburban street, graffiti artists spray-paint a Jesus fish on the hood of a car, a legless mother has been taken on an outing in her wheelchair; we see evidence of suicide (far more common than murder), a slightly vulgar drawing of a penis attacking Venus, a black hand painted on the wall of a ransacked house, a skull that looks as if it has been pulled from a mass grave, its mouth grown shut, a woman depicted as a childishly gussied up and romantically enamored monkey, and superhumanly oversized mafiosi who remain unseen by passers-by. When asked where why he felt the need to confront these two traditional Christian subjects, Pavel Reisenauer says: “Because in the end I am a Christian, primarily one in a tight spot.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeven\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt this exhibition, Reisenauer will present his latest as-yet-unexhibited series, \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e. Here, Reisenauer focuses his critical and ironical gaze on himself. The theme required a more simplified approach as compared to the previous series: the square-format paintings are made in black on a white background, emphasized at most with foreboding details in a devilish red that is the only similarity with the previous series. With just one exception, the digital images’ main subject is the artist himself. His figure, accompanied by just its shadow, moves through a space without background, accompanied only by symbols or attributes of the relevant sin: a proud magician (more like a con-artist juggler of nothingness in a raggedy bathrobe and worn t-shirt); a harried money-chaser; a dreamer drooling for things he doesn’t have; an unhappy and not too attractive lecher with a strangely non-prurient expression; a drunkard who has been transformed into his bottle; a raffish loner and implacable ironist within whom pride struggles with insecurity and mystical faith with disillusionment, skepticism and resignation: the final image shows him in the position that he himself would probably like to adopt forever.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy Ivan Mečl (the ugly parts) and Olga Sixtová (the nice parts)\u003c\/em\u003e\u003c\/p\u003e","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46890990797051,"sku":"","price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/1-pycha_WEB.jpg?v=1738263768"},{"product_id":"pavel-reisenauer-mammon","title":"Pavel Reisenauer: Avaritia (Mammon)","description":"\u003cp\u003e\u003cstrong\u003eOriginal signed print from the 2013 Prague and 2014 Berlin exhibition THE SEVEN DEADLY SINS.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition text:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBöhmen und Mähren Kunst – Stories from the sewer of Europe \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Czech Republic is the polar opposite of all real or imagined inhospitable lands. There is nothing here that might inspire respect for nature or fear of its elements. It is simply an adorable country, an enlarged village rock garden – if you have those things in Germany and know what they are. The Czech Republic is a former part of a now-defunct, repeatedly failed state that eagerly anticipated its demise. Its next-to-last resurrection, which was in exchange for the life of just one Jew, Hilsner, led to the Second World War. If there had been no Czecho-Slovakia (and later the Czech Republic), it would have been possible to build a motorway from Berlin straight to Munich, the world would have never heard the term “humanitarian bombing”, and robots would still be called automatons. The most important figures in modern Czech history are \u003cem\u003etatíček\u003c\/em\u003e (“little father”), a third-rate philosopher in riding boots surrounded by naked children, Hitler, \u003cem\u003eMr. Werich\u003c\/em\u003e, the two-headed monster Klavel, and agent 009 Schwartsumberg.\u003c\/p\u003e\n\u003cp\u003eSo let’s only talk about this accursed region without using its name, about this crater that looks as if it had been carved by a meteorite, whose margins provide natural defense but also isolation. Rivers flow from it as from a cracked jar, dirty, acidic and steaming because the Czechs produce electricity by burning old rags from the mounds of garbage cheaply acquired from the rich Germans. The Czechs are known as the only Slavs to hide their crimes against humanity. They have stuck their own foot in extreme unction, and yet they hand out advice until the hyenas start to choke with laughter. They hate all the surrounding tribes, except for the Roma, whom they consider to be descendents of the Romanians – who refused to occupy the crater in 1968. The Roma don’t have to work; they can drink, dance, and swear in their own language. Czechs don’t dance. And foreigners in general are not popular – except for Americans, whom they have never seen but they like the flag.\u003c\/p\u003e\n\u003cp\u003eAlthough in such an environment art flourishes about as much as in the Gaza Strip, every now and then an artist appears who is willing to work in public despite the unctuous admiration of the uneducated and vulgar populace. One such public-yet-invisible artist is Pavel Reisenauer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA grumpy loner, a skeptical mystic and a Christian in a tight spot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pavel Reisenauer was born on 7 October 1961 in Prague, where he lives to this day. After graduating from secondary school, he held various jobs (including work as a furnaceman and security guard) that allowed him to work on his paintings. He has three daughters. He has been employed by the weekly \u003cem\u003eRespekt \u003c\/em\u003emagazine since 1991, and has published a book, \u003cem\u003e209 Drawings and 33 Paintings\u003c\/em\u003e. He has held numerous exhibitions, and in order to avoid succumbing to this temptation in the future, he recently set up a website gallery of his work” – which is also where this short bio comes from: \u003ca href=\"http:\/\/www.pavelreisenauer.cz\/\"\u003ewww.pavelreisenauer.cz\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eLike his web gallery, Reisenauer’s work can be divided into two areas. The first includes journalistic illustrations for \u003cem\u003eRespekt\u003c\/em\u003e, the Saturday insert “Orientation” for the \u003cem\u003eLidové noviny\u003c\/em\u003e newspaper, and book illustrations for various publishers. Thanks to his illustrations – with their characteristic style and unrelenting humor – he is known to the Czech public if not by name then definitely from his drawings on the cover of these publications. The second area of his work are his non-commissioned drawings and paintings, through which we can get to know him in his own world: “Where solitude beginneth there endeth the market-place; and where the market-place endeth, there endeth also the noise of the great actors, and the buzzing of the poison-flies.” Aliens, the underworld, suburban landscapes, daughters, out-of-place animals, sex, alcohol, and above all loneliness. Also, the streets of Reisenauer’s favorite neighborhood, Prague’s Nusle district, where tourists and developers are still rare, and so it remains a haven for outsiders and crumbling tenements in a sold-out city. In recent years, he has preferred to work in series that give him greater freedom. The pictures in each series share a common motif, technique, use of color and style. These include the computer drawings from \u003cem\u003eThe Ten Commandments \u003c\/em\u003eand \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e, as well as the temperas from \u003cem\u003eStreets\u003c\/em\u003e and the recently completed \u003cem\u003eNusle\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visitation every day\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis artist – who has successfully avoided public recognition and exhibits only rarely – has decided to bring to Berlin his highly personal interpretation of the Ten Commandments. Reisenauer has taken these basic rules for Jews and Christians (as contained in the Catholic catechism) and transformed them in his image, knocked them from the diction of church language and down to the ground of his reality: God appears as Superman, divine punishment falls upon a desolate suburban street, graffiti artists spray-paint a Jesus fish on the hood of a car, a legless mother has been taken on an outing in her wheelchair; we see evidence of suicide (far more common than murder), a slightly vulgar drawing of a penis attacking Venus, a black hand painted on the wall of a ransacked house, a skull that looks as if it has been pulled from a mass grave, its mouth grown shut, a woman depicted as a childishly gussied up and romantically enamored monkey, and superhumanly oversized mafiosi who remain unseen by passers-by. When asked where why he felt the need to confront these two traditional Christian subjects, Pavel Reisenauer says: “Because in the end I am a Christian, primarily one in a tight spot.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeven\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt this exhibition, Reisenauer will present his latest as-yet-unexhibited series, \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e. Here, Reisenauer focuses his critical and ironical gaze on himself. The theme required a more simplified approach as compared to the previous series: the square-format paintings are made in black on a white background, emphasized at most with foreboding details in a devilish red that is the only similarity with the previous series. With just one exception, the digital images’ main subject is the artist himself. His figure, accompanied by just its shadow, moves through a space without background, accompanied only by symbols or attributes of the relevant sin: a proud magician (more like a con-artist juggler of nothingness in a raggedy bathrobe and worn t-shirt); a harried money-chaser; a dreamer drooling for things he doesn’t have; an unhappy and not too attractive lecher with a strangely non-prurient expression; a drunkard who has been transformed into his bottle; a raffish loner and implacable ironist within whom pride struggles with insecurity and mystical faith with disillusionment, skepticism and resignation: the final image shows him in the position that he himself would probably like to adopt forever.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy Ivan Mečl (the ugly parts) and Olga Sixtová (the nice parts)\u003c\/em\u003e\u003c\/p\u003e","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46890992009467,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/2-lakomstvi_WEB.jpg?v=1738264564"},{"product_id":"pavel-reisenauer-invidia-leviathan","title":"Pavel Reisenauer: Invidia (Leviathan)","description":"\u003cp\u003e\u003cstrong\u003eOriginal signed print from the 2013 Prague and 2014 Berlin exhibition THE SEVEN DEADLY SINS.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition text:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBöhmen und Mähren Kunst – Stories from the sewer of Europe \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Czech Republic is the polar opposite of all real or imagined inhospitable lands. There is nothing here that might inspire respect for nature or fear of its elements. It is simply an adorable country, an enlarged village rock garden – if you have those things in Germany and know what they are. The Czech Republic is a former part of a now-defunct, repeatedly failed state that eagerly anticipated its demise. Its next-to-last resurrection, which was in exchange for the life of just one Jew, Hilsner, led to the Second World War. If there had been no Czecho-Slovakia (and later the Czech Republic), it would have been possible to build a motorway from Berlin straight to Munich, the world would have never heard the term “humanitarian bombing”, and robots would still be called automatons. The most important figures in modern Czech history are \u003cem\u003etatíček\u003c\/em\u003e (“little father”), a third-rate philosopher in riding boots surrounded by naked children, Hitler, \u003cem\u003eMr. Werich\u003c\/em\u003e, the two-headed monster Klavel, and agent 009 Schwartsumberg.\u003c\/p\u003e\n\u003cp\u003eSo let’s only talk about this accursed region without using its name, about this crater that looks as if it had been carved by a meteorite, whose margins provide natural defense but also isolation. Rivers flow from it as from a cracked jar, dirty, acidic and steaming because the Czechs produce electricity by burning old rags from the mounds of garbage cheaply acquired from the rich Germans. The Czechs are known as the only Slavs to hide their crimes against humanity. They have stuck their own foot in extreme unction, and yet they hand out advice until the hyenas start to choke with laughter. They hate all the surrounding tribes, except for the Roma, whom they consider to be descendents of the Romanians – who refused to occupy the crater in 1968. The Roma don’t have to work; they can drink, dance, and swear in their own language. Czechs don’t dance. And foreigners in general are not popular – except for Americans, whom they have never seen but they like the flag.\u003c\/p\u003e\n\u003cp\u003eAlthough in such an environment art flourishes about as much as in the Gaza Strip, every now and then an artist appears who is willing to work in public despite the unctuous admiration of the uneducated and vulgar populace. One such public-yet-invisible artist is Pavel Reisenauer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA grumpy loner, a skeptical mystic and a Christian in a tight spot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pavel Reisenauer was born on 7 October 1961 in Prague, where he lives to this day. After graduating from secondary school, he held various jobs (including work as a furnaceman and security guard) that allowed him to work on his paintings. He has three daughters. He has been employed by the weekly \u003cem\u003eRespekt \u003c\/em\u003emagazine since 1991, and has published a book, \u003cem\u003e209 Drawings and 33 Paintings\u003c\/em\u003e. He has held numerous exhibitions, and in order to avoid succumbing to this temptation in the future, he recently set up a website gallery of his work” – which is also where this short bio comes from: \u003ca href=\"http:\/\/www.pavelreisenauer.cz\/\"\u003ewww.pavelreisenauer.cz\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eLike his web gallery, Reisenauer’s work can be divided into two areas. The first includes journalistic illustrations for \u003cem\u003eRespekt\u003c\/em\u003e, the Saturday insert “Orientation” for the \u003cem\u003eLidové noviny\u003c\/em\u003e newspaper, and book illustrations for various publishers. Thanks to his illustrations – with their characteristic style and unrelenting humor – he is known to the Czech public if not by name then definitely from his drawings on the cover of these publications. The second area of his work are his non-commissioned drawings and paintings, through which we can get to know him in his own world: “Where solitude beginneth there endeth the market-place; and where the market-place endeth, there endeth also the noise of the great actors, and the buzzing of the poison-flies.” Aliens, the underworld, suburban landscapes, daughters, out-of-place animals, sex, alcohol, and above all loneliness. Also, the streets of Reisenauer’s favorite neighborhood, Prague’s Nusle district, where tourists and developers are still rare, and so it remains a haven for outsiders and crumbling tenements in a sold-out city. In recent years, he has preferred to work in series that give him greater freedom. The pictures in each series share a common motif, technique, use of color and style. These include the computer drawings from \u003cem\u003eThe Ten Commandments \u003c\/em\u003eand \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e, as well as the temperas from \u003cem\u003eStreets\u003c\/em\u003e and the recently completed \u003cem\u003eNusle\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visitation every day\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis artist – who has successfully avoided public recognition and exhibits only rarely – has decided to bring to Berlin his highly personal interpretation of the Ten Commandments. Reisenauer has taken these basic rules for Jews and Christians (as contained in the Catholic catechism) and transformed them in his image, knocked them from the diction of church language and down to the ground of his reality: God appears as Superman, divine punishment falls upon a desolate suburban street, graffiti artists spray-paint a Jesus fish on the hood of a car, a legless mother has been taken on an outing in her wheelchair; we see evidence of suicide (far more common than murder), a slightly vulgar drawing of a penis attacking Venus, a black hand painted on the wall of a ransacked house, a skull that looks as if it has been pulled from a mass grave, its mouth grown shut, a woman depicted as a childishly gussied up and romantically enamored monkey, and superhumanly oversized mafiosi who remain unseen by passers-by. When asked where why he felt the need to confront these two traditional Christian subjects, Pavel Reisenauer says: “Because in the end I am a Christian, primarily one in a tight spot.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeven\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt this exhibition, Reisenauer will present his latest as-yet-unexhibited series, \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e. Here, Reisenauer focuses his critical and ironical gaze on himself. The theme required a more simplified approach as compared to the previous series: the square-format paintings are made in black on a white background, emphasized at most with foreboding details in a devilish red that is the only similarity with the previous series. With just one exception, the digital images’ main subject is the artist himself. His figure, accompanied by just its shadow, moves through a space without background, accompanied only by symbols or attributes of the relevant sin: a proud magician (more like a con-artist juggler of nothingness in a raggedy bathrobe and worn t-shirt); a harried money-chaser; a dreamer drooling for things he doesn’t have; an unhappy and not too attractive lecher with a strangely non-prurient expression; a drunkard who has been transformed into his bottle; a raffish loner and implacable ironist within whom pride struggles with insecurity and mystical faith with disillusionment, skepticism and resignation: the final image shows him in the position that he himself would probably like to adopt forever.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy Ivan Mečl (the ugly parts) and Olga Sixtová (the nice parts)\u003c\/em\u003e\u003c\/p\u003e","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46891026743547,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/3-zavist_WEB_2d8660f9-f788-4d7c-81d4-b0ce635440ba.jpg?v=1738265062"},{"product_id":"pavel-reisenauer-ira-satan","title":"Pavel Reisenauer: Ira (Satan)","description":"\u003cp\u003e\u003cstrong\u003eOriginal signed print from the 2013 Prague and 2014 Berlin exhibition THE SEVEN DEADLY SINS.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition text:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBöhmen und Mähren Kunst – Stories from the sewer of Europe \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Czech Republic is the polar opposite of all real or imagined inhospitable lands. There is nothing here that might inspire respect for nature or fear of its elements. It is simply an adorable country, an enlarged village rock garden – if you have those things in Germany and know what they are. The Czech Republic is a former part of a now-defunct, repeatedly failed state that eagerly anticipated its demise. Its next-to-last resurrection, which was in exchange for the life of just one Jew, Hilsner, led to the Second World War. If there had been no Czecho-Slovakia (and later the Czech Republic), it would have been possible to build a motorway from Berlin straight to Munich, the world would have never heard the term “humanitarian bombing”, and robots would still be called automatons. The most important figures in modern Czech history are \u003cem\u003etatíček\u003c\/em\u003e (“little father”), a third-rate philosopher in riding boots surrounded by naked children, Hitler, \u003cem\u003eMr. Werich\u003c\/em\u003e, the two-headed monster Klavel, and agent 009 Schwartsumberg.\u003c\/p\u003e\n\u003cp\u003eSo let’s only talk about this accursed region without using its name, about this crater that looks as if it had been carved by a meteorite, whose margins provide natural defense but also isolation. Rivers flow from it as from a cracked jar, dirty, acidic and steaming because the Czechs produce electricity by burning old rags from the mounds of garbage cheaply acquired from the rich Germans. The Czechs are known as the only Slavs to hide their crimes against humanity. They have stuck their own foot in extreme unction, and yet they hand out advice until the hyenas start to choke with laughter. They hate all the surrounding tribes, except for the Roma, whom they consider to be descendents of the Romanians – who refused to occupy the crater in 1968. The Roma don’t have to work; they can drink, dance, and swear in their own language. Czechs don’t dance. And foreigners in general are not popular – except for Americans, whom they have never seen but they like the flag.\u003c\/p\u003e\n\u003cp\u003eAlthough in such an environment art flourishes about as much as in the Gaza Strip, every now and then an artist appears who is willing to work in public despite the unctuous admiration of the uneducated and vulgar populace. One such public-yet-invisible artist is Pavel Reisenauer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA grumpy loner, a skeptical mystic and a Christian in a tight spot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pavel Reisenauer was born on 7 October 1961 in Prague, where he lives to this day. After graduating from secondary school, he held various jobs (including work as a furnaceman and security guard) that allowed him to work on his paintings. He has three daughters. He has been employed by the weekly \u003cem\u003eRespekt \u003c\/em\u003emagazine since 1991, and has published a book, \u003cem\u003e209 Drawings and 33 Paintings\u003c\/em\u003e. He has held numerous exhibitions, and in order to avoid succumbing to this temptation in the future, he recently set up a website gallery of his work” – which is also where this short bio comes from: \u003ca href=\"http:\/\/www.pavelreisenauer.cz\/\"\u003ewww.pavelreisenauer.cz\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eLike his web gallery, Reisenauer’s work can be divided into two areas. The first includes journalistic illustrations for \u003cem\u003eRespekt\u003c\/em\u003e, the Saturday insert “Orientation” for the \u003cem\u003eLidové noviny\u003c\/em\u003e newspaper, and book illustrations for various publishers. Thanks to his illustrations – with their characteristic style and unrelenting humor – he is known to the Czech public if not by name then definitely from his drawings on the cover of these publications. The second area of his work are his non-commissioned drawings and paintings, through which we can get to know him in his own world: “Where solitude beginneth there endeth the market-place; and where the market-place endeth, there endeth also the noise of the great actors, and the buzzing of the poison-flies.” Aliens, the underworld, suburban landscapes, daughters, out-of-place animals, sex, alcohol, and above all loneliness. Also, the streets of Reisenauer’s favorite neighborhood, Prague’s Nusle district, where tourists and developers are still rare, and so it remains a haven for outsiders and crumbling tenements in a sold-out city. In recent years, he has preferred to work in series that give him greater freedom. The pictures in each series share a common motif, technique, use of color and style. These include the computer drawings from \u003cem\u003eThe Ten Commandments \u003c\/em\u003eand \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e, as well as the temperas from \u003cem\u003eStreets\u003c\/em\u003e and the recently completed \u003cem\u003eNusle\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visitation every day\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis artist – who has successfully avoided public recognition and exhibits only rarely – has decided to bring to Berlin his highly personal interpretation of the Ten Commandments. Reisenauer has taken these basic rules for Jews and Christians (as contained in the Catholic catechism) and transformed them in his image, knocked them from the diction of church language and down to the ground of his reality: God appears as Superman, divine punishment falls upon a desolate suburban street, graffiti artists spray-paint a Jesus fish on the hood of a car, a legless mother has been taken on an outing in her wheelchair; we see evidence of suicide (far more common than murder), a slightly vulgar drawing of a penis attacking Venus, a black hand painted on the wall of a ransacked house, a skull that looks as if it has been pulled from a mass grave, its mouth grown shut, a woman depicted as a childishly gussied up and romantically enamored monkey, and superhumanly oversized mafiosi who remain unseen by passers-by. When asked where why he felt the need to confront these two traditional Christian subjects, Pavel Reisenauer says: “Because in the end I am a Christian, primarily one in a tight spot.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeven\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt this exhibition, Reisenauer will present his latest as-yet-unexhibited series, \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e. Here, Reisenauer focuses his critical and ironical gaze on himself. The theme required a more simplified approach as compared to the previous series: the square-format paintings are made in black on a white background, emphasized at most with foreboding details in a devilish red that is the only similarity with the previous series. With just one exception, the digital images’ main subject is the artist himself. His figure, accompanied by just its shadow, moves through a space without background, accompanied only by symbols or attributes of the relevant sin: a proud magician (more like a con-artist juggler of nothingness in a raggedy bathrobe and worn t-shirt); a harried money-chaser; a dreamer drooling for things he doesn’t have; an unhappy and not too attractive lecher with a strangely non-prurient expression; a drunkard who has been transformed into his bottle; a raffish loner and implacable ironist within whom pride struggles with insecurity and mystical faith with disillusionment, skepticism and resignation: the final image shows him in the position that he himself would probably like to adopt forever.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy Ivan Mečl (the ugly parts) and Olga Sixtová (the nice parts)\u003c\/em\u003e\u003c\/p\u003e","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46891032019195,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/4-hnev_WEB_8d3b70aa-d777-4271-abba-52365ad841d0.jpg?v=1738265123"},{"product_id":"pavel-reisenauer-luxuria-asmodeus","title":"Pavel Reisenauer: Luxuria (Asmodeus)","description":"\u003cp\u003e\u003cstrong\u003eOriginal signed print from the 2013 Prague and 2014 Berlin exhibition THE SEVEN DEADLY SINS.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition text:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBöhmen und Mähren Kunst – Stories from the sewer of Europe \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Czech Republic is the polar opposite of all real or imagined inhospitable lands. There is nothing here that might inspire respect for nature or fear of its elements. It is simply an adorable country, an enlarged village rock garden – if you have those things in Germany and know what they are. The Czech Republic is a former part of a now-defunct, repeatedly failed state that eagerly anticipated its demise. Its next-to-last resurrection, which was in exchange for the life of just one Jew, Hilsner, led to the Second World War. If there had been no Czecho-Slovakia (and later the Czech Republic), it would have been possible to build a motorway from Berlin straight to Munich, the world would have never heard the term “humanitarian bombing”, and robots would still be called automatons. The most important figures in modern Czech history are \u003cem\u003etatíček\u003c\/em\u003e (“little father”), a third-rate philosopher in riding boots surrounded by naked children, Hitler, \u003cem\u003eMr. Werich\u003c\/em\u003e, the two-headed monster Klavel, and agent 009 Schwartsumberg.\u003c\/p\u003e\n\u003cp\u003eSo let’s only talk about this accursed region without using its name, about this crater that looks as if it had been carved by a meteorite, whose margins provide natural defense but also isolation. Rivers flow from it as from a cracked jar, dirty, acidic and steaming because the Czechs produce electricity by burning old rags from the mounds of garbage cheaply acquired from the rich Germans. The Czechs are known as the only Slavs to hide their crimes against humanity. They have stuck their own foot in extreme unction, and yet they hand out advice until the hyenas start to choke with laughter. They hate all the surrounding tribes, except for the Roma, whom they consider to be descendents of the Romanians – who refused to occupy the crater in 1968. The Roma don’t have to work; they can drink, dance, and swear in their own language. Czechs don’t dance. And foreigners in general are not popular – except for Americans, whom they have never seen but they like the flag.\u003c\/p\u003e\n\u003cp\u003eAlthough in such an environment art flourishes about as much as in the Gaza Strip, every now and then an artist appears who is willing to work in public despite the unctuous admiration of the uneducated and vulgar populace. One such public-yet-invisible artist is Pavel Reisenauer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA grumpy loner, a skeptical mystic and a Christian in a tight spot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pavel Reisenauer was born on 7 October 1961 in Prague, where he lives to this day. After graduating from secondary school, he held various jobs (including work as a furnaceman and security guard) that allowed him to work on his paintings. He has three daughters. He has been employed by the weekly \u003cem\u003eRespekt \u003c\/em\u003emagazine since 1991, and has published a book, \u003cem\u003e209 Drawings and 33 Paintings\u003c\/em\u003e. He has held numerous exhibitions, and in order to avoid succumbing to this temptation in the future, he recently set up a website gallery of his work” – which is also where this short bio comes from: \u003ca href=\"http:\/\/www.pavelreisenauer.cz\/\"\u003ewww.pavelreisenauer.cz\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eLike his web gallery, Reisenauer’s work can be divided into two areas. The first includes journalistic illustrations for \u003cem\u003eRespekt\u003c\/em\u003e, the Saturday insert “Orientation” for the \u003cem\u003eLidové noviny\u003c\/em\u003e newspaper, and book illustrations for various publishers. Thanks to his illustrations – with their characteristic style and unrelenting humor – he is known to the Czech public if not by name then definitely from his drawings on the cover of these publications. The second area of his work are his non-commissioned drawings and paintings, through which we can get to know him in his own world: “Where solitude beginneth there endeth the market-place; and where the market-place endeth, there endeth also the noise of the great actors, and the buzzing of the poison-flies.” Aliens, the underworld, suburban landscapes, daughters, out-of-place animals, sex, alcohol, and above all loneliness. Also, the streets of Reisenauer’s favorite neighborhood, Prague’s Nusle district, where tourists and developers are still rare, and so it remains a haven for outsiders and crumbling tenements in a sold-out city. In recent years, he has preferred to work in series that give him greater freedom. The pictures in each series share a common motif, technique, use of color and style. These include the computer drawings from \u003cem\u003eThe Ten Commandments \u003c\/em\u003eand \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e, as well as the temperas from \u003cem\u003eStreets\u003c\/em\u003e and the recently completed \u003cem\u003eNusle\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visitation every day\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis artist – who has successfully avoided public recognition and exhibits only rarely – has decided to bring to Berlin his highly personal interpretation of the Ten Commandments. Reisenauer has taken these basic rules for Jews and Christians (as contained in the Catholic catechism) and transformed them in his image, knocked them from the diction of church language and down to the ground of his reality: God appears as Superman, divine punishment falls upon a desolate suburban street, graffiti artists spray-paint a Jesus fish on the hood of a car, a legless mother has been taken on an outing in her wheelchair; we see evidence of suicide (far more common than murder), a slightly vulgar drawing of a penis attacking Venus, a black hand painted on the wall of a ransacked house, a skull that looks as if it has been pulled from a mass grave, its mouth grown shut, a woman depicted as a childishly gussied up and romantically enamored monkey, and superhumanly oversized mafiosi who remain unseen by passers-by. When asked where why he felt the need to confront these two traditional Christian subjects, Pavel Reisenauer says: “Because in the end I am a Christian, primarily one in a tight spot.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeven\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt this exhibition, Reisenauer will present his latest as-yet-unexhibited series, \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e. Here, Reisenauer focuses his critical and ironical gaze on himself. The theme required a more simplified approach as compared to the previous series: the square-format paintings are made in black on a white background, emphasized at most with foreboding details in a devilish red that is the only similarity with the previous series. With just one exception, the digital images’ main subject is the artist himself. His figure, accompanied by just its shadow, moves through a space without background, accompanied only by symbols or attributes of the relevant sin: a proud magician (more like a con-artist juggler of nothingness in a raggedy bathrobe and worn t-shirt); a harried money-chaser; a dreamer drooling for things he doesn’t have; an unhappy and not too attractive lecher with a strangely non-prurient expression; a drunkard who has been transformed into his bottle; a raffish loner and implacable ironist within whom pride struggles with insecurity and mystical faith with disillusionment, skepticism and resignation: the final image shows him in the position that he himself would probably like to adopt forever.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy Ivan Mečl (the ugly parts) and Olga Sixtová (the nice parts)\u003c\/em\u003e\u003c\/p\u003e","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46891034968315,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/5-smilstvo_WEB.jpg?v=1738265340"},{"product_id":"pavel-reisenauer-gula-baalzebub","title":"Pavel Reisenauer: Gula (Baalzebub)","description":"\u003cp\u003e\u003cstrong\u003eOriginal signed print from the 2013 Prague and 2014 Berlin exhibition THE SEVEN DEADLY SINS.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition text:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBöhmen und Mähren Kunst – Stories from the sewer of Europe \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Czech Republic is the polar opposite of all real or imagined inhospitable lands. There is nothing here that might inspire respect for nature or fear of its elements. It is simply an adorable country, an enlarged village rock garden – if you have those things in Germany and know what they are. The Czech Republic is a former part of a now-defunct, repeatedly failed state that eagerly anticipated its demise. Its next-to-last resurrection, which was in exchange for the life of just one Jew, Hilsner, led to the Second World War. If there had been no Czecho-Slovakia (and later the Czech Republic), it would have been possible to build a motorway from Berlin straight to Munich, the world would have never heard the term “humanitarian bombing”, and robots would still be called automatons. The most important figures in modern Czech history are \u003cem\u003etatíček\u003c\/em\u003e (“little father”), a third-rate philosopher in riding boots surrounded by naked children, Hitler, \u003cem\u003eMr. Werich\u003c\/em\u003e, the two-headed monster Klavel, and agent 009 Schwartsumberg.\u003c\/p\u003e\n\u003cp\u003eSo let’s only talk about this accursed region without using its name, about this crater that looks as if it had been carved by a meteorite, whose margins provide natural defense but also isolation. Rivers flow from it as from a cracked jar, dirty, acidic and steaming because the Czechs produce electricity by burning old rags from the mounds of garbage cheaply acquired from the rich Germans. The Czechs are known as the only Slavs to hide their crimes against humanity. They have stuck their own foot in extreme unction, and yet they hand out advice until the hyenas start to choke with laughter. They hate all the surrounding tribes, except for the Roma, whom they consider to be descendents of the Romanians – who refused to occupy the crater in 1968. The Roma don’t have to work; they can drink, dance, and swear in their own language. Czechs don’t dance. And foreigners in general are not popular – except for Americans, whom they have never seen but they like the flag.\u003c\/p\u003e\n\u003cp\u003eAlthough in such an environment art flourishes about as much as in the Gaza Strip, every now and then an artist appears who is willing to work in public despite the unctuous admiration of the uneducated and vulgar populace. One such public-yet-invisible artist is Pavel Reisenauer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA grumpy loner, a skeptical mystic and a Christian in a tight spot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pavel Reisenauer was born on 7 October 1961 in Prague, where he lives to this day. After graduating from secondary school, he held various jobs (including work as a furnaceman and security guard) that allowed him to work on his paintings. He has three daughters. He has been employed by the weekly \u003cem\u003eRespekt \u003c\/em\u003emagazine since 1991, and has published a book, \u003cem\u003e209 Drawings and 33 Paintings\u003c\/em\u003e. He has held numerous exhibitions, and in order to avoid succumbing to this temptation in the future, he recently set up a website gallery of his work” – which is also where this short bio comes from: \u003ca href=\"http:\/\/www.pavelreisenauer.cz\/\"\u003ewww.pavelreisenauer.cz\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eLike his web gallery, Reisenauer’s work can be divided into two areas. The first includes journalistic illustrations for \u003cem\u003eRespekt\u003c\/em\u003e, the Saturday insert “Orientation” for the \u003cem\u003eLidové noviny\u003c\/em\u003e newspaper, and book illustrations for various publishers. Thanks to his illustrations – with their characteristic style and unrelenting humor – he is known to the Czech public if not by name then definitely from his drawings on the cover of these publications. The second area of his work are his non-commissioned drawings and paintings, through which we can get to know him in his own world: “Where solitude beginneth there endeth the market-place; and where the market-place endeth, there endeth also the noise of the great actors, and the buzzing of the poison-flies.” Aliens, the underworld, suburban landscapes, daughters, out-of-place animals, sex, alcohol, and above all loneliness. Also, the streets of Reisenauer’s favorite neighborhood, Prague’s Nusle district, where tourists and developers are still rare, and so it remains a haven for outsiders and crumbling tenements in a sold-out city. In recent years, he has preferred to work in series that give him greater freedom. The pictures in each series share a common motif, technique, use of color and style. These include the computer drawings from \u003cem\u003eThe Ten Commandments \u003c\/em\u003eand \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e, as well as the temperas from \u003cem\u003eStreets\u003c\/em\u003e and the recently completed \u003cem\u003eNusle\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visitation every day\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis artist – who has successfully avoided public recognition and exhibits only rarely – has decided to bring to Berlin his highly personal interpretation of the Ten Commandments. Reisenauer has taken these basic rules for Jews and Christians (as contained in the Catholic catechism) and transformed them in his image, knocked them from the diction of church language and down to the ground of his reality: God appears as Superman, divine punishment falls upon a desolate suburban street, graffiti artists spray-paint a Jesus fish on the hood of a car, a legless mother has been taken on an outing in her wheelchair; we see evidence of suicide (far more common than murder), a slightly vulgar drawing of a penis attacking Venus, a black hand painted on the wall of a ransacked house, a skull that looks as if it has been pulled from a mass grave, its mouth grown shut, a woman depicted as a childishly gussied up and romantically enamored monkey, and superhumanly oversized mafiosi who remain unseen by passers-by. When asked where why he felt the need to confront these two traditional Christian subjects, Pavel Reisenauer says: “Because in the end I am a Christian, primarily one in a tight spot.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeven\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt this exhibition, Reisenauer will present his latest as-yet-unexhibited series, \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e. Here, Reisenauer focuses his critical and ironical gaze on himself. The theme required a more simplified approach as compared to the previous series: the square-format paintings are made in black on a white background, emphasized at most with foreboding details in a devilish red that is the only similarity with the previous series. With just one exception, the digital images’ main subject is the artist himself. His figure, accompanied by just its shadow, moves through a space without background, accompanied only by symbols or attributes of the relevant sin: a proud magician (more like a con-artist juggler of nothingness in a raggedy bathrobe and worn t-shirt); a harried money-chaser; a dreamer drooling for things he doesn’t have; an unhappy and not too attractive lecher with a strangely non-prurient expression; a drunkard who has been transformed into his bottle; a raffish loner and implacable ironist within whom pride struggles with insecurity and mystical faith with disillusionment, skepticism and resignation: the final image shows him in the position that he himself would probably like to adopt forever.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy Ivan Mečl (the ugly parts) and Olga Sixtová (the nice parts)\u003c\/em\u003e\u003c\/p\u003e","brand":"Divus \u0026 Nova Perla","offers":[{"title":"Default Title","offer_id":46891035623675,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/6-nestridmost_WEB.jpg?v=1738265444"},{"product_id":"pavel-reisenauer-acedia-baalphegor","title":"Pavel Reisenauer: Acedia (Baalphegor)","description":"\u003cp\u003e\u003cstrong\u003eOriginal signed print from the 2013 Prague and 2014 Berlin exhibition THE SEVEN DEADLY SINS.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition text:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBöhmen und Mähren Kunst – Stories from the sewer of Europe \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Czech Republic is the polar opposite of all real or imagined inhospitable lands. There is nothing here that might inspire respect for nature or fear of its elements. It is simply an adorable country, an enlarged village rock garden – if you have those things in Germany and know what they are. The Czech Republic is a former part of a now-defunct, repeatedly failed state that eagerly anticipated its demise. Its next-to-last resurrection, which was in exchange for the life of just one Jew, Hilsner, led to the Second World War. If there had been no Czecho-Slovakia (and later the Czech Republic), it would have been possible to build a motorway from Berlin straight to Munich, the world would have never heard the term “humanitarian bombing”, and robots would still be called automatons. The most important figures in modern Czech history are \u003cem\u003etatíček\u003c\/em\u003e (“little father”), a third-rate philosopher in riding boots surrounded by naked children, Hitler, \u003cem\u003eMr. Werich\u003c\/em\u003e, the two-headed monster Klavel, and agent 009 Schwartsumberg.\u003c\/p\u003e\n\u003cp\u003eSo let’s only talk about this accursed region without using its name, about this crater that looks as if it had been carved by a meteorite, whose margins provide natural defense but also isolation. Rivers flow from it as from a cracked jar, dirty, acidic and steaming because the Czechs produce electricity by burning old rags from the mounds of garbage cheaply acquired from the rich Germans. The Czechs are known as the only Slavs to hide their crimes against humanity. They have stuck their own foot in extreme unction, and yet they hand out advice until the hyenas start to choke with laughter. They hate all the surrounding tribes, except for the Roma, whom they consider to be descendents of the Romanians – who refused to occupy the crater in 1968. The Roma don’t have to work; they can drink, dance, and swear in their own language. Czechs don’t dance. And foreigners in general are not popular – except for Americans, whom they have never seen but they like the flag.\u003c\/p\u003e\n\u003cp\u003eAlthough in such an environment art flourishes about as much as in the Gaza Strip, every now and then an artist appears who is willing to work in public despite the unctuous admiration of the uneducated and vulgar populace. One such public-yet-invisible artist is Pavel Reisenauer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA grumpy loner, a skeptical mystic and a Christian in a tight spot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pavel Reisenauer was born on 7 October 1961 in Prague, where he lives to this day. After graduating from secondary school, he held various jobs (including work as a furnaceman and security guard) that allowed him to work on his paintings. He has three daughters. He has been employed by the weekly \u003cem\u003eRespekt \u003c\/em\u003emagazine since 1991, and has published a book, \u003cem\u003e209 Drawings and 33 Paintings\u003c\/em\u003e. He has held numerous exhibitions, and in order to avoid succumbing to this temptation in the future, he recently set up a website gallery of his work” – which is also where this short bio comes from: \u003ca href=\"http:\/\/www.pavelreisenauer.cz\/\"\u003ewww.pavelreisenauer.cz\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eLike his web gallery, Reisenauer’s work can be divided into two areas. The first includes journalistic illustrations for \u003cem\u003eRespekt\u003c\/em\u003e, the Saturday insert “Orientation” for the \u003cem\u003eLidové noviny\u003c\/em\u003e newspaper, and book illustrations for various publishers. Thanks to his illustrations – with their characteristic style and unrelenting humor – he is known to the Czech public if not by name then definitely from his drawings on the cover of these publications. The second area of his work are his non-commissioned drawings and paintings, through which we can get to know him in his own world: “Where solitude beginneth there endeth the market-place; and where the market-place endeth, there endeth also the noise of the great actors, and the buzzing of the poison-flies.” Aliens, the underworld, suburban landscapes, daughters, out-of-place animals, sex, alcohol, and above all loneliness. Also, the streets of Reisenauer’s favorite neighborhood, Prague’s Nusle district, where tourists and developers are still rare, and so it remains a haven for outsiders and crumbling tenements in a sold-out city. In recent years, he has preferred to work in series that give him greater freedom. The pictures in each series share a common motif, technique, use of color and style. These include the computer drawings from \u003cem\u003eThe Ten Commandments \u003c\/em\u003eand \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e, as well as the temperas from \u003cem\u003eStreets\u003c\/em\u003e and the recently completed \u003cem\u003eNusle\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visitation every day\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis artist – who has successfully avoided public recognition and exhibits only rarely – has decided to bring to Berlin his highly personal interpretation of the Ten Commandments. Reisenauer has taken these basic rules for Jews and Christians (as contained in the Catholic catechism) and transformed them in his image, knocked them from the diction of church language and down to the ground of his reality: God appears as Superman, divine punishment falls upon a desolate suburban street, graffiti artists spray-paint a Jesus fish on the hood of a car, a legless mother has been taken on an outing in her wheelchair; we see evidence of suicide (far more common than murder), a slightly vulgar drawing of a penis attacking Venus, a black hand painted on the wall of a ransacked house, a skull that looks as if it has been pulled from a mass grave, its mouth grown shut, a woman depicted as a childishly gussied up and romantically enamored monkey, and superhumanly oversized mafiosi who remain unseen by passers-by. When asked where why he felt the need to confront these two traditional Christian subjects, Pavel Reisenauer says: “Because in the end I am a Christian, primarily one in a tight spot.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeven\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt this exhibition, Reisenauer will present his latest as-yet-unexhibited series, \u003cem\u003eThe Seven Deadly Sins\u003c\/em\u003e. Here, Reisenauer focuses his critical and ironical gaze on himself. The theme required a more simplified approach as compared to the previous series: the square-format paintings are made in black on a white background, emphasized at most with foreboding details in a devilish red that is the only similarity with the previous series. With just one exception, the digital images’ main subject is the artist himself. 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It is surrounded by hills covered with vineyards and many forests. Therefore, the sun does not allow the wine to become too sweet. Near the outskirts, there is a castle on a high hill that defends the city from enemies and ensures its protection. It continues to respect and honor its lawful rulers. Below it, the famous Danube River flows through green meadows, gardens, and pastures where flocks of sheep, chamois, deer, and other game can be seen grazing.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIt is a view from a high vantage point looking south towards the city on the north bank of the Danube, with the Little Carpathians towering in the background. On the left is a castle on a hill with the city at its foot. St. Martin's Cathedral, whose tower is depicted on a disproportionately small scale, is located on the western edge of the lightly fortified city. Bratislava (German: Pressburg) belonged to the Kingdom of Hungary almost continuously from the beginning of the 10th century until 1918. A market town grew up below the old castle, and in 1241 numerous German colonists settled here. After a large part of Hungarian territory and its capital, Buda (Ofen), fell to the Ottomans in 1526, Bratislava was used as the capital city until the 18th century. The Hungarian Habsburgs were crowned in St. Martin's Cathedral between 1563 and 1830. In 1918, Bratislava was transferred to the new Czechoslovak Republic; since 1993, it has been the capital city of Slovakia.\u003c\/p\u003e\n\u003cp\u003eBraun G. and Hogenberg F. and Civitates Orbis Terrarum.\u003c\/p\u003e\n\u003cp\u003eCivitates Orbis Terrarum \"Braun \u0026amp; Hogenberg\" is a six-volume city atlas and the largest book of city views and plans ever published: 363 engravings, some beautifully colored. It was one of the best-selling works of the last quarter of the 16th century. Georg Braun wrote the text that accompanied the plans. A large number of views were engraved based on original drawings by Joris Hoefnagel (1542–1600), who was a professional artist. The first volume was published in Latin in 1572, the sixth volume in 1617. Frans Hogenberg created the plates for volumes I to IV and Simon van den Neuwel for volumes V and VI. Other contributors included cartographers Daniel Freese and Heinrich Rantzau. Works by Jacob van Deventer, Sebastian Münster, and Johannes Stumpf were also used. Translations were published in German and French.\u003c\/p\u003e\n\u003cp\u003eAfter the original publication of Volume 1 of the Civic Associations in 1572, seven further editions can be identified from 1575, 1577, 1582, 1588, 1593, 1599, and 1612. Volume 2, first published in 1575, was followed by further editions in 1597 and 1612. Further volumes appeared in 1581, 1588, 1593, 1599, and 1606. A German translation of the first volume appeared in 1574, and a French edition followed in 1575.\u003c\/p\u003e\n\u003cp\u003eSeveral printers were involved: Theodor Graminaeus, Heinrich von Aich, Gottfried von Kempen, Johannis Sinniger, Bertram Buchholtz, and Peter von Brachel, all of whom worked in Cologne.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48017787158779,"sku":null,"price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/slovakika-42_FP.jpg?v=1770369921"},{"product_id":"cassovia-superioris-hungariae-civitas-primaria-kosice-capital-city-of-upper-hungary","title":"Cassovia: Superioris Hungariae Civitas Primaria\/Košice: Capital City of Upper Hungary","description":"\u003cp\u003eKošice as the capital of Upper Hungary – the most representative and largest engraving of Košice until the nineteenth century\u003c\/p\u003e\n\u003cp\u003eThis copperplate engraving was prepared by Joris Hoefnagel (1542 Antwerp – †1600 Vienna) based on a drawing by Egidius van der Rye. The exhibited piece is a colored original from 1617, framed under museum-quality anti-reflective UV glass.\u003c\/p\u003e\n\u003cp\u003eCopies of this engraving are also recorded in the collections of Slovak institutions — for example, in the Bratislava City Gallery (inv. no. C 7563) and in the East Slovak Museum in Košice (inv. no. K 10 923) — and can also be found in major international libraries, including the Library of Congress (Washington), the British Library (London), the Österreichische Nationalbibliothek (Vienna), and the Országos Széchényi Könyvtár (Budapest), as well as in other library and museum collections and private collections.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistorical and architectural context\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKošice is depicted in the engraving as a heavily fortified and politically important center of the eastern part of the Habsburg Kingdom of Hungary. In 1617, it was the seat of the Captaincy of Upper Hungary, a defensive and administrative unit created to counter Turkish-Ottoman expansion. The city bore the designation Civitas Primaria and was the seat of the captain-general and the financial administration of the region, while Bratislava remained the capital of the entire kingdom.\u003c\/p\u003e\n\u003cp\u003eThe panorama is dominated by St. Elizabeth's Cathedral, the largest Gothic church in present-day Slovakia with a capacity of more than 5,000 worshippers. Its construction began in 1380 and continued in several stages until the beginning of the 16th century; construction work continued in the following periods until the beginning of the 17th century. In its immediate vicinity is Urban's Tower, a free-standing bell tower from the 16th century, which is clearly identifiable in the center of the city in the engraving.\u003c\/p\u003e\n\u003cp\u003eThe ethnic, cultural, and religious structure of the city is described in a report by the Ottoman traveler Evliya Çelebi from 1661, who mentions \"Hungarians, Germans, and Upper Hungarians.\" The term Upper Hungarians also included the numerous Slavic population, although the term \"Slovaks\" was not yet used in its present-day sense at that time. The Chapel of St. Michael served as the \"Slovak\" church, while the Cathedral of St. Elizabeth was attended by Germans and Hungarians. \u003c\/p\u003e\n\u003cp\u003eThe development of book printing in the wider region also belongs to this environment. In Bardejov, the activity of a printing house is documented as early as 1581, which published religious texts in \"contemporary Slovak,\" meaning in biblical Czech used by Slovak Evangelicals as a liturgical and literary language. These are the oldest documented prints in the Slovak language in what is now Slovakia. These prints also spread to Košice and strengthened the cultural and religious ties of the Upper Hungarian region.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48298231136507,"sku":null,"price":6000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/braun-hogenberg_kosice_VL_FP.jpg?v=1771855552"},{"product_id":"komarno-comorra","title":"Komárno (Comorra)","description":"\u003cp\u003eThe original copperplate engraving from 1595, framed under museum-quality anti-reflective UV glass.\u003c\/p\u003e\n\u003cp\u003eBased on a drawing by Joris Hoefnagel, it was engraved by Franz Hogenberg, court documentarian at the imperial court of Rudolf II in Prague.\u003c\/p\u003e\n\u003cp\u003eIn the middle of the sheet is a Latin inscription referring to the author: Communicavit G. Houf. Ao 1595, depict. a filio.\u003c\/p\u003e\n\u003cp\u003eTranslation: \"Provided by G. Houf. In 1595, drawn by his son.\" (i.e., the drawing was provided by Georg Hoefnagel and executed by his son Joris Hoefnagel).\u003c\/p\u003e\n\u003cp\u003eThis engraving can be found in the collections of institutions such as the Library of Congress, the British Library, and the British Museum.\u003c\/p\u003e\n\u003cp\u003eThe engraving depicts the fortified town of Komárno (Latin: Comorra) located at the confluence of the Danube and Váh rivers during the Turkish wars. In the upper part of the engraving, to the right of the bastion fortress, is a depiction of the civilian town, whose origins date back to the 11th century, when a royal border fortress existed here. After the Tatar invasion in the 13th century, it was fortified and developed; the first written mention dates back to 1265.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistorical context. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt the time the engraving was made, Hungary was largely occupied by Ottoman troops, and the border between the Ottoman Empire and the Kingdom of Hungary ran roughly along the line of today's southern Slovakia. The fortresses on this defensive line, one of which was Komárno, were mentioned at the royal courts of Europe as key points of defense against Ottoman expansion and were perceived as an important part of the defense of Christian Europe. The dominant feature of the scene is a regular Renaissance fortress with a star-shaped ground plan, surrounded by massive walls with corner bastions. This is the so-called Old Fortress, built between 1546 and 1557 on the orders of the Habsburg ruler Ferdinand I as part of the anti-Turkish defense system of the Kingdom of Hungary. Komárno was part of a wider system of modern bastion fortresses in this defensive line, which also included Nové Zámky and Győr, modernized according to the principles of the so-called trace italienne. The fortification is surrounded by water, with the Danube (Danubius fluvius) forming a natural line of defense. The interior of the fortress is filled with buildings, including a church tower and farm buildings. In the second half of the 16th century, the garrison of the fortress usually consisted of approximately 1,500 to 2,000 men, but in times of immediate military threat, its number could temporarily exceed 3,000 soldiers, including artillerymen, cavalry units, and auxiliary personnel.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Danube and military vessels. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBoth military and commercial vessels can be found on the Danube River, some of which are equipped with cannons. In the 16th century, several types of ships were used on the middle Danube. Light and fast boats designed for patrolling and transporting infantry were called seagulls (Hungarian: sajka) and were mainly used by units of so-called seagulls. Heavier river boats equipped with cannons served as gunboats and provided fire support to fortresses and shore units. In addition to these, flat-bottomed supply vessels suitable for shallower sections of the river were used to transport building materials, food, and military supplies. In the 16th century, the Danube was not only a line of defense but also a major logistical artery along which military units, artillery, and supplies were transported. The upper panel depicts bombing and military clashes on the water, underscoring the strategic importance of the city as a border fortress of the Kingdom of Hungary.\u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48298264822011,"sku":null,"price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/braun-hogenberg_komarno_VL_FP_125826ed-23d3-445d-a976-d3199bce1ddd.jpg?v=1771857699"},{"product_id":"nove-zamky-owar-neuhausel","title":"Nové Zámky (OWAR \/ Neuhäusel)","description":"\u003cp\u003eThe original colored copperplate engraving from 1595. Author of the engraving: Franz Hogenberg, drawing based on a model by Joris Hoefnagel. Framed under museum-quality anti-reflective UV glass.\u003c\/p\u003e\n\u003cp\u003eThe authorship is indicated below the engraving:\u003c\/p\u003e\n\u003cp\u003eCommunicauit G. Housnaglius: depicT. à filio Ao 1595.\u003c\/p\u003e\n\u003cp\u003e(Provided by G. Housnaglius; depicted by his son. In 1595.)\u003c\/p\u003e\n\u003cp\u003eIn this signature, the name of the author of the original, Joris Hoefnagel, is transcribed into Latin as G. Housnaglius.\u003c\/p\u003e\n\u003cp\u003eThe engraving can be found in institutional collections, including:\u003c\/p\u003e\n\u003cp\u003e• Österreichische Nationalbibliothek, Vienna\u003c\/p\u003e\n\u003cp\u003e• Magyar Nemzeti Múzeum, Budapest\u003c\/p\u003e\n\u003cp\u003e• British Library, London\u003c\/p\u003e\n\u003cp\u003e• Library of Congress, Washington, D.C.\u003c\/p\u003e\n\u003cp\u003e• Bayerische Staatsbibliothek, Munich\u003c\/p\u003e\n\u003cp\u003eThe panoramic view of the fortified town of Nové Zámky (contemporary designation on the engraving: Neuhäusel, OWAR; Neuhäusel is the German name, OWAR is the Hungarian name) is one of the most important iconographic monuments to the history of Renaissance fortification architecture in Central Europe. The engraving depicts a regular hexagonal fortress surrounded by a moat, built as a modern bastion system in the second half of the 16th century to protect the northern border of the Kingdom of Hungary from Ottoman expansion. The town is depicted in a precise geometric layout: massive bastions with sloping fronts, straight connecting walls between the bastions, and water fortifications create a typical example of the so-called Italian fortification system (trace italienne). The inner buildings are organized into a regular grid of streets with a central square, reflecting the planned construction of a fortified town founded in 1573. The composition is divided into two parts: the left half presents a plan-axonometric view of the fortress itself surrounded by watercourses, while the right half develops the landscape context with rural motifs, bridges, mills, and figurative staffage in period clothing, making the veduta not only a military-topographical document, but also a cultural-social image of the landscape.\u003c\/p\u003e\n\u003cp\u003eIn the upper register, there is a title strip with the period name of the town, and on the right, a legend with a letter key to the most important objects. The legend reads:\u003c\/p\u003e\n\u003cp\u003eA. Herm Palsy behaußung (Mr. Pálfi's house)\u003c\/p\u003e\n\u003cp\u003eB. Türishe gefencknüsen (Turkish prison)\u003c\/p\u003e\n\u003cp\u003eC. Catolijhe kirch (Catholic church)\u003c\/p\u003e\n\u003cp\u003eD. Caluinijhe Vngerishe kirch (Calvinist Hungarian Church)\u003c\/p\u003e\n\u003cp\u003eE. Luttershe Teutsche kirch (Lutheran German Church)\u003c\/p\u003e\n\u003cp\u003eF. Hutten zum vieh (Cattle pens)\u003c\/p\u003e\n\u003cp\u003eG. Türkishe kopff (Turkish head)\u003c\/p\u003e\n\u003cp\u003eH. Muele (Mill)\u003c\/p\u003e\n\u003cp\u003eI. Der weg auff Nonggradt (Road to Novohrad)\u003c\/p\u003e\n\u003cp\u003eK. Der weg auff Graam (Road to Hron)\u003c\/p\u003e\n\u003cp\u003eThe engraving also depicts the fortress before its conquest by the Ottoman Empire (1663). At the time of its creation, Nové Zámky was an important and successfully defended anti-Turkish fortress. The defensive character and wartime reality of the border region is also emphasized by the scene in the middle of the sheet: Turkish heads are displayed on a tree, serving as a deterrent symbol of victory and a warning to the enemy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe \"mysterious\" message of the author of the original:\u003c\/strong\u003e In the foreground of the veduta is a figurative scene with a group of nobly dressed figures. This scene probably refers to a specific historical event, which, however, the author did not describe in the accompanying text, and therefore its exact meaning cannot be clearly determined. We can assume that it depicts a horseman who has just dismounted and is paying homage or delivering a message to a noble lady accompanied by a maid and an armed escort. Such an interpretation is iconographically very likely and corresponds to the gestures and social status of the persons depicted.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48298350641403,"sku":null,"price":2900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/braun-hogenberg_nove-zamky_VL_FP.jpg?v=1771859050"},{"product_id":"coronation-of-leopold-i-in-bratislava","title":"Coronation of Leopold I in Bratislava","description":"\u003cp\u003eJune 27, 1655\u003cbr\u003eThe seventh coronation in Bratislava took place in St. Martin's Cathedral, which was the coronation church of Hungarian monarchs from 1563 to 1830\u003c\/p\u003e\n\u003cp\u003eA hand-colored engraving from 1655, framed under museum-quality anti-reflective UV glass, depicts the coronation of Leopold I (June 9, 1640, Vienna – May 5, 1705, Vienna) as King of Hungary in Bratislava (Pressburg). It was the seventh coronation of a Hungarian king in Bratislava since the beginning of the coronation tradition in 1563. The ceremony took place in St. Martin's Cathedral.\u003c\/p\u003e\n\u003cp\u003eThe upper part of the engraving depicts the interior of the cathedral during the coronation ceremony itself. In the center of the composition, the young monarch stands on a raised platform in front of the altar. The Archbishop of Esztergom, as the highest ecclesiastical dignitary in Hungary, performs the anointing and coronation. The Hungarian coronation regalia – the Holy Crown, the scepter, the orb, and the coronation sword – are depicted at the altar. The composition is strictly hierarchical. The monarch is surrounded by magnates, representatives of the estates, court dignitaries, and clergy. The audience is gathered in the upper gallery of the cathedral and in the background. At the bottom of the sheet is the title of the engraving in German: \"Deutliche Vorstellung, mit was Herrlichkeit der Durchleuchtigste Fürst und Herr Leopold Ignatius Ertzhertzog zu Oesterreich, den 16. Junij im Jahr 1655 zu Pressburg zum König in Ungarn einmüßig erwählt und darauff am 27. ejusdem mit gewöhnlichen Ceremonien gekrönet worden.\" (A clear depiction of the glory with which the most illustrious prince and lord Leopold Ignatius, Archduke of Austria, was unanimously elected King of Hungary in Pressburg on June 16, 1655, and then crowned with the usual ceremonies on the 27th of the same month.) The individual groups and persons depicted in the engraving are marked with a letter legend: A. Ihre Röm. Kay. Majest. (His Roman-Imperial Majesty), B. Ihre Königl. Maj. vorm Altar kniend (His Royal Majesty kneeling before the altar), C. Des Königreichs Hungarn Cron, Zepter und Schwert (Crown, Sceptre and Sword of the Kingdom of Hungary), D. Ihre Königl. Maj. Thron (Throne of His Royal Majesty), E. Herrn Nuncius Bapstl. (Papal Nuncio), F. Herr Erz-Bischof von Gran (Archbishop of Esztergom), G. Dero Königreichs Hungaria und Böhmen Herrn Botschafften (Envoys of the Kingdom of Hungary and Bohemia), H. Ihre Kay. Maj. Röm. Kay. Reichs-Augst. Erz-Bohm. (Representatives of the Roman-Imperial and Habsburg Lands), I. Ihre Königl. Maj. Hofstatt (Court of His Royal Majesty), K. Das Königl. Schloß (Royal Castle), L. Wie Ihre Königl. Maj. den Schwur thut (How His Royal Majesty takes the oath).\u003c\/p\u003e\n\u003cp\u003eThe lower part of the engraving shows a panorama of Bratislava at that time. The dominant feature is Bratislava Castle, which served as a repository for the Hungarian crown jewels. These were stored in the castle's Coronation Tower. The crown jewels were carried to St. Martin's Cathedral in a solemn procession under the supervision of designated dignitaries and armed guards. Below the castle, you can see the city walls and towers, with the Danube in the foreground. The army, nobility, and burghers are gathered in front of the city. This is the secular phase of the coronation celebrations, which followed the liturgical ceremony. The newly crowned monarch then moved to the Coronation Hill (mons coronationis), where he drew his sword and turned to the four corners of the world as a sign of defending the country. The hill stood on the site of today's Reduta building (Slovak Philharmonic).\u003c\/p\u003e\n\u003cp\u003eThis is authentic graphic material documenting the coronation. Some copies were subsequently hand-colored. The detailed drawing of the architecture, figures, and heraldic elements attests to the representative character of the work. The engraving is a high-quality graphic work of art. At a time when regular printing in the form of modern newspapers did not yet exist, it served as an important pictorial and textual medium. It made the event accessible to the royal court, the church, and the high nobility. However, the technical nature of copperplate engraving did not allow for high costs – the number of copies was limited to a few hundred, so it did not reach the wider public. The engraving is included in the collections of the Bratislava City Gallery (inv. no. C 7174) and is accessible via the Web umenia portal, which is operated by the Slovak National Gallery. It is also found in the collections of major international institutions such as the Bayerische Staatsbibliothek in Munich, the British Library in London, the Österreichische Nationalbibliothek in Vienna, and the Slovak National Library in Martin. Copies of this engraving can also be found in private collections around the world. This particular copy was purchased in an antique shop in Germany about ten years ago.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48298363158779,"sku":null,"price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/korunovacia_leopold_BA_VL_FP.jpg?v=1771860129"},{"product_id":"ortelius-hungariae-descriptio","title":"Ortelius: HUNGARIAE DESCRIPTIO","description":"\u003cp\u003eThe first detailed Renaissance map of Slovakia with the Slovak double cross on a triple hill was published in 1570, more than 100 years after the invention of the printing press, as part of the first world atlas with 53 maps.\u003c\/p\u003e\n\u003cp\u003eMap title:\u003c\/p\u003e\n\u003cp\u003eHUNGARIAE DESCRIPTIO\u003c\/p\u003e\n\u003cp\u003eIHVNGARIAE DESCRIPTIO, WOLFGANGO LAZIO AVCT.\u003c\/p\u003e\n\u003cp\u003eCUM PRIVILEGIO\u003c\/p\u003e\n\u003cp\u003eEnglish translation:\u003c\/p\u003e\n\u003cp\u003eDescription of the Kingdom of Hungary\u003c\/p\u003e\n\u003cp\u003eDescription of Hungary, author Wolfgang Lazius\u003c\/p\u003e\n\u003cp\u003eWith royal printing privilege\u003c\/p\u003e\n\u003cp\u003eAuthor: Wolfgang Lazius (*1514, Vienna – †1565, Vienna), Viennese humanist scholar, historian and cartographer in the service of Ferdinand I, Holy Roman Emperor (from 1558).\u003c\/p\u003e\n\u003cp\u003eDimensions with frame: 67 × 74 cm. Original hand-colored engraving, professionally matted in a gold frame, under anti-reflective museum UV glass – well-preserved specimen.\u003c\/p\u003e\n\u003cp\u003eThis map is found in the collections of leading world institutions. Among others, in the British Library (London), Bibliothèque nationale de France (Paris), Österreichische Nationalbibliothek (Vienna), Bayerische Staatsbibliothek (Munich) and Library of Congress (Washington, D.C.). Many copies are also found in private collections.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe invention of printing in the mid-15th century.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1454–1455, Johannes Gutenberg printed the Bible, the first large-scale printed book in Europe, with a print run of approximately 160–180 copies. The price of a copy ranged from approximately 30 to 50 florins, which was about three times the annual income of a city official, and was therefore only affordable to the wealthiest members of society. After failing to repay his loan to his investor, Johann Fust, Gutenberg lost his printing press in 1455.\u003c\/p\u003e\n\u003cp\u003eApproximately 48–49 copies (about 21 complete ones) have survived to this day. One of them was sold in New York in 1987 for approximately $5.5 million, which would be equivalent to about $13–14 million today; in the current market, the price of a complete copy could reach approximately $30 million.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistorical context:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Battle of Mohács (August 29, 1526) marked a turning point in the history of the Kingdom of Hungary. The Hungarian army was defeated by the Ottoman Empire under the leadership of Sultan Suleiman I, and King Louis II Jagiellon was killed. Subsequently, the Kingdom of Hungary was divided. The Hungarian Kingdom subsequently split. A significant part of the state administration, church hierarchy, nobility, and intellectuals moved to the northern regions of the kingdom. The territory of present-day Slovakia (Upper Hungary) thus became the core of the Habsburg Kingdom of Hungary. In 1536, Bratislava (Pressburg\/Posonium\/Pozsony) became the capital and coronation city of the Kingdom of Hungary and the seat of the Hungarian Diet; during the coronations of Hungarian kings between 1563 and 1830, 11 kings and 8 queens were crowned here.\u003c\/p\u003e\n\u003cp\u003eKomárno, Nové Zámky, Fiľakovo, Košice, and Levice (today regional and almost unknown cities) formed an important part of the defensive system of royal Hungary on the border with the territories conquered by the Turks in the 16th century. They were among the strategic fortresses discussed at royal courts and in armies throughout the Christian world because they were part of the anti-Turkish defense line of what is now Slovakia (then Upper Hungary).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Slovak coat of arms – its origin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIts origin can be seen in the heraldic representation on the map: in the upper left corner is the coat of arms of the Kingdom of Hungary, vertically divided into red and white stripes and a field with a white double cross (in the historical variant on this map with three bars) rising from three hills, which in modern Slovak historiography are identified with the Tatra, Fatra, and Matra, i.e., with the territory of present-day Slovakia. This symbol was part of the heraldry of the Kingdom of Hungary and in modern times became the basis for the current national emblem of the Slovak Republic.\u003c\/p\u003e\n\u003cp\u003eIn Slavic interpretation, the double cross is traditionally associated with the Cyril and Methodius mission and the symbolism of Saints Cyril and Methodius. In Hungarian heraldic tradition, the double cross is understood as the apostolic cross of the Kingdom of Hungary, expressing the Christian legitimacy of royal power. The three-armed form on this map may represent a contemporary variant of the apostolic cross; its form is visually similar to the papal triple cross, which may have increased the sacred and symbolic significance of the image, but this is not direct evidence of the deliberate use of the papal heraldic symbol.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA \"mysterious\" hidden message in the map\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRoughly in the middle of the map, Wolfgang Lazius inserted the following Latin text:\u003c\/p\u003e\n\u003cp\u003e\"VERTHES monſ hungaricie BATON germanice dem Schikberg quod Henrici III imp. iussu caſtrametatum ... contra Belam Hungarie Rege ... famieg preſum relictis ſcutis caſtra deſeruiffe.\"\u003c\/p\u003e\n\u003cp\u003eEnglish translation:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem data-end=\"725\" data-start=\"480\"\u003eMount Vértes, in Hungarian called Baton, in German Schiltberg — because, as the story goes, Emperor Henricus III had pitched his camp here against King Béla of Hungary, and was forced by hunger to give up this camp, leaving his shields behind.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp\u003eWolfgang Lazius, the author of this map, was not just a cartographer. He was a humanist. And he knew what he was doing. He put stories into his maps. Memories. Symbols. Such texts are not decoration. They are a statement. They remind us that the country has a history and that the Kingdom of Hungary has its own experience of resistance. The hidden reference to Vértes is not accidental. At a time when Ottoman troops – \"pagan hordes\" – in armies numbering tens of thousands and often more than a hundred thousand men repeatedly attacked the southern borders of the kingdom, these borders gradually shifted to the territory of present-day Slovakia. It was here that the defensive line of Upper Hungary was created. The kingdom's defenses were concentrated on the Vienna-Bratislava-Komárno-Nové Zámky-Fiľakovo-Levice-Košice line. This is where the border was held. This is where survival was decided.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48301058064635,"sku":null,"price":3000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/ortelius_VL.jpg?v=1771945622"},{"product_id":"jan-jansson-danube","title":"Joannes Blaeu: Danube","description":"\u003cp\u003eDANVBIVS. FLVIVS EUROPAE MAXIMVS, A FONTIBVS AD OSTIA, Cum omnibus Fluminis, ab utroque latere, in illum fluentibus. (The Danube. The largest European river, from its sources to its mouth, with all the rivers flowing into it from both sides.) \u003c\/p\u003e\n\u003cp\u003eThe original map, published in Amsterdam around 1640, is on display, a copperplate engraving with period hand coloring.\u003c\/p\u003e\n\u003cp\u003eAuthor:  \u003cspan\u003eJoannes (Joan) Blaeu (*1596 Alkmaar – †1673 Amsterdam)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eTechnique: copperplate engraving (with period hand coloring)\u003c\/p\u003e\n\u003cp\u003eFormat: large-format horizontal map\u003c\/p\u003e\n\u003cp\u003e2. This monumental map of the Danube is one of the highlights of 17th-century Baroque cartography. It shows the course of the river from its sources in the Black Forest to its mouth on the Black Sea, including its main tributaries. The composition is designed as a wide horizontal strip following the Danube as the geographical and political axis of Central and Southeastern Europe. Historical Hungary is marked as HUNGARIA and supplemented by a dense network of towns and counties. The relief is depicted by drawing mountain ranges (the Alps, Carpathians, Balkan Mountains), with waterways highlighted in color. The map includes a scale (Scala milliarium Germanicorum et Italicorum) and a regular geographical grid. The map was created at a time when the upper Danube was controlled by the Habsburg Monarchy, while the lower section was under the temporary control of the Ottoman Empire. This situation highlights the strategic and political importance of the river as a transport and defense line. The territory of present-day Slovakia is shown as part of Upper Hungary, with important towns and fortresses marked, documenting the administrative and military position of the region in the Danube area.\u003c\/p\u003e\n\u003cp\u003e3. Artistic representation. The map is decorated with two distinctive Baroque cartouches. The lower cartouche depicts an allegorical representation of the Danube River as a mighty river god with a vessel from which water flows, surrounded by personifications of its tributaries in the form of smaller water deities. The upper title cartouche has a distinctly political character: on the left stands an armed representative of the Christian world with a raised sword and a shield bearing the Habsburg eagle; on the right is an Ottoman warrior – a Turkish conqueror – also with a sword aimed at his opponent. Between them is a dramatic mascarone – the head of a monster – as a symbol of danger and tension. On the right side of the scene, a female allegorical figure tramples on a Christian cross. The godlessness of the conquerors is emphasized by their aggressive stance, pointed swords, and iconographic details such as the trampled Christian cross and the menacing mascarone head. We can assume that the lizard under the feet of the Ottoman figures symbolizes the subjugation, devastation, and disruption of order that the occupation brought.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48391912653051,"sku":null,"price":3000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/dunaj_VL_FP.jpg?v=1772534978"},{"product_id":"nicolaus-visscher-kingdom-of-hungary-and-danube-river","title":"Nicolaus Visscher: Kingdom of Hungary and Danube river","description":"\u003cp\u003eTotius Regni Hungariae, Maximaeque Partis Danubii Fluminis, una cum adjacentibus et finitimis Regionibus Novissima Delineatio\u003c\/p\u003e\n\u003cp\u003e(The latest depiction of the entire Kingdom of Hungary and most of the Danube River, together with adjacent and neighboring countries)\u003c\/p\u003e\n\u003cp\u003eOriginal map by Dutch cartographer and publisher Nicolaus Visscher (*1618 Amsterdam – †1679 Amsterdam), an original copperplate engraving from the second half of the 17th century, published in Amsterdam and hand-colored. The map was published in several editions and was part of the wider production of the Amsterdam cartographic workshop, which was one of the most important map publishers in Europe at the time. In the 17th century, the Netherlands was the center of world cartography, and its maps were distributed in large quantities to universities, church institutions, royal courts, trading companies, and private collections across Europe and overseas. The estimated print run of such map sheets ranged from hundreds to more than a thousand copies, and examples can now be found in many important institutional collections and libraries around the world.\u003c\/p\u003e\n\u003cp\u003eThe map shows the entire historical Kingdom of Hungary, together with the extensive flow of the Danube and the adjacent countries of Central and Southeastern Europe. It was created at a time when the territory of Hungary was politically divided. After the defeat at Mohács (1526) and the occupation of Buda (1541), the country was divided into three parts: the northern and western areas formed the so-called Royal Hungary under the rule of the Habsburg monarchs, the center of the country was incorporated into the Ottoman Empire, and the eastern territory was represented by the Principality of Transylvania as an Ottoman vassal. The border between the power blocs was not a fixed state line, but an unstable zone of fortresses and military clashes. However, the map depicts \"Regnum Hungariae\" as a historical and legal entity, not as an actually divided space. \u003c\/p\u003e\n\u003cp\u003eThe ideological dimension of the map culminates in the richly composed title cartouche. The central figure of the monarch with a sword and helmet decorated with the Hungarian double cross symbolizes a ruler who, in times of danger, sets aside his coronation majesty and accepts the role of defender of the nation. The central figure of the monarch with a sword and helmet decorated with the Hungarian double cross symbolizes a ruler who, in times of danger, sets aside his coronation majesty and takes on the role of military defender of the country. The helmet replaces the royal crown and expresses the transformation of royal authority into the active defense of the Christian state. The figure behind him with another helmet emphasizes constant readiness for battle. On the right side of the cartouche are figures in turbans – a contemporary image of the Ottomans – in a subordinate position with a chain motif as an allegory of the expected victory over the Ottoman Empire. Above the title field hovers the heraldic imperial eagle, a symbol of Habsburg power, which visually covers the entire territory and emphasizes the claim to the unity of the kingdom.\u003c\/p\u003e\n\u003cp\u003eNota juridica. The division of the country meant not only political fragmentation, but also the parallel existence of different legal systems. In Royal Hungary (with its administrative center in the northern part of the kingdom, in what is now Slovakia), Hungarian estates law based on medieval legal codifications and provincial laws continued to apply. In the territories under direct Ottoman administration, Ottoman law was applied, combining Islamic (sharia) norms with the administrative regulations of the sultan. The Principality of Transylvania, as a vassal state of the Ottoman Empire, retained its own legal system and internal autonomy, although it recognized the sovereignty of the sultan. Thus, in the 17th century, one historical kingdom functioned under three different legal regimes.\u003cbr\u003e\u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48392043102459,"sku":null,"price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/uhorsko_dunaj_FP.jpg?v=1772536881"},{"product_id":"iustinus-danckerts-map-of-central-and-southern-europe","title":"Iustinus Danckerts: Map of Central and Southern Europe","description":"\u003cp\u003eREGNI HUNGARIAE, GRAECIAE ET MOREAE\u003cbr\u003eac Regionum, quae ei quondam fuere Christiani …\u003cbr\u003eMaximae Partis Danubii Fluminis.\u003cbr\u003eNovissima Delineatio per Iustinum Danckerts.\u003c\/p\u003e\n\u003cp\u003eTranslation of title:\u003cbr\u003eThe Kingdom of Hungary, Greece, and Morea, as well as countries that were once Christian – Transylvania, Wallachia, Moldavia, Bessarabia, Bosnia, Slavonia, Serbia, Bulgaria, Croatia, Romania, Dalmatia, Morlachia, the Republic of Ragusa – and most of the Danube River.\u003c\/p\u003e\n\u003cp\u003eThe latest depiction by Justin Danckerts.\u003c\/p\u003e\n\u003cp\u003eAuthor: Iustinus Danckerts (*1635 Amsterdam – †1701 Amsterdam)\u003cbr\u003ePlace of publication: Amsterdam\u003cbr\u003eDate: around 1688–1700\u003cbr\u003eTechnique: copperplate engraving, hand coloring\u003cbr\u003eLanguage: Latin\u003cbr\u003eExpert catalog description (expanded to include border context)\u003c\/p\u003e\n\u003cp\u003e1. This large-format Baroque map depicts the Kingdom of Hungary, the Balkans, Greece, and Morea (Peloponnese), including most of the Danube River (Danubii Fluminis). Political entities are highlighted by hand-coloured borders.\u003c\/p\u003e\n\u003cp\u003e2. At the time the map was created, the area depicted was the territory through which the border between the Habsburg Monarchy and the Ottoman Empire ran. It was not a stable line, but a variable military zone formed by a system of fortresses and defensive sections.\u003c\/p\u003e\n\u003cp\u003e3. In the territory of present-day Slovakia, this border ran mainly:\u003c\/p\u003e\n\u003cp\u003e• along the lower reaches of the Danube,\u003c\/p\u003e\n\u003cp\u003e• in the Komárno area,\u003c\/p\u003e\n\u003cp\u003e• through Novohrad and Pohronie,\u003c\/p\u003e\n\u003cp\u003e• towards the Upper Hungarian towns.\u003c\/p\u003e\n\u003cp\u003e4. The Danube formed a strategic axis, which was not only a geographical but also a military-political border. The most important fortresses in this section were Komárno, Nové Zámky, Fiľakovo, and Levice, which were directly affected by the Ottoman conquests in the 16th and 17th centuries or were located in the immediate border zone.\u003c\/p\u003e\n\u003cp\u003e5. The cartouche in the lower left corner contains an allegorical figure of a warrior, an eagle on a globe, and a scene of fallen figures in oriental clothing. The iconography visually reflects the Ottoman-Habsburg clashes of the second half of the 17th century and supports the ideological message of the title, which refers to countries that were \"once Christian.\"\u003c\/p\u003e\n\u003cp\u003e6. The map thus serves not only as a geographical representation, but also as a political and ideological message. The Danube is presented as the axis of civilization and the area of former Hungary as a border zone between two spheres of power and religion.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48392080818427,"sku":null,"price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/slovensko_stredna-europa_FP.jpg?v=1772547636"},{"product_id":"fabricius-map-of-moravia-moravia-quae-olim-marcomannorum-sedes","title":"Fabricius’ Map of Moravia (Moravia, Quae Olim Marcomannorum Sedes)","description":"\u003cp\u003eAuthor: Paulus Fabricius (1519–1589)\u003c\/p\u003e\n\u003cp\u003eEngraver: Franz Hogenberg\u003c\/p\u003e\n\u003cp\u003ePublished: Antwerp, 1573 (published in Abraham Ortelius’s prestigious atlas Theatrum orbis terrarum)\u003c\/p\u003e\n\u003cp\u003eTechnique: Colored copperplate engraving\u003c\/p\u003e\n\u003cp\u003eDescription of the work\u003c\/p\u003e\n\u003cp\u003eThis is the third (simplified) version of the very first standalone printed map of Moravia, the original draft of which was created in 1569. Pavel Fabricius, a native of Lubáň in Upper Lusatia and personal physician to Emperor Maximilian II, compiled the map after a lengthy survey of the terrain and his own astronomical measurements of geographical latitudes. The print presented here was produced for Abraham Ortelius’s most famous atlas of the time.\u003c\/p\u003e\n\u003cp\u003eKey Elements\u003c\/p\u003e\n\u003cp\u003e• Cartouche and Title: In the upper left corner is a richly decorated Renaissance cartouche with a Latin title referring to Moravia as the former seat of the Germanic Marcomanni (Moravia, Quae Olim Marcomannorum Sedes...).\u003c\/p\u003e\n\u003cp\u003e• Symbolism and scale: In the lower right corner is a graphic scale in the form of a triangulation triangle with a compass and the Moravian eagle.\u003c\/p\u003e\n\u003cp\u003e• Orientation: Unlike many other contemporary works, which were oriented toward the south or east, this map is constructed with a modern orientation—that is, north at the top (as confirmed by the inscription SEPTENTRIO at the top edge of the frame). The cardinal directions OCCIDENS (west), ORIENS (east), and MERIDIES (south) are also marked on the edges of the frame.\u003c\/p\u003e\n\u003cp\u003e• Nomenclature and neighboring countries: The map primarily uses a corrupted German nomenclature (Czech names were engraved into the plates only in later editions). The edges of the map define the neighboring territories: Bohemia (Bohemiae pars), Silesia (Silesiae pars), Hungary (Hungariae pars), and Austria (Austriae pars).\u003c\/p\u003e\n\u003cp\u003eOccurrence and Location of Copies\u003c\/p\u003e\n\u003cp\u003eOriginal separate prints from 1569 are extremely rare, and only a few copies have survived worldwide (unique proof prints without text are, for example, part of the so-called Lafreri atlases at the British Library in London).\u003c\/p\u003e\n\u003cp\u003eMuch more numerous are these derivatives and sheets extracted from Ortelius’s atlases after 1573. In the Czech Republic and abroad, various variants and prints of Fabricius’s map can be found in the following major institutions:\u003c\/p\u003e\n\u003cp\u003e• Moravian Provincial Library in Brno; (the most significant domestic copy is part of the famous Moll Collection)\u003c\/p\u003e\n\u003cp\u003e• Map Collection of the Institute of History, Czech Academy of Sciences in Prague\u003c\/p\u003e\n\u003cp\u003e• Comenius Museum in Přerov (owns an extensive collection of historical cartography of Moravia, including works derived from Fabricius’s map)\u003c\/p\u003e\n\u003cp\u003e• National Library of the Czech Republic in Prague\u003c\/p\u003e\n\u003cp\u003e• Map Collection of the Faculty of Science, Charles University in Prague\u003c\/p\u003e\n\u003cp\u003e• Institute of Geography, Masaryk University in Brno\u003c\/p\u003e\n\u003cp\u003e• Moravian Cartographic Center in Velké Opatovice (copies or derivatives as part of the permanent exhibition on the mapping of Moravia)\u003c\/p\u003e\n\u003cp\u003eHistorical Significance\u003c\/p\u003e\n\u003cp\u003eFabricius’s work represents a groundbreaking milestone in Moravian cartography. Its accuracy surpassed all earlier depictions of the region, and in various reprints (by authors such as Hondius, Janssonius, de Jode, and Mercator), it served as the primary and unsurpassed model until the first third of the 17th century, when it was replaced by the more modern cartographic work of Jan Amos Comenius.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48561326227707,"sku":null,"price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/fabricius_FP_m.jpg?v=1774871570"},{"product_id":"comenius-map-of-moravia-visscher-s-edition-1664","title":"Comenius’ Map of Moravia (Visscher’s edition, 1664)","description":"\u003cp\u003eWork details:\u003c\/p\u003e\n\u003cp\u003e• Title: Moravia nova et post omnes priores accuratissima delineatio\u003cbr\u003e• Author: Jan Amos Comenius (March 28, 1592, likely Nivnice near Uherský Brod – November 15, 1670, Amsterdam, Netherlands)\u003cbr\u003e• Publisher: Nicolaus Visscher (born Claes Janszoon Visscher, Latin name Piscator; January 25, 1618, Amsterdam – December 1, 1679, Amsterdam)\u003cbr\u003e• Date: 1664 (this print); the original draft was created between 1624 and 1627\u003cbr\u003e• Technique: Original copperplate engraving, 47 x 55 cm\u003c\/p\u003e\n\u003cp\u003eThis work represents one of the most significant cartographic monuments of Moravian history. Comenius’s map of Moravia was created as a critical response to the inaccuracies of the older map by Pavel Fabricius (1569). The author began working on it even before his forced exile, but the main revisions and preparations for publication took place while he was in exile (Poland, Sweden, the Netherlands).\u003cbr\u003eComenius’s activities in exile and Swedish collaboration:\u003cbr\u003eJan Amos Comenius spent most of his creative life in exile. In exile, he became a European-renowned scholar and advisor on matters of educational reform. His cartographic work, however, also had a profound political and religious dimension. There is historical evidence that Comenius ultimately prepared the map at the instigation of Swedish Chancellor Axel Oxenstierna, and consequently for the needs of the Swedish crown. In the context of the Thirty Years’ War, the map was intended to serve Swedish troops as a strategic basis for military operations in Moravia. Comenius, as a representative of the Unity of the Brethren, placed his hopes in the Swedish intervention for the military defeat of the Habsburgs, the redress of injustices committed against Czech and Moravian Protestants, and their subsequent return to their homeland.\u003cbr\u003eThe map’s uniqueness lies in the author’s methodology: although Comenius worked in exile, he achieved extraordinary accuracy thanks to intensive written correspondence with his collaborators and friends directly in Moravia. Through this long-distance consultation, he created a work whose accuracy surpassed all contemporary maps and served as the standard for depictions of Moravia for the next 150 years.\u003cbr\u003eFull Latin text of the dedication and inscriptions:\u003c\/p\u003e\n\u003cp\u003eTitle cartouche:\u003cbr\u003e• Latin: MORAVIA NOVA ET POST OMNES PRIORES ACCURATISSIMA DELINEATIO. Auctore I. A. Comenio. \u003c\/p\u003e\n\u003cp\u003e• English: Moravia, newly and most accurately depicted of all previous editions. By J. A. Comenius.\u003c\/p\u003e\n\u003cp\u003eDedication (top left):\u003cbr\u003e• In Latin:\u003c\/p\u003e\n\u003cp\u003eIllustrißo. Do. LAD. WELENIO de Zerotin, Luntenburgi, Treboviae, Hanstadii, et Ruddae Domino, gratissimo Domino meo. Prostant quam plurimae diversarum editionum Chorographicae tabulae Patriae nostrae, Illustrißime Domine, verum mendosißimae omnes: Solus enim quantum sciam, P. Fabritius, olim Ferdinandi Imperatoris Medicus, eam lustratam in Tabulam redegit, reliquae quotquot prodierunt posthaq, ex hac descripte sunt, varys variè illapsis erroribus. Primum enim multa praecipuj nominis loca paßim omittuntur, obscura quandoque reponuntur: Tum appellationes corrumpuntur mirè, et quod maximum est situs locorum et distantie vix usquà sibi constant, ut illarum nullus penè sit usus. Non igitur me cohibui, quin invito hoc otio meo, semel atq. iterum peragratâ ea, et si qua loca pedibus, oculisvè adire et metiri non contigit, hominibus eorundem locorum gnarist exquisitè adhibitis in consilium emendatiorem reddere tentarim, quod jam hic exhibeo. Hic enim jam, primum, Urbes et Oppida: Secundo: Arces, Castella, Monasteria, Pagos insigniores plerosque. Tertio, Montes et Fluvios qui itinerantibus transeundi sût, aut se spectandos offerunt: Thermas item, Metalli fodinas, Officinas vitriarias, Vinetorum colles. Quarto: Et (quod precipuè elaboraram) veriores ubique locorum distantias. Denique, quia pleraeque locorum appellationes aliter Bohemis (quorum sermone major Provinciae pars utitur) aliter Germanis efferuntur, utrasque subinde posui, quo utriusque lingue hominibus Tabula haec usui sit. Quam tibi Magnifice Domine, utpote Patriae Magnati, magnoque Patrono meo, dico, dedico, Deum orans ut quam primum te Patriae Patriamq. tibi magno utrimque gaudio, restituat. Dabam in exilio, Illustrißae Magtiae Tuae addictißimus I. A. Comenius.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn English:\u003c\/p\u003e\n\u003cp\u003eTo His Highness, Lord Ladislav Velen of Žerotín, Lord of Břeclav, Třebová, Hohenstadt, and Ruda, my most gracious lord. There are many topographical maps of our country available in various editions, Your Highness, but they are all riddled with errors. As far as I know, only Pavel Fabricius, once the physician to Emperor Ferdinand, drew it on a map based on his own survey; the others, however many were published after him, are copied from this one, and various errors have crept into them. First of all, many place names are omitted everywhere, and sometimes unknown places are listed. Furthermore, names are strangely distorted, and most importantly, the locations and distances hardly ever correspond, making them almost unusable. I could not resist, therefore, despite this unplanned free time, from attempting to correct it. I went through it again and again, and where I was unable to visit and measure certain places personally, I relied on the advice of people familiar with those places to present it in a better state, which I now submit here. Here, then, are first: cities and towns; second, castles, chateaus, monasteries, and most of the more significant villages; third, mountains and rivers that travelers must cross or that are worth seeing; as well as spas, metal mines, glassworks, and vineyards. Fourth (on which I worked the most) are more accurate distances between places throughout. Finally, since most place names are pronounced differently by the Czechs (whose language is spoken by the majority of the province) and by the Germans, I have included both, so that this map may be of use to people of both languages. I dedicate and present this map to you, noble lord, as a leading nobleman of the homeland and my great patron, praying to God that He may return you to your homeland as soon as possible, and your homeland to you, to the mutual joy of both. Given in exile, most devoted to Your Most Illustrious Highness, J. A. Comenius.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCataloged and in collections:\u003cbr\u003eDue to its international significance, Comenius’s map of Moravia (including Visscher’s 1664 edition) is held in leading scientific and memory institutions around the world:\u003cbr\u003eDomestic institutions:\u003cbr\u003e• Moravian Provincial Library in Brno (the significant Moll Collection)\u003cbr\u003e• National Library of the Czech Republic in Prague\u003cbr\u003e• Map Collection of the Faculty of Science, Charles University in Prague\u003cbr\u003e• Moravian Museum in Brno\u003cbr\u003e• Jan Amos Comenius Museum in Uherský Brod\u003cbr\u003eInternational institutions:\u003cbr\u003e• Austrian National Library in Vienna (Österreichische Nationalbibliothek)\u003cbr\u003e• British Library in London (British Library)\u003cbr\u003e• National Library of France in Paris (Bibliothèque nationale de France)\u003cbr\u003e• Berlin State Library (Staatsbibliothek zu Berlin)\u003cbr\u003e• Rijksmuseum in Amsterdam (due to the origin of the publisher Visscher)\u003cbr\u003e• National Library of Sweden in Stockholm (Kungliga biblioteket)\u003cbr\u003e• Library of Congress in Washington, D.C. (Library of Congress)\u003cbr\u003e• Silesian Library in Katowice (Biblioteka Śląska)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DIVUS","offers":[{"title":"Default Title","offer_id":48561339465979,"sku":null,"price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/files\/komensky_VL_FP_630602e0-b34b-4e70-b4a3-8efc37664584.jpg?v=1774873904"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0689\/9266\/3803\/collections\/05_art.svg?v=1726099879","url":"https:\/\/divus.cz\/es\/collections\/art-1.oembed?page=3","provider":"DIVUS","version":"1.0","type":"link"}