Zprávy památkové péče 2019, 79(2):173-189 | DOI: 10.56112/zpp.2019.2.09

Depictions of Kutná Hora in the 19th century. Between drawing, graphics, painting, and photography

Lukáš Veverka

Depictions of Kutná Hora date back to 1602, in particular to the veduta of Jan Willenberg; for almost 300 years, this was an almost binding model that directly influenced the perception of the city as well as attitudes and opinions on how it should be depicted (Čáslav veduta, Baroque prints, Biedermeier paintings). An exception in this period was F. B. Werner with his veduta of the town from the Sedlec Monastery; it significantly changed its position for the first time, and he demonstrably went directly into the terrain.
The 19th century brought more changes in locations; the hillside above Vrchlice ceased to be exclusively used, and new locations were added: the ponds south of the cathedral, the Kaňkov mound, and the Karlov suburb. This became as sought after as the Rovenské vrchy had been in the past. Vincenc Morstadt and his veduta from 1823 played a role similar to that of Willenberg in the 19th century. By linking the view of the cathedral, the Jesuit College, and the Lower Town, it became a model for many imitations. Still, Willenberg's influence was not lost but still appeared; only with updated details, or as a compilation with Morstadt's view.
With the advent of photography, vedutas retreated to the background, but drawings did not. The photograph replaced the veduta as a medium, but it was still closely connected in terms of composition and use of viewpoints. The oldest panoramic photograph by Jindřich Dittrich (1865) utilized the same viewpoint as chosen by Morstadt 40 years earlier. Karlov thus remains widely used by photographers and artists alike.
The oldest known photographic series of the city is from the Viennese photographer Andreas Groll from 1855 and 1856; his invitation was closely related to cooperation with the Central Commission and a personal involvement with Kutná Hora native J. E. Vocel. Groll most likely composed his images as requested by the Commission, while the style of his private works approach older graphics and drawings from the 1930s. It is difficult to talk about a direct connection in some cases, but later series of local photographers (Dittrich, Dajbych) often resemble those of Groll, which, by analogy, take over older graphic patterns.
Since the 1980s, one can talk about mutual influence of the media, with drawing artists such as Levý, Dobeš, and Šetelík creating stylistically different works that are still subject to the period. The role of photography and postcards here cannot be underestimated; in many of Šetelík's drawings we find principles that would be "more natural" for working with photography, while in contrast, Levý is often comparable to photographers with his picturesque atmospheres of scenes to the virtual edge of the genre, or conversely with descriptive drawings.
The photography of that time was limited by its technology, so we find similar procedures in the 1920s and 1930s. Šetelík has the closest approach to both approaches (photographic and drawing), combining detailed accuracy with the lightness of drawings. Some of his drawings can be compared with specific images from the 1870s in their composition and overall tone. We may also be convinced of mutual influence by examples in which he works with a composition scheme which is then processed by the photographer.
It is this intertwining that is reflected in the reconstruction of the cathedral. Preserved drawings and photographs indicate the presence of both media, but drawings still prevail. At a time when photographic documentation is a well-established practice, we meet here with Mocker's sketchbooks and many other free sets of sketches. Hundreds of drawings depict details of the construction and plastic decorations. The above examples of the reconstruction of the pillar with the statue of St. Wenceslas and the attica sculptures of the "Dance of the Fools" both demonstrate the use of both media at the same time. However, this blending comes across as unsystematic, as it is probably impossible to prove a direct connection between architects and designers and any ordered photo-documentation.
Towards the end of the century, photo postcards with views of the city and individual buildings still lead. They draw on older photographs, or repeat their compositional schemes, and also use vedutas to create an atmosphere. Thanks to postcards, at the turn of the 1980s and 1990s, more consistent photographic documentation of the city was developed. In addition to the main sights, views of the town houses emerge, as do smaller panoramic views and sculptural details. A number of new views are added, however, such as church towers, the cathedral's support system, and perspectives from a balloon.

Keywords: Kutná Hora; St. Barbara Cathedral in Kutná Hora; veduta; 19th century photography; Andreas Groll; Josef Mocker; Jan Willenberg

Published: June 1, 2019  Show citation