| Abstrakt: |
Recently, a larger set of works painted by Judas Thaddäus Supper (1712–1771) for the parish church in Dietrichstein Přibyslav, and for the Cistercian monastery church in Pohled has been identified. These findings have prompted further research into this painter, born in Mohelnice and established in Moravská Třebová from the mid-1730s, especially in connection with the possibilities of his wider establishment in Bohemia. Until then, Supper was seen by the professional literature mainly as a painter working for the churches of the Liechtenstein estates in the Moravian-Czech border region (Moravská Třebová, Zábřeh). This established view was basically determined by the very first profile devoted to Supper’s person, written at the end of the 18th century by the Moravian historiographer Johann Peter Cerroni. Outside the Liechtenstein holdings, this contribution registered only a minimum number of other works (for the Cistercians in Žďár nad Sázavou, the Jesuits in Uherské Hradiště), and in Bohemia only one commission for the Cistercians at Sedlec near Kutná Hora. Nevertheless, Cerroni himself, albeit in a simple list and without any further explanation, had already mentioned several other places in Bohemia with alleged works by Supper. However, later the validity of these ascriptions was always rejected. However, a new thorough inspection of these sites evidently confirmed Cerroni’s general assumptions. Specific works by Supper were newly discovered, for example, in the church in Sádek u Poličky, in churches under the administration of the Svitavy parish (Kamenná Horka, Javorník) or in several other places not yet associated with his work on both sides of the CzechMoravian border. Above all, however, further research identified overlooked works by Supper in the patron churches of the Brandýs estate of the Trauttmannsdorfs at Svatý Jiří and Brandýs nad Orlicí, in the Hohenemb churches in Bystré and Trpín, and in the churches in Mlékosrby and Žehuň on the Kinský estate at Chlumec. The identification of Supper’s hitherto unknown painting at Nekoř on the Bred estate in Kyšperk, as well as his overlooked contribution to the decoration of the parish church in Lanškroun, reaffirmed the painter’s many years of cooperation with the Tomášek sculptural workshop, noted to date mainly in the Moravská Třebová and Zábřeh regions. And the examination of Supper’s involvement in furnishing the church at Slatiny in the Jičín region showed that in the eyes of the client, Countess Šliková, his output made him an artist comparable in quality with the leading Prague painters employed by her (Siard Nosecký, Felix Anton Scheffler). Such a perception of Supper can be expected from other clients. Supper, working skilfully in the field of mural painting and repeatedly sought after as a creator of altar and hanging paintings, but also of portraits, represented in the area of eastern Bohemia – in the period from the early 1740s until his death – an interesting alternative to the creation of leading contemporary Prague and Moravian painters from both the metropolises of Brno and Olomouc, as well as the increasingly addressed painters from around the Vienna Academy. [ABSTRACT FROM AUTHOR] |
