Eugène Emmanuel Ernest d’Halwin marquis de Piennes: a Portrait of a Donor of the Strossmayer Gallery in Zagreb

U zbiru donacija iniciranih darovnicom biskupa Josipa Jurja Strossmayera (Osijek, 1815. – Đakovo, 1905.), na kojima je temeljen fundus Strossmayerove galerije starih majstora HAZU, svojom se vrsnoćom, brojem umjetnina, a posebno osebujnim životopisom samoga donatora ističe donacija francuskog aristokrata Eugènea Emmanuela Ernesta d’Halwina marquisa de Piennesa (Périers, 1825. – Vrbovec, 1911.), diplomata Drugog Carstva, intimusa carske obitelji, komornika carice Eugènie i viteza Legije časti. Njega su turbulentna povijesna zbivanja odvela daleko od rodne Francuske, a 1879. godine za svoju je novu domovinu izabrao Hrvatsku, i Vrbovec, u kojem je našao utočište, a u konačnici i vječni mir. Strossmayerovoj galeriji poklonio je trideset umjetničkih djela, od čega devetnaest slika francuskih umjetnika, koje čine temelj njezine francuske zbirke.Eugène Emmanuel Ernest d’Halwin, marquis de Piennes, a French aristocrat and diplomat of the Second Empire in the personal service of the Empress Eugenia, was born in Périers in the Manche department in Normandy on 20 January 1825. Between 1850 and 1862 he served as a diplomat in Munich, Lisbon, St. Petersburg, Moscow and Rome. Upon his return to Paris in 1862 he was appointed chamberlain to the Empress, a duty he obtained until the end of the Empire in 1870 and the exile of Napoleon III and the royal family to England. Due to his friendship with Baron Maurice de Hirsch, who initiated the construction of the railway from Vienna to Istanbul in 1869, the marquis became a member of the Oriental Railways committee

Otmica Sabinjanki i Bitka kod Isa (?) – Dvije tapiserije bruxelleske radionice iz druge polovice 16. stoljeća u fundusu Strossmayerove galerije u Zagrebu

U članku se prvi put razmatraju okolnosti nabave i tematika dviju tapiserija iz fundusa Strossmayerove galerije starih majstora, koje je biskup Strossmayer nabavio u Rimu 1875. godine. Tapiserije do sada nisu bile predmetom istraživanja i nisu bile publicirane. Recentnim pronalaskom tematskih i stilski srodnih djela, uz konzultaciju renomiranih svjetskih stručnjaka na tome području, omogućen je ispravak ranijega nepreciznog tumačenja tematike i atribucija tih kvalitetnih radova iz druge polovine 16. stoljeća, kao i njihova interpretacija u kontekstu odgovarajućeg prostorno-vremenskog okvira

Otmica Sabinjanki i Bitka kod Isa (?) – Dvije tapiserije bruxelleske radionice iz druge polovice 16. stoljeća u fundusu Strossmayerove galerije u Zagrebu

U članku se prvi put razmatraju okolnosti nabave i tematika dviju tapiserija iz fundusa Strossmayerove galerije starih majstora, koje je biskup Strossmayer nabavio u Rimu 1875. godine. Tapiserije do sada nisu bile predmetom istraživanja i nisu bile publicirane. Recentnim pronalaskom tematskih i stilski srodnih djela, uz konzultaciju renomiranih svjetskih stručnjaka na tome području, omogućen je ispravak ranijega nepreciznog tumačenja tematike i atribucija tih kvalitetnih radova iz druge polovine 16. stoljeća, kao i njihova interpretacija u kontekstu odgovarajućeg prostorno-vremenskog okvira

The Problem of Authorship of the Portrait of Madame Récamier from the Strossmayer Gallery of Old Masters

Godine 1903. vlastelin iz Vrbovca marquis de Piennes donirao je Strossmayerovoj galeriji starih majstora jedanaest slika među kojima je bio i Portret nepoznate djevojke Antoine-Jeana Grosa (1771.–1835.). Éduard Herriot, autor opsežne biografije Juliette Récamier, prilikom posjeta Strossmayerovoj galeriji 1929. godine utvrdio je da spomenuti portret predstavlja upravo gospođu Récamier, proslavljenu ljepoticu i prijateljicu Madame de Staël kao i mnogih umjetnika, književnika, i mislilaca prve polovine 19. stoljeća. Od tada počinju dvojbe francuskih povjesničara umjetnosti vezane uz identitet predstavljene osobe, kao i autora portreta. Danas je opće prihvaćeno da je riječ o portretu Madame Récamier, međutim autorstvo djela još je uvijek upitno. Članak donosi presjek različitih mišljenja stručnjaka, činjenice koje govore u prilog Antoine-Jeana Grosa, i razmatra mogućnosti za konačno rješenje autorstva slike.Madame Récamier, born as Jeanne Françoise Julie Adélaïde Bernard on 3 December 1777 in Lyon, was definitely one of the most intriguing personalities of the first half of the 19th century in France. As the leading trend-setter in Paris in the age of the French Consulate and the Empire, her receptions gathered renowned artists, writers, actors and politicians of the period. Her exciting life, from luxurious soirées and the exile from Paris by the orders of Napoleon, to the refuge in the convent of Abbaye-aux-Bois, ended in 1849 after having succumbed to cholera. This beauty from Lyon was portrayed by numerous French and European artists, but her most important portraits were executed by Jacques-Louis David (1748–1825) and by painters from his studio. Several variants of her portrait were painted by François Gérard (1770–1837), while one portrait is attributed to David’s most devoted follower Antoine-Jean Gros (1771–1835). Gros’s Portrait of Madame Récamier was bequeathed to the Strossmayer Gallery of Old Masters of the Yugoslav (now Croatian) Academy of Sciences and Arts in 1903 by the estate-owner from Vrbovec marquis de Piennes, along with ten other paintings. Although the painting in question was exhibited at the exhibition Portraits du Siècle at the École des Beaux-Arts in Paris in 1885, bearing the same title and attribution to Gros, the marquis referred to a different painting – executed by an unknown 19th-century painter and entitled Portrait of a Girl – as the portrait of Madame Récamier. Consequently, catalogues of the Strossmayer Gallery published between 1911 and 1926 list Gros’s painting as Portrait of an Unknown Young Lady in. In 1929 the Gallery was visited by Éduard Herriot (1872–1957), French politician, writer and the author of a biography of Juliette Récamier, who concluded that the Portrait of an Unknown Young Lady actually represents Madame Récamier, so Gallery catalogues published from 1932 to the present day list the painting under this title. French art historians were not unanimous as to the identity of the portrayed person and Gros’s authorship. The opinion that the painting represents Madame Récamier was eventually accepted, especially after the exhibition Juliette Récamier – Muse et mécene held in 2009 in Lyon; however, the authorship of the painting remained questionable. The present article offers a thorough analysis of these dilemmas and confronts newly found archival records to the published and unpublished photographic material, in an effort to create the preconditions for identifying Antoine-Jean Gros as the author of the Portrait of Madame Récamier from the Strossmayer Gallery of Old Masters of the Croatian Academy of Sciences and Arts