Dva priloga za baroknu umjetnost u Boki kotorskoj

U prvom dijelu autor piše o glavnom oltaru u crkvi Gospe od Zdravlja u Kotoru. Mramorni oltar s kipovima sv. Jerolima, sv. Tripuna i anđela datira se – okvirno – u razdoblje oko 1700. godine i pripisuje se mletačkom kiparu Bernardu Tabaccu. Kotorski se kipovi uspoređuju s njegovim djelima u Veneciji, Bassanu i Padovi. U drugom dijelu analizira se oltarna slika Bogorodica s Djetetom, sv. Antom Padovanskim, sv. Nikolom i sv. Ambrozom iz crkve sv. Ivana u Budvi. Palu je naslikao Ivan Franjo conte Soliman (Budva?, 1716. – Venecija?, 1784.), mletački slikar bokeljskoga podrijetla. Atribucija budvanske slike temelji se na usporedbi sa Solimanovim djelima u crkvi sv. Eustahija u Dobroti (Sv. Alojzije Gonzaga, Sv. Ivan Nepomuk, Križni put) na kojima se prepoznaju odrazi Tiepolove umjetnosti u rukama ambicioznog diletanta

Nuovi dipinti e alcuni spunti per Matteo Ponzone

The article enriches the cataloque of the works of Matteo Ponzone (Venezia, 1583-after 1663) in Dalmatia. In the parish church in Nerežišc´a on the island Bracˇ is preserved Ponzone’s altarpiece depicting Our Lady of Carmel with St John the Baptist and St Peter painted in the fourth decade of the 17th century when the artist lived in Split. From that period dated two altarpieces newly discovered in the church of St Nicola (Virgin with Child and St Nicola) and in Monastery of St Claire (Immaculata with St Andrea and John the Evangelist) in Split, and St Michele with St John the Baptist and st Benedict from the benedictine church of St Michele in nearby Trogir. Acording to the inscription on the tomb in front of altar it is possible to suppose that pala portante St Joseph, St Dominic and donor in the church of St Lazar in Trogir was ordered around 1653 by naval captain Jerolim Dragozetovic´

Costantino Cedini a Dobrota nelle Bocche di Cattaro

The painting Lady of Carmel with St Joseph, St Joachim and St Anna of the altar of St Joseph in the parish church of St. Eustace/Sv. Stasije (Dobrota, Boka Kotorska) is attribuited to Costantino Cedini (1741-1811). He is also author of the altar painting St Luke, St Mark, St James, St Georg and angel in the church of St Peter in the same city. Both the paintings date from the early eightieth of the eighteenth century

Moćnik sv. Križa i drugi liturgijski predmeti u Katedrali sv. Ivana Krstitelja u Budvi

Autor objavljuje Inventar liturgijskih predmeta Katedrale sv. Ivana Krstitelja u Budvi, na krajnjem jugu Dalmacije. Inventar je napisan 1719. godine i bilježi knjige, predmete od srebra, drveta, tekstila i kamena koji su se upotrebljavali u to vrijeme u Katedrali. Istovremeno se donosi arhivska građa o našašću relikvija sv. Križa u budvanskoj luci oko 1670. godine. Svjedočanstva o tom događaju iznijeli su 1719. godine ugledni budvanski plemići don Matija Medin, Šimun Radali, kanonici Nikola Antonioli i Petar Ruzović te kapetan Nikoleto Medin. Oni su iscrpno opisali okolnosti pod kojima su se moći pronašle i predočili kako su dospjele u Budvansku katedralu. Opisuje se drvena škrinja u koju su moći bile pohranjene te analizira srebrni, pozlaćeni relikvijar u kojem se navedene moći čuvaju, danas izložene u sakristiji Crkve sv. Ivana u Budvi. Autor donosi i današnji inventar srebrnih liturgijskih predmeta u crkvi, koji datiraju od 17. do 19. stoljeća, a nastali su u lokalnim (kotorskim?), mletačkim i augsburškim radionicama

Painter Carlo Maratta — His Dalmatian Origin as Reflected in Dubrovnik

Autor iznosi nove podatke o poznatom slikaru Carlu Maratti (Camerano, 1625 — Rim, 1713. g.). Na temelju zapisa Giovannjai Pietra Bellorija koje je zabilježio u knjizi Vita dei pittori, scultori e architetti moderni, te arhivskih podataka iz Camerana, utvrđuje se da su se njegovi preci, bježeći pred Turcima, doselili u Marche iz Dalmacije. Stoga se slikar može svrstati u skupinu dalmatinskih (hrvatskih) umjetnika Schiavona, koji su napustivši domovinu djelovali u izglednijim sredinama Zapada. Uz Marattu se povezuje i skupina slika u crkvi sv. Ignacija i u isusovačkom samostanu u Dubrovniku. Ta djela potvrđuju povezanost dubrovačkih naručitelja s Rimom, te popularnost Marattinih djela. Navodi se i portret liječnika Đure Baglivija (Dubrovnik, 1668 — Rim, 1707. g.) kojega je izradio njegov prijatelj Carlo Maratta.The author has presented new evidence about the well-known painter Carlo Maratta (1625—Rome, 1713). He has concluded, based on the information in Giovanni Pietro Bellori\u27s book Vita dei pittori, scultori e archietetti moderni, and the archival materials in Camerano, that Maratta\u27s ancestors, flying the Turks, moved to the Marche from Dalmatia. Thus he can be placed within the group of Dalmatian/Croatian artists, the Schiavoni, who, having left their motherland, worked in the more propitious West. One can link with Maratta a group of paintings in the Jesuits church and monastery of St. Ignazio in Dubrovnik. The works indicate ties of Dubrovnik art patrons with Rome, and the popularity of Maratta\u27s art. The author has especially singled out the portrait of the wellknown physician, Đuro Baglivi (Dubrovnik, 1668 — Rome, 1707), by his friend, Carlo Maratta

Provveditore generale Leonardo Foscolo and Art in Dalmatia

Leonardo Foscolo (Venecija, 1588.–1660.) bio je generalni providur za Mletačku Dalmaciju i Albaniju od 1645. do 1650. godine. Sjedište providura i državne administracije koja je upravljala pokrajinom bilo je u Providurovoj palači u Zadru. U prvom dijelu studije analiziraju se oni portreti providura Leonarda Foscola izvedeni uljem na platnu i u grafici koji su povezani s njegovom vladavinom i djelovanjem u Dalmaciji. Jedini portret izveden uljem na platnu čuva se u samostanu sv. Lovre u Šibeniku. Veća je skupina grafičkih portreta na kojima su uz Foscolov lik prikazani i pojedini gradovi, naselja i utvrde u Dalmaciji u kojima je poduzimao ratne oslobodilačke akcije. Drugi dio studije istražuje Foscolovu donatorsku i mecenatsku ulogu. U tome se izdvaja njegova uloga u oblikovanju oltara sv. Šimuna u istoimenoj crkvi u Zadru. Foscolo je ostavio trag i u Šibeniku. Prema nepotvrđenoj predaji na zvonik crkve sv. Ivana ugradio je satni mehanizam koji je kao ratni plijen prenio iz osvojenog Drniša o čemu svjedoči natpis upisan u njegovoj lođi na koju je obješen i Foscolov grb s providurskom kapom. Isti grb ugrađen je i na pročelje crkve sv. Nikole u Šibeniku. Foscolo je u Dalmaciji stekao ugled što je rezultiralo činjenicom da su mu brojne komune dale podići spomenike o čemu se raspravlja u trećem dijelu studije. Navode se djela u Šibeniku, Splitu, Hvaru, Korčuli, Pagu i Islamu Grčkom.Leonardo Foscolo (Venice, 1588–1660) was the provveditore generale of Venetian Dalmatia and Albania from 1645 to 1650. The seat of the provvedditore and the state administration that governed the province was the Provveditore’s Palace in Zadar. The first part of the paper analyses those portraits of provveditore Leonardo Foscolo that were made in oil on canvas or as graphic prints and are directly related to his governance and activities in Dalmatia. The only oil on canvas is kept in the monastery of St Laurence in Šibenik. The inscription on it indicates that it was under Foscolo’s patronage that the Franciscan monks from Visovac fled to Šibenik before the Turks, where they obtained permanent residence and a newly constructed church with a monastery. A larger group of portraits are graphic prints, which apart from Foscolo’s effigy or bust with the symbols of government and war emblems, show specific cities, towns, and fortifications in Dalmatia, where he engaged in liberation struggle. The second part of the paper explores Foscolo’s role as a donor and art patron, particularly in the construction of St Simeon’s altar in Zadar’s church of the same name, which was commissioned by him and designed by sculptor Francesco Cavrioli. Two monumental angels carrying the chest with the saint’s relics were made of melted Turkish cannons seized in battles, and placed on the marble stipes of the high altar in St Simeon’s church. The church is located next to the Provveditore’s Palace and, because of the significance of the saints’ relics, became the focus of “state” ceremonies asserting the Venetian rule over Dalmatia. Foscolo also left his mark in Šibenik. According to an unconfirmed tradition, he commissioned a clock mechanism for the belfry of St John’s church, which he had transferred from the conquered Drniš as a spoil of war, as evidenced by an inscription in his loggia, which also contains Foscolo’s coat of arms with the provveditore’s hat. The same coat of arms is to be seen on the front façade of St Nicholas’ church in Šibenik, which may indicate his merits in the construction or equipment of the church, next to which, according to the older sources, a monastery was originally planned to house the friars fleeing from Visovac. For his merits in the wars against the Ottoman Turks throughout Dalmatia, Foscolo gained an undisputed reputation, resulting in the fact that numerous communes erected public monuments to him as a sign of honour and gratitude. It is this group of public monuments picturing Foscolo that are discussed in the third part of the paper, whereby those in Šibenik, Split, Hvar, Korčula, Pag and Islam Grčki are analysed on the basis of preserved artworks, documents, and scholarly literature. Besides this group of public monuments, the paper discusses a portrait bust in the courtyard of the Arneri Palace in Korčula, which, according to the preserved inscription, was commissioned by Jakov Arneri, while the original placement and commissioner of a portrait in the Janković tower (Desnica), possibly Foscolo’s, could not be established

Mlečani u Zagrebu (prijedlozi za radionicu Alvisea Tagliapietre i Francesca Robbu)

Autor publicira dva kamena kipa postavljena u niše na pročelju crkve sv. Martina u Vlaškoj ulici u Zagrebu. Kipovi prikazuju sv. Kvirina, biskupa rimske Siscije (Sisak) i bl. Augustina Kažotića (Casotti), biskupa u Zagrebu i Luceri u Apuliji. Kipovi nisu dosad bili predmet povijesnoumjetničkih analiza, iako je riječ o djelima visokih umjetničkih dometa. Autor ukazuje na njihovu sličnost s djelima mletačkog kipara Alvisea Tagliapietre (Venecija, 1670. – 1747.) te ih pripisuje njegovoj radionici u kojoj su djelovala njegova tri sina, Ambrogio, Carlo i Giuseppe. U drugom dijelu teksta analizira se mramorni grb na ogradi vrta kurije Stjepana Putza na Kaptolu 7 u Zagrebu. Na kuriji je kameni portal datiran 1756. godine pripisan mletačkom kiparu Francescu Robbi (Venecija, 1698. – Zagreb, 1757. ) koji je djelovao u Austriji, Sloveniji i Hrvatskoj. Grb u Zagrebu pripisuje se Robbi te se uspoređuje s grbovima koje je umjetnik izveo u Celovcu i u Ljubljani. Pretpostavlja se da je grb bio dio cjeline s portalom te da ga je naručio također Stjepan Putz, smederevski i beogradski biskup te prepozit zagrebačkog kaptola

New Information about a Painting by Teodoro Matteini in Trogir Cathedral

U tekstu se donose novi podaci o oltarnoj pali “Bl. Augustin Kažotić, Sv. Ivan Evanđelist i Sv. Jakov” u trogirskoj katedrali. Tijekom restauracije pronađen je natpis na slici koji do sada nije bio poznat. U donjem desnom uglu zapisano je: Teodoro Matteini F. in Venezia 1805. Uz ime autora, uglednog talijanskog slikara Teodora Matteinija (Pistoia, 1754. - Venecija, 1831.) navodi se da je pala naslikana 1805. godine u Veneciji. Time se nepobitno potvrđuju dosadašnja pisanja hrvatskih i talijanskih povjesničara umjetnosti. Na temelju dokumenata iz Italije i Hrvatske može se zaključiti da su presudnu ulogu u narudžbi slike imala braća Ivan Dominik (1761.-1848.) i Ivan Luka Garagnin (1764.-1841.), trogirski plemići i ugledni predstavnici dalmatinskoga društva početkom 19. stoljeća. Oni su umjetnika od ranije dobro poznavali, jer je upravo Matteini 1798. godine u Veneciji portretirao Ivana Dominika Garagnina, koji se u jednome pismu spominje kao operarij trogirske katedrale. U narudžbi slike i osmišljavanju njezine kompozicije i pojedinosti, kao prijatelj i povjerenik učene braće Garagnin sudjelovao je i Giovanni de Lazara (Padova, 1744.-1833.), padovanski plemić, malteški vitez, bibliofil, kolekcionar te inspektor-konzervator za slike u Padovi i okolici od 1793. godine. Posebno je zanimljiv prikaz Trogiranina, Bl. Augustina Kažotića (oko 1260.-1323.), biskupa u Zagrebu i Luceri. O njegovu liku Trogirani su, prema zapisima u dokumentima, Matteiniju dostavili određene podatke te stariju sliku, prema kojoj je izrađen njegov portret na pali. Osim toga, utvrđeno je da se u Ca’ Pesaro u Veneciji (Galleria Internazionale d’Arte Moderna) čuva Matteinijev potpisani crtež iz 1805. godine (olovka na papiru, 431 x 283 mm) koji prikazuje Sv. Jakova. Riječ je o pripremnoj skici za svečev portret na trogirskoj pali. Ona je postavljena na novi mramorni oltar koji su 1802. godine podigli Nikola i Ivan Degan (Nicolò i Zuane Degani).The article presents new information about the altar painting “Blessed Augustin Kažotić, St John Evangelist and St James” in Trogir Cathedral. In the lower right corner, a previously unknown inscription was discovered during the restoration: Teodoro Matteini F. in Venezia 1805. Apart from the name of the distinguished Italian painter, Teodoro Matteini (Pistoia, 1754 - Venice, 1831), it states that it was made in Venice in 1805. This indisputably confirms the opinion published so far by Croatian and Italian art historians. Based on Italian and Croatian documents, it can be concluded that the key role in the commission of the painting was played by brothers Ivan Dominik (1761-1848) and Ivan Luka Garagnin (1764-1841), the noblemen of Trogir and respectable representatives of Dalmatian society in the early nineteenth century. They knew Matteini well because he was the painter who in 1798 painted a portrait of Ivan Dominik Garagnin who is mentioned in a letter as a steward of Trogir Cathedral. In the process of commissioning and designing the painting’s composition and details, an active part was played by the learned brothers’ friend and confidant, Giovanni de Lazara (Padua 1744-1833), a nobleman from Padua, knight of Malta, bibliophile, collector and inspector-conservationist of paintings in Padua and its environment from 1793 onwards. The painting shows St James, St John the Evangelist and a Trogir saint - blessed Augustin Kažotić (c. 1260-1323) - who was a bishop of Zagreb and Lucera. According to archival records, the citizens of Trogir provided Matteini with information about the saint and an older painting which served as a model for the new portrait. The painting was set in the new marble altar which had been installed by Nicolò and Zuane Degani in 1802. At Ca’ Pesaro (Galleria Internazionale d’Arte Moderna) in Venice, there is a drawing from 1805 signed by Matteini (pencil on paper, 431 x 283 mm) which depicts St James and is a preparatory sketch for his portrait on the Trogir painting

CONTRIBUTION A L`OEUVRE DE VLAHO BUKOVAC

Le séjour de l\u27éminent peintre croate VlahoBukovac (1855-1922) à Split,en 1884 et 1885, riche en activité picturale intensive et se terminant par uneexposition particulière, est un événement significatif dans la vie picturalerelativement pauvre de cette ville durant le XIXe s.Dans le milieu conservateur d\u27une ville provinciale, VlahoBukovac,élève de l\u27Académie des Beaux-Arts de Paris, peint uniquement les portraitsd\u27individus représentant toutes les couches sociales - formant ainsi une galeriede portraits dont certains font partie des oeuvres anthologiques du peintre.Pour cette raison, la découverte de certains tableaux, jusq\u27a présentinconnus ou perdus, est importante car cela nous apporte de nouveaux renseignementset complète notre connaissance de l\u27oeuvre de Bukovac.Trois portraits de membres de la famille Illich (Delfine, GiuseppinaetPietro) jusqu\u27à présent inconnus, et le portrait de ŠpiroMarić perdu, confirmentl\u27habité du peintre qui présente la figure humaine de façon intimect chaude, sur les traces du réalisme, et exprime, dans sa démarche picturale,une légèreté, une fraîcheur, qui seront toujours typiques pour Vlaho Bukovac durant toutes les phases de sa fructueuse création