28 research outputs found
Nova djela Jacopa Contieria u Dalmaciji
Padovanski kipar Jacopo Contieri (Padova, 1676. ā Udine, 17. listopada 1759.) zabilježen je u hrvatskoj povijesti umjetnosti kao kipar djelĆ¢ koje nalazimo na podruÄju sjevernog Kvarnera i istoÄnog dijela Istre. U Älanku se njegov opus proÅ”iruje nekim novim, do danas neprepoznatim radovima: kipom sv. Ivana EvanÄelista u venecijanskoj crkvi San Giovanni Evangelista, kiparskom dekoracijom oltara svetog Nikole u dominikanskoj crkvi Gospe od Milosti u Bolu na otoku BraÄu, skulpturama svetog Petra i svetog Ivana EvanÄelista na glavnom oltaru crkve svetog Petra u Dolu na otoku Hvaru, kao i kiparskom dekoracijom glavnog oltara u crkvi sv. Ivana Krstitelja u KaÅ”tel Starom te manjom skulpturom sv. Sebastijana na stipesu oltara u franjevaÄkoj crkvi na splitskoj rivi.
Cristoforo Tasca and Giovanni Battista Augusti Pitteri: Unknown Paintings and Their Commissioners in the Northern Adriatic
Cristoforo Tasca (Bergamo, 1661. ā Venecija, 1735.) u prva je dva desetljeÄa 18. stoljeÄa ostavio brojna djela u Rijeci, Krku te Karlobagu. Njegov se opus nadopunjuje potpisanom i datiranom palom iz 1725. godine na glavnom oltaru Zborne, danas župne crkve u Rijeci. U tekstu se objaÅ”njavaju složene okolnosti gradnje glavnog mramornog oltara te uloga donatora, obitelji Orlando. Oni su kreirali ikonografiju oltara izravno povezanu s obiteljskim svetcima zaÅ”titnicima. Na temelju oporuke Giovannija Michelea Androche iz 1728. prvi je put dokumentom potvrÄena prisutnost slikara Cristofora Tasce u Rijeci. U njegov je opus uvrÅ”tena i slika NavjeÅ”tenja, koja potjeÄe iz nekadaÅ”njeg rijeÄkog benediktinskog samostana Svetog Roka, a danas se nalazi u benediktinskom samostanu San Daniele u Abano Terme pokraj Padove. U drugom dijelu teksta donose se nova djela venecijanskog slikara Giovannija Battiste Augustija Pitterija (Venecija, izmeÄu 1691. i 1695. ā Zadar ?, nakon 1759.?) koji se u Zadar preselio oko 1730. te u Dalmaciji ostavio veliki opus. Njemu se pripisuje slika KrÅ”tenja Kristova iz župne crkve na Buranu, portret biskupa Jeronima Fonde u Umagu te oltarna pala Bogorodica s Djetetom i svetcem u Bakru. U tekstu se objavljuje i nepoznata potpisana slika Bogorodica s Djetetom i svetcima iz franjevaÄke crkve Svete Ane u Kopru, a koja se izvorno nalazila u Zadru.In the first two decades of the 18th century, Cristoforo Tasca (Bergamo, 1661 ā Venice, 1735) produced numerous artworks for Rijeka, Krk, and Karlobag. His oeuvre has now been complemented by a signed and dated altarpiece from 1725 at the main altar of the Collegiate, today a parish church in Rijeka. The author elucidates the complex circumstances behind the construction of the main marble altar and the role of its donators, the Orlando family, who created the altar iconography as directly related to the familyās patron saints. Based on the last will of Giovanni Michele Androcha from 1728, the pres- ence of painter Cristoforo Tasca in Rijeka has been confirmed for the first time in a written document. A painting of the Annunciation, which originates from the former Benedictine monastery of St Rochus in Rijeka and is today preserved in the Benedictine monastery of San Daniele in Abano Terme near Padua, has been likewise attributed to Tasca. The second part of the article focuses on artworks that have been newly attributed to the Venetian painter Giovanni Battista Augusti Pitteri (Venice, between 1691 and 1695 ā Zadar ?, after 1759 ?), who moved to Zadar around 1730 and left a major opus in Dalmatia. Before 1730, a large painting of the Baptism of Christ was made for the parish church of San Martino in Burano, attributable to Pitteri. Another artwork discussed in the article is the anonymous signed painting of the Virgin with the Child and Saints from the Franciscan Church of St Anne in Koper
Ā»Zonkotova GospaĀ« ā nepoznato djelo Giovannia Bonazze u Komiži na Visu
Za razliku od znatnog broja mramornih oltara Å”to su podignuti tijekom 17. stoljeÄa na podruÄju hvarske biskupije, mramorna skulptura ostala je gotovo nezabilježena. Ipak, u Komiži na Visu lokalni plemiÄ Antonio Zanchi podignuo je palaÄu, u dijalektu poznatiju kao Ā»Zonkotov palocĀ«, gdje je na fasadi postavio kamenu niÅ”u, a u nju mramorni lik Bogorodice s Djetetom u ikonografskom tipu ApokaliptiÄne žene, odnosno Kraljice neba. Skulptura se ovdje pripisuje venecijanskom kiparu Giovanniu Bonazzi (Venecija, 1654. ā Padova, 1736.). Zbog analogija s nedavno prepoznatim ranim djelima ovog kipara u Veneciji, kao i onima od prije poznatima u Trevisu, moguÄe je komiÅ”ki kip okvirno smjestiti u pretposljednje desetljeÄe 17. stoljeÄa, u trenutku kada je Bonazzino stvaralaÅ”tvo pod jaÄim utjecajem uÄitelja Giusta Le Courta (Ypres, 1627. ā Venecija, 1679.). Iz kasnijeg je vremena omanji devocionalni reljef s prikazom Marijine glave iz Velog LoÅ”inja, Å”to se može dovesti u vezu s radionicom Giovannia Bonazze
A Contribution to the Knowledge of the 18th-century Marble Altars and Sculpture in Franciscan Tertiariesā Churches on the Islands of Krk and Cres (Summary)
The Chioggia Monument to the Bishop of Nin Francesco Grassi: an Early Work of Paolo Callalo
Opus kipara Paola Callala (Venecija 1655. ā 1725.) paradigmatski je primjer Å”irenja, upotpunjavanja i revidiranja opusa mletaÄkih kipara XVII. i XVIII. stoljeÄa tijekom posljednjih dvadeset godina. Do temeljnog Älanka Simonea Guerriera iz 1997., majstor Paolo Callalo bio je gotovo nepoznata kiparska liÄnost. TragajuÄi za najranijim Callalovim djelom, Simone Guerriero je predložio da je on autor stipesa oltara svetog Josipa s reljefom Bijega u Egipat, flankiranim dvama, gotovo slobodno stojeÄim puttima, a Å”to je nastao izmeÄu 1679. i 1685. u venecijanskoj crkvi San Giovanni Crisostomo. DosadaÅ”nji se rani kiparev katalog može sada nadopuniti joÅ” jednom znaÄajnom skulptorskom cjelinom. RijeÄ je o komemorativnom spomeniku ninskom biskupu Francescu Grassiju (Chioggia, 3. X. 1667. ā Zadar, 29. I. 1677.) podignutom na lijevom zidu prezbiterija katedrale Santa Maria Assunta u Chioggi. Ovaj je spomenik uglednom Älanu chioggiotske patricijske obitelji dao postaviti pokojnikov neÄak Paolo Grassi, kako stoji na komemorativnom natpisu. Obitelj Grassi (de Grassi) dala je Äak tri biskupa Chioggie: Pasqualea (1618. ā 1639.), Francesca (1639. ā 1669.) i Antonija (1696. ā 1715.), od kojih je ovaj posljednji bio brat ninskog biskupa i praneÄak prve dvojice.
Monumentalni se spomenik ninskog biskupa Francesca Grassija u prezbiteriju katedrale u Chioggi sastoji od pravokutnog mramornog polja zakljuÄenog polukružnim zabatom s dva ležeÄa putta. Pod njim druga dva leteÄa putta rastvaraju zavjesu s ovalnom niÅ”om gdje je smjeÅ”tena biskupova bista, komemorativni natpis te prelatov grb u vijencu liÅ”Äa. Svi elementi ovog vrsnog djela upuÄuju na ruku Paola Callala. Biskupova bista, nastala najvjerojatnije posthumno prema portretu pokojnika, ima tipiÄan naÄin formiranja blago kubiÄnog lica na kojem dominiraju živa, patetiÄno otvorena usta i prodorne oÄi naglaÅ”enih zjenica. Ovo prelatsko lice nalazi izravnu poveznicu s onim svetog Mihovila ArkanÄela iz 1686. u crkvi San Michele in Isola. Dva izrazito lijepa i spretno modelirana putta koja razgrÄu zastor, mogu se povezati s puttima na stipesu oltara svetog Josipa iz venecijanske crkve San Giovanni Crisostomo, kao i s puttom u kljuÄnom kamenu niÅ”e na oltaru svete Tereze iz crkve I Scalzi iz 1684. godine. Da je Callalo pomno pratio kiparska strujanja i trendove u Veneciji, ukazuje primjer bogato nabrane mramorne zavjese koju razgrÄu dva leteÄa putta. U opusu Giusta Le Courta, najvažnijeg venecijanskog kipara druge polovice 17. stoljeÄa, Callalo je vrlo sliÄnu zavjesu mogao vidjeti na spomeniku Giorgiju Morosiniju iz 1677. u venecijanskoj crkvi San Clemente in Isola. KonaÄno, da ovakva dekoracija Callalu nije bila strana, pokazuje i kasnija narudžba, koja se nije saÄuvala, a odnosila se na skulptorsku dekoraciju glavnog oltara stare venecijanske crkve La PietĆ . Ondje se je Callalo 1692. godine obavezao da Äe za glavni oltar napraviti āzavjesu od žutog mramora iz Verone koju podržavaju puttiā.
Stilska analiza komemorativnog spomenika ninskog biskupa Francesca Grassija upuÄuje nas da je on bio podignut u relativnom kratkom roku nakon biskupove smrti 1677. godine. Äini se vrlo vjerojatno da bi njegovu izvedbu trebalo postaviti u poÄetak osamdesetih godina ili najkasnije oko 1686., kada je Callalo isklesao kip svetog Mihovila u crkvi San Michele in Isola. Spomenik u Äast ninskog biskupa Francesca Grassija u Chioggi prvi je s lijeve strane zida prezbiterija katedrale, prostora koji Äe s vremenom postati āmauzolejā Grassijevih. Vjerojatno u to vrijeme, ili neÅ”to kasnije, posthumno je podignut spomenik biskupu Chioggie istog imena, Francescu Grassiju s prelatovom bistom koja se pak može pripisati Giuseppeu Torrettiju (Pagnano, 1664. - Venecija, 1743.). Ovaj se niz biskupskih spomenika iz prezbiterija chiogggiotske katedrale zakljuÄuje 1715. podizanjem grobnice za joÅ” živuÄeg biskupa Antonija Grassija, u izvedbi Alvisea Tagliapietre (Venecija, 1680. ā 1747.).
U Dalmaciji se relativno skroman opus dosada uoÄenih Callalovih sastoji od dva mramorna anÄela postavljena uz glavni oltar u župnoj crkvi u Vodicama te Äetiri putta sviraÄa smjeÅ”tena sa strane glavnog oltara, kao i onih na boÄnom oltaru u župnoj crkvi u Sutivanu na otoku BraÄu. No, Callalovu ruku moguÄe je prepoznati i u jednoj skulpturi iz pozamaÅ”nog kiparskog programa na oltaru Presvetog Sakramenta u zadarskoj katedrali. Arhitekturu je 1719. izradio Antonio Viviani dok je bogatu kiparsku dekoraciju najveÄim dijelom isklesao Francesco Cabianca (Venecija, 1666. - 1737.). U srediÅ”njoj niÅ”i oltara smjeÅ”ten je manji mramorni kip Žalosne Bogorodice s mrtvim Kristom u krilu. Mramorna zadarska PietĆ teÅ”ko se uklapa u katalog Francesca Cabiance, pogotovo ako se ima u vidu njegov kip istoimene tematike postavljen oko 1714. nad vrata u klaustru venecijanske crkve I Frari. Cabiancina venecijanska PietĆ posjeduje oÅ”trinu poteza dlijeta, odreÄenu grubost izvedbe i robustnost tijela te drugaÄiju fizionomiju i draperiju od zadarskog djela. No, zadarska se PietĆ može ukljuÄiti u katalog kipara Paola Callala. Pažljivo modelirani lik žalosne Majke te meko oblikovanu draperiju koja se oko stopala radijalno Å”iri prema van možemo usporediti s kipovima Vjere i Nade na oltaru Sakramenta katedrale u Udine, nastalom nakon 1720. godine. Paralele u modeliranju Kristova tijela, a posebno lica suzdržane mimike, nalazimo na kipu Uskrslog na tabernakulu veÄ spominjanog udineÅ”kog oltara, kao i u istovjetnom kipu na tabernakulu oltara župne crkve u Clauzettu, Å”to ga takoÄer pripisujem Callalu, ali i na ranijim monumentalnijim primjerima, poput Krista s oltara Preobraženja nastalom 1708. za župnu crkvu u Labinu.
Callalov spomenik ninskom biskupu Francescu Grassiju u Chioggi važan je pokazatelj razvoja osobnog stila majstora. Njegov se izriÄaj tako transformira iz ovog āmladenaÄkog djelaā punog siline i robusnosti u lirsku poetiku i mekoÄu vidljivu na njegovom kasnom djelu, skulpturi PietĆ na oltaru Sakramenta u katedrali svete StoÅ”ije u Zadru. Vjerovati je kako Äe i buduÄa istraživanja u Veneciji, Dalmaciji i priobalju dodatno dopuniti kiparev bogati opus te potvrditi važno mjesto koje Paolo Callalo zauzima meÄu protagonistima mletaÄke skulpture kasnog Seicenta i ranog Settecenta.The oeuvre of the sculptor Paolo Callalo (Venice 1655-1725) is a paradigmatic example of how the oeuvres of seventeenth- and eighteenth-century Venetian sculptors have been expanded, supplemented and revised during the last twenty years. Until Simone Guerrieroās ground-breaking article of 1997, Paolo Callalo was almost completely unknown. In his search for Callaloās earliest preserved work, Simone Guerriero suggested that Callalo was responsible for the stipes of the altar of St Joseph, featuring the relief of the Flight into Egypt flanked by two putti which are almost free standing, which was made between 1679 and 1685 for San Giovanni Crisostomo at Venice. However, another significant sculpture can now be added to the catalogue of Callaloās early works: a memorial monument to the Bishop of Nin Francesco Grassi (Chioggia, 3 October 1667 ā Zadar, 29 January 1677) which is located on the left presbytery wall in the Cathedral of Santa Maria Assunta at Chioggia. As we learn from its commemorative inscription, the monument was commissioned by Paolo Grassi, the nephew of the deceased who was a prominent member of this aristocratic family from Chioggia. The Grassi (de Grassi) family produced as many as three bishops of Chioggia: Pasquale (1618-1639), Francesco (1639 -1669) and Antonio (1696-1715) who was a brother of Francesco, the Bishop of Nin, and a great-nephew of the first two.
The monumental memorial to the Bishop of Nin Francesco Grassi in the presbytery of Chioggia Cathedral consists of a rectangular marble plaque topped with a semi-circular pediment with two reclining putti. Immediately below, two more putti are depicted flying and drawing a curtain in front of an oval niche containing the bishopās bust, the commemorative inscription and the bishopās coat of arms set in a wreath. All the elements of this excellent work point to Paolo Callaloās hand. The bishopās bust was most probably created posthumously by relying on one of the portraits of the bishop as a source model. It depicts him as having a somewhat square face with a lively mouth opened in a melodramatic way and as having probing eyes with emphasized pupils, all of which characterize Callaloās sculpting technique. A direct parallel for such a physiognomy can be found in the 1686 sculpture of St Michael in San Michele in Isola at Venice. Two remarkably beautiful and skilfully modelled putti which are drawing the curtain can be connected to the putti on the stipes of the altar of St Joseph in San Giovanni Crisostomo at Venice, but also with a putto on the keystone of a niche on the 1684 altar of St Teresa in the Church of the Scalzi. The richly draped marble curtain being drawn by the two flying putti is an example of Callaloās thorough knowledge of contemporary sculptural innovations and trends in Venice. He could have seen a similar curtain on the 1677 monument to Giorgio Morosini in San Clemente in Isola at Venice, which belongs to the oeuvre of Giusto Le Court, the most important Venetian sculptor of the second half of the seventeenth century. That Callalo was no stranger to this type of decoration is also demonstrated by one of his later works, now sadly lost, the contract for which set out the terms for the sculptural decoration of the high altar in the old Venetian church of La PietĆ . In 1692 Callalo agreed to make for this high altar āa curtain out of yellow marble of Verona being held by puttiā.
The stylistic analysis of the memorial to the Bishop of Nin Francesco Grassi indicates that it was erected in a relatively short period of time after the bishopās death in 1677. It seems highly likely that it was made in the early 1680s or around 1686 at the latest because in that year Callalo made the statue of St Michael in San Michele in Isola. The memorial to the Bishop of Nin Francesco Grassi in Chioggia Cathedral is the first monument on the left-hand side of presbytery wall which would in time become a āmausoleumā of the Grassi family. Around the same time or perhaps somewhat later, the Bishop of Chioggia by the name Francesco Grassi was honoured posthumously with a memorial containing a bust portrait that can be attributed to Giuseppe Torretti (Pagnano, 1664 ā Venice, 1743). This group of episcopal memorials in the presbytery of Chioggia Cathedral ends with 1715 when Alvise Tagliapietra (Venice, 1680 ā 1747) made the tomb for Bishop Antonio Grassi while he was still alive.
Callaloās Dalmatian oeuvre is relatively modest and consists of the following works so far identified as his: two marble angels set next to the high altar in the Parish Church at Vodice and four music-making putti at the sides of the high altar as well as those on a side altar in the Parish Church at Sutivan on the island of BraÄ. However, Callaloās hand can also be recognized in a statue from a large-scale sculptural group which adorned the altar of the Blessed Sacrament in Zadar Cathedral. The altar structure was built by Antonio Viviani in 1719 while Francesco Cabianca (Venice, 1666-1737) carved the majority of the altarās rich sculptural decoration. At the centre of the altar is a niche with a relatively small marble statue of Our Lady of Sorrows with the dead Christ in her lap. It is difficult to find a place for this marble PietĆ from Zadar in Francesco Cabiancaās catalogue especially with regard to his PietĆ above a door in the cloister of the Frari Church at Venice in 1714. Compared to the Zadar PietĆ , Cabiancaās Venetian PietĆ displays a number of differences: a crisper chiselling technique, a certain roughness of workmanship, robust bodies as well as a different treatment of the figuresā physiognomies and drapery. However, the PietĆ from Zadar can be added to the catalogue of Paolo Callaloās works. The carefully modelled figure of Our Lady of Sorrows and the soft drapery which spreads outwards in a radial fashion around her feet can be compared to the statues of Faith and Hope on the altar of the Blessed Sacrament in Udine Cathedral, which was made after 1720. The statue of the Risen Christ on the tabernacle of the aforementioned altar from Udine provides a parallel for the modelling of Christās body and, in particular, his face with a restrained expression. The same can be said for the Risen Christ on the tabernacle of the Parish Church at Clauzetto, which I also attribute to Callalo, as well as for earlier, more monumental, examples such as the Christ from the 1708 altar of the Transfiguration in the Parish Church at Labin.
Callaloās memorial to the Bishop of Nin Francesco Grassi in Chioggia is an important indicator of his personal stylistic development. He transformed his stylistic expression from the robust energy of this āyouthful workā at Chioggia to the lyrical poetics characterized by softness which can be seen in his late work, the PietĆ on the altar of the Blessed Sacrament in the Cathedral of St Anastasia at Zadar. It is likely that future research in Venice, Dalmatia and the rest of the Adriatic coast will expand Paolo Callaloās already rich oeuvre and confirm the important place he holds in Venetian sculpture as one of its protagonists during the late Seicento and early Settecento
Uz izložbu "Liturgijsko ruho"
Recenzija, prikaz izložbe "Liturgijsko ruho ā blago crkava i samostana Zadra i okolice", Stalna izložba crkvene umjetnosti, Zadar, 9. 4. ā 1. 12. 2010
Kamena skulptura i oltari 17. i 18. stoljeÄa u PoreÄko-pulskoj biskupiji: doktorska disertacija
Disertacija je obranjena 26. srpnja 2012. na Filozofskom fakultetu SveuÄiliÅ”ta u Zagrebu