Tüskés, Anna

Repository of the Academy's Library

Zbornik za umetnostno zgodovinoArchives d’histoire de l’artArt History JournalIzhaja od / Publié depuis / Published Since 1921Nova vrsta / Nouvelle serie / New Series XLIXLjubljana 201312_zbornik_2013.indd   3 8.5.14   16:13ZBORNIK ZA UMETNOSTNO ZGODOVINO N.S. XLIX/2013Izdalo in založilo / Published bySLOVENSKO UMETNOSTNOZGODOVINSKO DRUŠTVO, LJUBLJANAC/O FILOZOFSKA FAKULTETA UNIVERZE V LJUBLJANIODDELEK ZA UMETNOSTNO ZGODOVINO, AŠKERČEVA 2SI − 1101 LJUBLJANA, SLOVENIJAUredniški odbor / Editorial BoardMATEJ KLEMENČIČ, glavni in odgovorni urednik / EditorJANEZ BALAŽIC, MARJETA CIGLENEČKI, STANKO KOKOLE, MATEJA KOS,ANDREJ SMREKAR, SAMO ŠTEFANAC, ALENKA VODNIKMednarodni svetovalni odbor / International Advisory BoardFRANCESCO CAGLIOTI, VLADIMIR MARKOVIĆ, INGEBORG SCHEMPER SPARHOLZ, CARL BRANDON STREHLKELektoriranje / Language EditingJELKA JAMNIK, MIJA OTER GORENČIČ, FRANCKA PREMK, PHILIP BURTPrevajalci povzetkov in sinopsisov / Translators for summaries and abstractsMAJA LOVRENOV, JANEZ PREMKOblikovanje in postavitev / Design and typesettingSTUDIOBOTASTisk / PrintingGORENJSKI TISK STORITVE, D.O.O., KRANJNaklada / Number of Copies Printed400 IZVODOVIndeksirano v / Indexed byBHA, FRANCIS, SCOPUSISSN 0351-224XZBORNIK ZA UMETNOSTNO ZGODOVINO IZHAJA OB FINANČNI PODPORI JAVNE AGENCIJE ZA RAZISKOVALNO DEJAVNOST REPUBLIKE SLOVENIJE12_zbornik_2013.indd   4 8.5.14   16:13Kazalo / ContentsJANEZ HÖFLERLojze Gostiša devetdesetletnikRAZPRAVE IN ČLANKI / ESSAYS AND ARTICLES KATARINA ŠMIDZur Kampfszenerelief am Grabmonument der Spectatii in ŠempeterPrizor boja na grobnici Spektatijev v ŠempetruMIJA OTER GORENČIČSpodnještajerski kartuziji in spomeniki babenberške zgodnje gotikeThe Lower Styria Charterhouses and Early Gothic Monuments of the BabenbergsMAICHOL CLEMENTETommaso Rues: contributo al catalogoPrispevek k opusu kiparja Tommasa RuesaMASSIMO DE GRASSIUn Crociﬁ sso inedito di Balthasar Permoser Neobjavljeni Križani Balthasarja PermoserjaMATEJA KOS»Napoleoniana« v Narodnem muzeju Slovenije»Napoleoniana« at the National Museum of Slovenia91329739511112_zbornik_2013.indd   5 8.5.14   16:13MARUŠA GANTARJanez Šubic kot freskant cerkvenih notranjščinJanez Šubic as a Fresco Painter of Church InteriorsTINA POTOČNIKJosip Vancaš in Jože Plečnik v MengšuJosip Vancaš and Jože Plečnik in MengešMARTINA PERŠE, ANJA PREMK, NATALIJA ZANOŠKIGradbena dejavnost Fritza Friedrigerja in Maksa Czeikeja v MariboruThe Architecture of Fritz Friedriger and Maks Czeike in MariborALENKA ŽUPANČIČAvtokarikatura Marka M. RašiceSelf-caricature by Marko M. RašicaALENKA VODNIKOb razblinjenju umetnostnozgodovinskega mita o »potujočem umetniku« Claudie CaesarOn the Dissolution of the Art-Historical Myth of the “Travelling Artist” by Claudia Caesar13717520123324112_zbornik_2013.indd   6 8.5.14   16:13OCENE IN POROČILA / BOOK REVIEWS AND REPORTSANNA TÜSKÉSAve Mária – Marian iconography in the collection of Bratislava City GalleryNagrada in priznanja Izidorja Cankarja za leto 2013 26326712_zbornik_2013.indd   7 8.5.14   16:13263ZUZ – XLIX – 2013Th is exhibition at Bratislava City Gallery is a major event, made even more im-portant by the quality of its catalogue. Th is exhibition is the second specialising in hagiographic themes to be mounted at Bratislava City Gallery. Th e ﬁ rst, enti-tled ‘Martyrs’ Legends’ in 2012, was organised by the same curators. Th e objects, totalling approximately two hundred, were chosen from the collection of Bratis-lava City Gallery by the curator of Old Master Paintings and Sculptures Collec-tion, Jana Luková, and the curator of Old Master Drawings and Prints Collection, Martina Vyskupová. Th e installation of the exhibition is divided into two sections. Th e ﬁ rst part pro-vides an overview of the iconography of the Virgin Mary from the 16th to the 19th centuries. Th is group of approximately one hundred pieces concentrates on bring-ing the visitor into the closest possible contact with the scenes of Mary’s life, from the oﬀ er of Joachim to her coronation. Th e second part, also containing one hun-dred works, presents paintings, engravings and sculptures of saints (Saint Stephan I of Hungary,  Saint Ladislaus I of Hungary, Saint Elizabeth of Hungary, Saint Fran-cis of Assisi, Saint Aloysius Gonzaga), ecclesiastics (the Jesuit priests Alexandre de Gusmão and Francesco Pepe) and lay people (the family of Jacob Meyer) venerat-ing Mary, and some representations of pilgrimage sights in Europe (Sasvár/Šaštín, BOOK REVIEWS AND REPORTS Ave Mária – Marian Iconography in the Collection of Bratislava City GalleryJana LUKOVÁ – Martina VYSKUPOVÁ, Ave Mária - Mariánská ikonograﬁ a v zbierkach Galérie mesta Bratislavy (Bratislava, Galéria mesta Bratislavy, 3. 9. 2013–3. 11. 2013), Bratislava 2013.12_zbornik_2013.indd   263 9.5.14   14:26264 Nagyszombat/Trnava, Máriatölgyes/Dubnica nad Váhom, Máriavölgy/Marianka, Mariazell, Ettal, Altötting, Mátraverebély-Szentkút, Máriapócs, Klatovy, Landshut, Pistoia) and one in Mexico (Madonna de la Soledad). Th e scale of the exhibition is appropriate, giving a balanced survey that leads from the woodcuts of Dürer to eighteenth-century -century Central European paintings and sculptures and to nineteenth-century steel engravings. Th e second section treats diﬀ erent genres of diﬀ erent qualities in a fascinating manner: ex voto paintings, altar pieces, devo-tional pictures, prayer cards and works of nuns among others. Th e visitor can only marvel at how the engravings and paintings interact in terms of their iconography. Comparisons of diﬀ erent iconographic subjects (Holy Family, Mettercia, Saint Lu-cas painting the Madonna, Immaculata, Mater Dolorosa, Madonna of the Rosary, Mary as a Good Shepherd, Mariahilf, Pieta, Maria lactans and Maria dell’Umiltà) show how rich the cult of Mary was in the 18th century. Th ere are some real surprises. Among the more remarkable paintings and sculptures representing Mary’s childhood, the painting by Andreas Zallinger de-picting Saint Anne teaching the Virgin to read (1801) is outstanding; the Virgin’s visit to Elizabeth is represented by a sketch for an altar painting from the work-shop of Franz Anton Maulbertsch from c. 1760. Visitors can also see a painting en-titled ‘Th e Descent of the Holy Spirit’ (1833) by Ferdinand Lütgendorﬀ , originally intended for the Church of the Holy Spirit in Dévényújfalu/Devínska Nová Ves. As for the exhibits with lesser-known iconographic subjects, I would like to point out the painting of the vision of St Francis of Assisi at the chapel in Porziuncola (c. 1770), originally in the Church of the Poor Clares in Bratislava. Among the oldest works from the collection of old master drawings and prints is an interesting composition of the Holy Family with Saints engraved by Agosti-no Carraci after Antonio Allegri da Correggio in 1586. Th e works with the most impressive subjects include a print depicting the Holy Family by Jan Sadeler I af-ter Peter Candid’s painting in the last third of the 16th century. Th e viewers’ at-tention is also attracted by the Holy Family with St Anna in Joseph’s workshop, a composition by François Ragot after Francesco Vanni. Th e works by Johann Jacob Haid and Bernhard Vogel from the 18th century depicting the Virgin Mary and St Joseph after paintings of Ján Kupecký are also extraordinary. Th e most signiﬁ cant 19th century works include the mezzotint entitled ‘Th e Rest of the Blessed Virgin’ showing the sleeping Madonna with St John the Baptist by Vincenz Georg Kinin-ger, based on a work by Pompeo Battoni. Th e origin of the works also provides an opportunity to learn more about the history of the collection of Bratislava City Gallery as well. Many pieces came from 12_zbornik_2013.indd   264 8.5.14   16:14265ZUZ – XLIX – 2013Bratislava City Museum in 1959-1961, and were acquired from various places, such as ﬁ rms, or by way of donations from many people. Other items were purchased by City Gallery from private owners, antique dealers or ecclesiastical institutions, from the 1960’s to the 1980’s. Th e catalogue is available only in Slovakian. It is very well illustrated, rich in original research, lucidly and stimulatingly presented. Th ere are short but ﬁ rst-rate discussions of each item, with valuable supporting material, which includes the results of restoration. However, some new or less new research results are missing from the bibliography of some catalogue entries. For the devotional pic-ture of Saint Elizabeth and the pilgrimage sight of Mátraverebély-Szentkút by Sebastian Zeller, it is worth consulting a volume with historical studies of prints by György Rózsa for additional information (Graﬁ katörténeti tanulmányok, Bu-dapest 1998, p. 32, 52, cat. Nr. 19, 106, image 144, 119). For the copper engrav-ing ‘Saint Stephen oﬀ ering the Hungarian Crown to the Virgin Mary’ by Jacob Gottlieb Th elott, it is interesting to make a comparison with another copy of this engraving kept in the album ‘Imagines Sacrae Beatae Mariae Virginis et Sanc-torum Hungariae’ of Ferenc Széchényi in the National Széchényi Library Buda-pest. It was ﬁ rst published by Zoltán Szilárdfy in his book on Baroque devotion-al pictures in Hungary (Barokk szentképek Magyarországon, Budapest 1984, nr. 31.) and recently by Éva Knapp in her monograph on the iconography of Saint Stephan in the graphics before 1850 (‘Gyönyörű volt szál alakja’ Szent István ki-rály ikonográﬁ ája a sokszorosított graﬁ kában, Budapest – Borda 2001, p. 181, cat. 99). Th e Budapest copy of the engraving – in contrast to the one in Bratislava City Gallery – bears an inscription in the left lower part: “S. Stephanus primus Rex Hungariae. Negotium Acad. Caes. Francisc. Excudit Aug. Vind. Com Gra-tia et Priv. S. Caes. Majest”. Many of the devotional pictures have already been published in the book by Zoltán Szilárdfy, Gábor Tüskés and Éva Knapp (Barokk kori kisgraﬁ kai ábrázolások magyarországi búcsújáróhelyekről, Budapest, 1987). Szabolcs Serfőző has recently published his doctoral thesis (A sasvári pálos kegy-hely története: A zarándoktemplom kialakítása és kegyszobrának kultusza a 18. században, Budapest 2012) on the pilgrimage site of Sasvár/Šaštín and its repre-sentations.  Other representations of important pilgrimage destinations and iconograph-ic types in Central Europe have also been analysed by researchers in the last few years. One may also contest the indication of the artists, such as the “Central Eu-ropean Painter” for many canvases. It would be interesting to try to specify the artist based on the characteristics of the style.12_zbornik_2013.indd   265 8.5.14   16:14266  Bratislava City Gallery has a very rich collection of Marian iconography, and certain items are not included in the present exhibition, either because they form part of the permanent exhibition or due to lack of space. Visitors to the Gallery are welcomed by the statue of Madonna Immaculata, originally part of the Plague Column erected between the Capuchin and the Trinitarian Monastery, Bratislava in 1713. Th e marvellous series of rooms on the ﬁ rst and second ﬂ oors of the Roco-co Mirbach Palace includes a gilt wood statue of Mary Immaculate from the ﬁ rst third of the 18th century, the resurrected Christ appearing to his mother by a Vi-ennese painter c. 1750, and an Annunciation, by Franz Anton Palko around 1758. Th is ensemble of painting, engravings and sculptures is a perfect demonstration of the Marian cult and iconography in eighteenth-century Central Europe.ANNA TÜSKÉS12_zbornik_2013.indd   266 8.5.14   16:14

Ave Mária. Marian iconography in the collection of the Bratislava City Gallery: Catalogue of Exhibition. Authors: Jana Luková, Martina Vyskupová. Bratislava, Galéria mesta Bratislavy, 3. 9. 2013 – 3. 11. 2013.

Ave Mária. Marian iconography in the collection of the Bratislava City Gallery: Catalogue of Exhibition. Authors: Jana Luková, Martina Vyskupová. Bratislava, Galéria mesta Bratislavy, 3. 9. 2013 – 3. 11. 2013.

Abstract

Similar works

Full text

Available Versions

Repository of the Academy's Library