Fassungen und Vergoldungen der Altäre und Kanzeln von Josef Holzinger

Abstract

V prispevku so obravnavane pozlate in poslikave oltarjev in prižnic, katerih zasnova, figure oziroma reliefi in ornamentika so delo mariborskega kiparja Jožefa Holzingerja. Upoštevana so le ustrezno restavrirana dela, torej tista, pri katerih je prezentirana prvotna barvna podoba, kakršno so izvedli predstavljeni pozlatarji in poslikovalci. Poslikave in pozlate nekaterih Holzingerjevih oltarjev in prižnic so arhivsko dokumentirane. Dokumenti omenjajo mariborske slikarje Franca Beinlicha, Franca Antona Widemana in Antona Geringer- ja. Analizirane so stilistične spremembe barvitosti in strukturiranosti marmoracij in tonskih vrednosti inkarnatov v drugi polovici 18. stoletja. Ena izmed redkih ohranjenih pogodb za poslikavo velikega oltarja v cerkvi sv. Lenarta v Slovenskih goricah, sklenjena leta 1772 med upravnikom gospostva Hrastovec in upravnikom izpostave admomtskih benediktincev v Jarenini na eni ter mariborskim slikarjem Francem Antonom Widemanom na drugi strani, daje uvid v zahteve naročnikov, tehnologijo in stroške tovrstnih storitev.The paper discusses the painting and gilding of altars and pulpits, the design, figures or reliefs, and the orna- mentation of which were made by Maribor sculptor Josef Holzinger. It considers only appropriately restored works, thus, those in which the original colour scheme, such as was made by the mentioned gilders and painters, has been presented. The painting and gilding of some of Holzinger’s altars and pulpits have been documented in archives. The documents mention Maribor painters Franz Beinlich, Franz Anton Wideman, and Anton Geringer. Stylistic changes to the colouring and structure of marbling and skin of from the second half of the 18th century have been analysed. One of the rare preserved contracts for the painting of the high altar in the church of St Leonard in Slovenske gorice, made in 1772 between the caretaker of the Hrastovec seigneury and the caretaker of the Jarenina estate on the one hand, and Maribor painter Franz Anton Wiedeman on the other, gives an insight into the demands of the commissioners, the technology, and the costs of such services