AHAS 11
Acta historiae artis Slovenica 11, 2006
Vsebina / Contents
DISSERTATIONES
Michele TAVOLA,
Federico Zeri e la fortuna critica di Almanach
Federico Zeri in Almanachova fortuna critica
Mirjana REPANIĆ-BRAUN,
17th Century Painting in North Croatia – A Minor Episode of Early Baroque Painting
Slikarstvo 17. stoletja v severni Hrvaški – obrobno poglavje zgodnjebaročnega slikarstva
Herbert HAUPT,
Flämische und niederländische Künstler am Wiener Kaiserhof im 17. und 18. Jahrhundert im Überblick
Pregled flamskih in nizozemskih umetnikov na dunajskem dvoru v 17. in 18. stoletju
Christiane MORSBACH,
Die Genrebilder der in Wien und Umgebung wirkenden niederländischen Zuwanderer Jan van Ossenbeeck (1624–1674), Jan Thomas (1617–1678), Johann de Cordua (um 1630?–1698/1702?) und Jacob Toorenvliet (1635–1719)
Žanrske slike na Dunaju in v njegovi okolici delujočih nizozemskihin flamskih priseljencev Jana van Ossenbeecka (1624–1674), Jana Thomasa (1617–1678), Johanna de Cordua (ok. 1630?–1698/1702?) in Jacoba Toorenvlieta (1635–1719)
Tina KOŠAK,
Almanach’s Card Players in Stylistic and Iconographic Context of Dutch and Flemish 17th Century Painting
Almanachovi Kvartopirci v slogovnem in ikonografskem kontekstu nizozemsko-flamskega slikarstva 17. stoletja
Ana LAVRIČ,
Das Bild Mariae Himmelfahrt in Nova Štifta bei Ribnica im Lichte von Schönlebens Mariologie und Almanachs Malerei
Slika Marijinega vzebovzetja v Novi Štifti pri Ribnici v luči Schönlebnove mariologije in Almanachovega slikarstva
Petr INGERLE,
Between the “descriptive” and the “narrative”. Justus van den Nypoort and his work in Salzburg and Olomouc
Med deskriptivnim in narativnim. Justus van den Nypoort in njegovo delovanje v Salzburgu in Olomucu
Blaženka FIRST,
Ein Flämisches Vorbild für das spätmanieristische Ölgemälde Ekstase des hl. Franz von Assisi. Versuch einer Zuschreibung an den Maler Janez Koch
Flamsko izhodišče za poznomanieristično sliko Sv. Frančišek v ekstazi. Poskus atribucije slikarju Janezu Kochu
Gerlinde GRUBER,
Janos und Sara Rovin – ein vergessenes Gemälde der Sammlung Kaiser Karls VI. und sein Maler, Carolus Unterhuber
Janos in Sara Rovin – pozabljena slika iz zbirke cesarja Karla VI. in njen slikar Carolus Unterhuber
Erwin POKORNY,
Unbekannte Zeichnungen von David Teniers dem Jüngeren in der Sammlung Valvasor
Neznane risbe Davida Teniersa mlajšega iz Valvasorjeve zbirke
Ulrich BECKER,
Zwischen "battaglia" und "gevecht". Alexander Casteels und Cornelis de Wael, zwei Schlachtenmaler in der Alten Galerie am Landesmuseum Joanneum in Graz
"Battaglia" in "gevecht". Alexander Casteels in Cornelis de Wael, slikarja bitk v Stari galeriji Deželnega muzeja Joanneum v Gradcu
Milan PELC,
Scherz, Satire, Allegorie und tiefere Bedeutung auf den deutschen illustrierten Flugblättern des 17. Jahrhunderts (ausgewählte Beispiele aus der Valvasor-Sammlung in Zagreb)
Šala, satira in alegorija na nemških ilustriranih letakih 17. stoletja in njihov globlji pomen (primeri iz Valvasorjeve zbirke v Zagrebu)
Jure MIKUŽ,
The Image of the Fly as Representation, Sign, Symbol, and Trademark
Podoba muhe kot reprezentacija, znak, simbol in zaščitni znak
The Conservation and Restoration of Paintings by Almanach and his Contemporaries
Konserviranje in restavriranje slik Almanacha in njegovih sodobnikov
Andrej HIRCI,
Multispectral Analysis of Paintings from the Second Half of the 17th Century in Carniola
Multispektralna analiza slik iz druge polovice 17. stoletja na Kranjskem
The Paintings Attributed to Almanach and Herman Verelst – Materials and Techniques
Slike, pripisane Almanachu in Hermanu Verelstu - materiali in tehnike
IN MEMORIAM
Emilijan Cevc (Blaž Resman)
IZVLEČKI / ABSTRACTS
"Battaglia" in "gevecht". Alexander Casteels in Cornelis de Wael, dva slikarja bitk v Stari galeriji Deželnega muzeja Joanneum v Gradcu (Alte Galerie am Landesmuseum Joanneum)
V graški galeriji starih mojstrov smo pred nedavnim posvetili novo raziskavo upodobitvam bitk flamskih in holandskih slikarjev. V času pozne renesanse so bila glavni vir navdiha dela Antonia Tempeste. Bil je pod močnim Vasarijevim vplivom in je dobro poznal način upodabljanja dramatičnih dogajanj all’antica iz 16. stoletja. Z njegovimi splošno znanimi grafikami, s katerimi je utrdil tovrstne vzorce, so si lahko pomagali celo manj nadarjeni slikarji. Med njimi je bil flamski slikar Alexander Casteels, čigar bitke all’antica se zgledujejo po Tempestovih delih. Veliko platno, hranjeno v Gradcu, lahko kot rezultat novejših raziskav zdaj pripišemo temu slikarju. Antwerpenski slikar Cornelis de Wael si je pridobil ugled z upodobitvami spopadov, ki so blizu realizmu. Cornelis je igral pomembno vlogo v Genovi kot posrednik in trgovec z umetninami in je bil ključna oseba za svojega prijatelja, danes veliko bolj slavnega Anthonisa van Dycka.
"Battaglia" and "gevecht". Alexander Casteels and Cornelis de Wael, two painters of battles at the Alte Galerie am Landesmuseum Joanneum, Graz, Austria
Recently, new research has been done on battle paintings by Flemish and Dutch masters in Graz. In the late Renaissance, the works of Antonio Tempesta formed a major source. Deeply influenced by Vasari, he was familiar with the 16th century manner of dramatic actions all’antica. Due to his well-known graphic works where all these patterns had been laid down, even less talented painters were able to exploit them. Among these was Alexander Casteels, a Fleming by birth. His battles all’antica go back on Tempesta’s models. A large canvas on stock in Graz can now be attributed to him. The Antwerp painter Cornelis de Wael gained a reputation for skirmish paintings close to realism. Cornelis played an important role in Genoa as networker and art dealer and was a key figure to his personal friend much more renowned today: Anthony van Dyck.
Flamsko izhodišče za poznomanieristično sliko Sv. Frančišek v ekstazi. Poskus atribucije slikarju Janezu Kochu
Novomeškega slikarja Janeza Kocha (1650–1715) poznamo le po zapuščini risb, hranjeni v zagrebški Metropolitaski biblioteki (Valvasorjeva grafična zbirka Zagrebške nadškofije). Gre za pripravljalne skice, po katerih so grafiki kranjskega polihistorja Johanna Weicharda barona Valvasorja vrezovali bakroreze za njegove knjižne izdaje. Še nerazkrit pa je Kochov slikarski opus; njegovo avtorstvo je mogoče nakazati pri sliki Ekstaza sv. Frančiška Asiškega v refektoriju novomeškega frančiškanskega samostana. Arhivsko gradivo, primejava z njegovimi signiranimi risbami in grafična predloga, ki jo je posedoval tudi Kochov delodajalec Valvasor, eventualno potrjujejo postavljeno hipotezo. Prizor je posnet po grafični predlogi iz antwerpenske grafične delavnice in založbe Raphaela Sadelerja I., ta pa je posnetek likovne invencije sienskega mojstra Francesca Vannija.
Flemish Sources for a Late Mannerist Painting of St Francis of Assisi in Ecstasy
A Tentative Attribution to Johannes Koch
Johannes Koch (1650–1715), a painter of Novo mesto, is known only as the author of a set of preliminary drawings for the engravings in the books of the Carniolan polyhistor Johann Weichard Baron Valvasor (The Valvasor Collection of the Zagreb Archdiocese, Metropolitan Library, Zagreb). Still unknown is his painted oeuvre; Koch's authorship can be supposed in the case of the oil painting of St Francis in Ecstasy from the refectory of the Novo mesto Franciscan monastery. This thesis can possibly be confirmed by the archival material, by a comparison to Koch's signed drawings, and by the print model once owned by his commissioner Valvasor. The scene itself has been modelled after an engraving of the Antwerpen graphic workshop and publishing house of Raphael Sadeler I, which in turn had been copied after an invention by the Sienese painter and print-maker Francesco Vanni.
Janos in Sara Rovin – pozabljena slika iz zbirke cesarja Karla VI. in njen slikar Carolus Unterhuber
Slika Janos in Sara Rovin (sign. Carolus Unterhuber, dat. 1695) je žanrski portret zakonskega para, ki naj bi bil po napisu na sliki poročen 147 let in naj bi živel v Szadovi pri Temišvaru. Ker je bil napis v preteklosti popravljen, datacija slike ni zanesljiva. Leta 1720 je izpričana v dunajski cesarski zbirki in je bila tedaj prva slika, ki jo je lahko videl obiskovalec galerije. Zakonski par Rovin so prav v dvajsetih letih 18. stoletja vedno znova navajali kot primer dolgega življenja, obstajalo pa je več variant tega portreta, tudi v grafiki. Istemu avtorju lahko pripišemo še dve žanrski sliki: Staro žensko s kokošjo in Starega moškega s ptiči.
S temi deli se Carolus Unterhuber uvršča v vrsto srednjeevropskih žanrskih slikarjev, katerih delo kaže povezave z lombardskim žanrskim slikarstvom in ki delujejo na mejnem področju med žanrskim in portretnim slikarstvom, lahko pa bi ga tudi identificirali s Karlom Jakobom Unterhuberjem (1700–1752), ki je bil sicer znan predvsem po sakralnih podobah in freskah.
Janos and Sara Rovin: Forgotten Painting from the Collection of Emperor Charles VI and its Author Carolus Unterhuber
The painting Janos and Sara Rovin (signed: Carolus Unterhuber, dated 1695) is a genre portrait of a couple who were, according to the inscription in the painting, married for 147 years and lived in Szadova near Timişoara (present-day Romania). Due to later interventions in the inscription, the date is unreliable. In 1720 the painting was documented in Viennese imperial collection and it was then the first work that could be seen by the visitors of the gallery. The Rovins were in the 1720s often used as an example of longevity, and several versions of the portrait existed, including prints. Two other genre paintings, Old Woman with a Hen and Old Man with Birds can be attributed to the same painter.
With these paintings, Carolus Unterhuber can be placed in the group of Central-European genre painters whose works reveal relations with Lombard genre painting and combine elements of genre painting and portraiture. The painter can tentatively be identified with Karl Jakob Unterhuber (1700–1752), who is generally better known for religious motifs and frescoes.
Pregled flamskih in nizozemskih umetnikov na dunajskem dvoru v 17. in 18. stoletju
Predstavljeni so nizozemski in flamski umetniki in obrtniki, ki so se od srede 17. stoletja do prve polovice 18. stoletja priselili na Dunaj oziroma dunajski dvor. Tri četrtine od 99 umetnikov in rokodelcev je bilo slikarjev, zlatarjev oziroma draguljarjev, bakrorezcev in šivalcev biserov, torej so bili zaposleni le v štirih poklicih, ena četrtina pa je opravljala 15 drugih poklicev. Znotraj nekakšne nizozemsko-flamske »kolonije« umetnikov so vzdrževali stike med seboj (botrstvo, priče na porokah), posameznikom pa je lahko s poroko uspelo prodreti tudi v kroge dunajskega plemstva. Pri posameznih družinah je prišlo do oblikovanja pravih dinastij, saj sta dejavnost in znotraj poklica pridobljen status prehajala iz roda v rod. Arhivske raziskave so prinesle številna nova imena in pa tudi nove podatke o življenju in delu tistih nizozemskih in flamskih umetnikov in rokodelcev, ki so bili v strokovni literaturi že omenjeni.
Overview of Flemish and Dutch Artists at Viennese Court in the 17th and 18th Centuries
The essay discusses a number of Dutch and Flemish artists and craftsmen who moved to Vienna, or even gained access to Viennese court, in the period from the mid-17th to the first half of the 18th century. 75 percent of the 99 artists and craftsmen were painters, jewellers, engravers and pearl sewers, which amounts to four different professions, whereas the remaining quarter belonged to as many as 15 other professions. They kept in touch (godparents, witnesses to a marriage) by forming a sort of a Dutch-Flemish “colony” of artists. However, by way of marriage, some of them managed to make their way to the circles of Viennese nobility. Individual families developed into real dynasties, as the activity and the status obtained in the profession were passed on from generation to generation. Archival researches have resulted in a number of new names as well as further information about the life and work of the already known artists and craftsmen.
Multispectral Analysis of Paintings from the Second Half of the 17th Century in Carniola
The essay introduces the results of the multispectral analysis of the paintings displayed at the exhibition Almanach and Painting in the Second Half of the 17th Century in Carniola. The structure of paint layers, the results of optical examination (UVF and IRR) and the chemical composition of the materials confirmed the relation between The Card Players I, The Card Players II, A Young Man with a Turkey and Portrait of a Nobleman.
Multispektralna analiza slik iz druge polovice 17. stoletja na Kranjskem
V prispevku so predstavljeni rezultati preiskav slik, vključenih na razstavo Almanach in slikarstvo druge polovice 17. stoletja na Kranjskem, z multispektralno analizo. Način gradnje barvnih plasti, analiza optičnih preiskav in sorodna kemična sestava materialov kažejo na povezavo med slikami Kvartopirci I, Kavrtopirci II, Deček s puranom in Moški portret.
Med deskriptivnim in narativnim. Justus van den Nypoort in njegovo delovanje v Salzburgu in Olomucu
Članek se ukvarja z vlogo, ki jo je imela na moravsko baročno umetnost raznolika umetnostna dejavnost potujočega nizozemskega umetnika Justusa van den Nypoorta (Utrecht 1645/1649–po 1698). V njegovem delu je opazno nasprotje med severnjaškim ali deskriptivnim modelom upodabljanja in južno retorično tradicijo (kot je to metodološko utemeljila Svetlana Alpers). Svoj pozni opus je Nypoort ustvaril na Moravskem v službi olomuškega škofa Karla II iz družine Liechtenstein-Castelcorn. V grafikah in slikah, ki so se ohranile na gradu Kroměříž, se nam Nypoort kaže kot predstavnik kmečkega žanra. Članek opozarja na druga dela za škofa Liechtensteina, kot so ilustracije škofijskega koledarja, škofove insignije, grafični album vedut of kroměřížškega cvetličnega vrta, imenovanega Libosad, in še na nekaj neohranjenih del, znanih le iz arhivskih virov. Predstavljenih je tudi nekaj novih odkritij na področju Nypoortovega monumentalnega oltarnega slikarstva. Sklepni del je posvečen dvema knjigama emblemov salzburškega benediktinca Parisa Gilla: prva je apologija škofa Karla II Liechtenstein-Castelcornskega, druga pa je pomembna predvsem zaradi Nypoortovega avtorstva slikovnega dela.
Between the “descriptive” and the “narrative”. Justus van den Nypoort and his work in Salzburg and Olomouc
The article deals with the role played by a diverse artistic activity of a wandering Netherlandish artist Justus van den Nypoort (1645/1649 Utrecht – after 1698) in the Baroque art of Moravia. The antinomy of the artistic roles is noted, with which the artist had to cope with through the reference to the dichotomy between the northern or “descriptive” depiction model and the southern rhetoric tradition, i.e. the methodological approach previously used by Svetlana Alpers. Late in his life, Nypoort worked in Moravia in the service of the Olomouc bishop Charles II of Liechtenstein-Castelcorn. In his engravings and several paintings preserved at the chateau in Kroměříž, Nypoort appears as a representative of the “peasant genre”. The article adverts to other works for Liechtenstein, such as the illustrations for the diocesan calendar, bishop’s insignia, album of graphic views of the Kroměříž pleasance “Libosad” and some works not preserved, known only from archive sources. It features also the recent findings concerning Nypoort's work on the monumental altar painting. The conclusion is dedicated to two emblematic books by Salzburg Benedictine Paris Gille: one represents an apology of bishop Charles II of Liechtenstein-Castelcorn, the other is appreciable mainly for the fact that Nypoort is the author of its pictorial section.
Almanachovi Kvartopirci v slogovnem in ikonografskem kontekstu nizozemsko-flamskega slikarstva 17. stoletja
Za slogovno in ikonografsko analizo Almanachovih Kvartopircev I in II je raziskovanje njunega konteksta v nizozemsko-flamskem žanrskem slikarstvu 17. stoletja ključnega pomena. Sliki kažeta sorodnost z dvema različnima slikarskima usmeritvama: caravaggizmom in kmečkim žanrom. Medtem ko se Almanach slogovno približa severnjaškim caravaggistom, je izhodišča za nekatere vsebinske poudarke na Kvartopircih moč iskati v veselih družbah Brouwerjevega in Molenaerjevega tipa. Tak je tudi motiv kvartopirca, ki s karto v rokah pogleduje proti gledalcu. Kljub naslonu na antwerpenski in utrechtski caravaggizem pa se Almanach oddalji od ostrih svetlobnih kontrastov in grobih tipov figur. Njegovo slogovno izhodišče lahko zato iščemo v skupini poznih severnjaških caravaggistov, ki so na Nizozemskem in Flamskem delovali v drugi polovici 17. stoletja.
Almanach’s Card Players in Stylistic and Iconographic Context of Dutch and Flemish 17th Century Painting
The article deals with Almanach's paintings The Card Players I and II within the context of Dutch and Flemish 17th century painting. Two different types of card-playing scenes are discussed as the source for Almanach's works: Caravaggesque paintings and low-life scenes. While in The Card Players I and II Almanach formally follows the characteristics of Caravaggism, he includes in his paintings several iconographic patterns which appear more frequently in merry-making tavern interiors. Such is also a figure with a card who faces the viewer. Although in close relation with Antwerp and Utrecht Caravaggists, Almanach distances stylistically from rough renderings of figures and sharp contrasts of light and dark. In the subdued realization of Caravaggism, both of The Card Players strongly resemble the style of late Caravaggisti active in the second half of the 17th century.
Slika Marijinega vnebovzetja v Novi Štifti pri Ribnici v luči Schönlebnove mariologije in Almanachovega slikarstva
Članek ugotavlja, da je slika iz Nove Štifte nastala v zadnji tretjini 17. stoletja pod vplivom slavnega mariologa, tedanjega ribniškega župnika Janeza Ludvika Schönlebna (1618–1681). Ta je v svojih spisih branil nauk o Marijinem brezmadežnem spočetju in se ostro spopadal z dominikanci. Argumenti, s katerimi je nauk utemeljeval, način, kako je opisoval Brezmadežno, ter gorečnost, s katero je spodbujal papeža k razglasitvi dogme, so poudarki, ki jih je mogoče zaznati na naši sliki (ta se motivno sicer veže na patrocinij cerkve). Njene posebnosti so zlasti poudarjena povezava z Apokaliptično ženo, pretvorba Vnebovzetja v Vnebohod, Marijina triumfalistična drža in povečano število gledalcev prizora, kar nakazuje odločilno vlogo ljudstva pri potrditvi nauka (consensus fidelium). V liku disputirajočih mož prepoznavamo Schönlebna in papeža Klemena IX.; prekrižani ključi sv. Petra namreč nedvoumno aludirajo na papeške insignije in oblast. Ker kaže slika več sorodnosti z Almanachovimi Kvartopirci, bo pomemben člen pri nadaljnjem ugotavljanju njegovega opusa in pri preučevanju slikarstva druge polovice 17. stoletja na Kranjskem.
The Nova Štifta Altarpiece of the Assumption of the Virgin in the light of Schönleben's Marian Studies and Almanach's Work as a Painter
The paper reveals that the altarpiece of Nova Štifta from the last third of the 17th century was made under the influence of the famous scholar in Marian studies and the then parish priest in Ribnica, Johann Ludwig Schönleben (1618–1681). In his writings he defended the belief in Mary's immaculate conception and he engaged in fierce controversy with the Dominicans. His arguments in favour of his belief, the way he described the Immaculate and the zeal with which he encouraged the pope to proclaim the dogma – all of these can be traced in this altarpiece (as to the motif, however, it is related to the patron saint of the church). It is peculiar especially for its emphasis laid on the connection of the Immaculate with the Apocalyptic Woman, the transformation of the Assumption into the Ascension, the Virgin's triumphant posture and the increased number of the attendance, which points to the decisive role of the faithful in the sanctioning of the belief (consensus fidelium). In the two men engaged in a dispute we can recognize Schönleben and Pope Clement IX; the crossed keys of St. Peter clearly allude to papal insignia and authority. As the painting shows several similarities with Almanach's Cardplayers, it will be a significant link in the future ascertaining of his oeuvre and in the research into the painting of the second half of the 17th century in Carniola.
The image of the Fly as Representation, Sign, Symbol, and Trademark
In the painting In the Kitchen, the black cat on the window’s pane observes the interior. A bottle is complemented with displaced pairs of eggs and turnips. The dead hen spreads its legs and the erotic tension is emphasized below with the mushroom’s separated stipe, the onions and the asparagus. On the meat landed a fly: one is supposed to believe that the chunk is a real one and has attracted the fly. The painted fly openly declares itself as a visual and as a semantic intruder. Arrested in the action, it is a possible constituent of the factual and of the depicted reality. As an illusionist trick introduces the sense of the fugitive in the static sense of painting. For the pictorial composition, it represents the spot which disturbs visual harmony and has several meanings as representation, sign, symbol, and trademark.
Podoba muhe kot reprezentacija, znak, simbol in zaščitni znak
Na sliki V kuhinji črna mačka z okenske police opazuje notranjščino. Štrlečo pletenko dopolnjujejo premeščeni pari jajc in repe. Mrtva kokoš je razširila bedra, erotično napetost še poudarjajo odtrgani bet gobe, čebula in šop belušev. Na mesu je pristala muha; gledalec mora verjeti, da je meso pravo in da je z vonjem pritegnilo muho. V umetnosti naslikana muha pogosto predstavlja vizualno in pomensko vsiljivko na platnu. Zaustavljena v letu je možna sestavina prave in odslikane resničnosti. Je iluzionistična ukana, ki ustvarja minljivost v statičnem občutju podobe. V slikovni kompoziciji predstavlja madež, ki zmoti vizualno harmonijo in ima mnogo pomenov kot reprezentacija, znak, simbol in zaščitni znak.
Žanrske slike na Dunaju in v njegovi okolici delujočih nizozemskih in flamskih priseljencev Jana van Ossenbeecka (1624–1674), Jana Thomasa (1617–1678), Johanna de Cordua (ok. 1630?–1698/1702?) in Jacoba Toorenvlieta (1635–1719)
Predstavljena so žanrska dela slikarjev Jana van Ossenbeecka iz Rotterdama, Jana Thomasa iz Ypresa, Johanna de Cordue iz Bruslja in Jacoba Toorenvlieta iz Leidna na Dunaju v drugi polovici 17. stoletja. Ugotovljeni so vplivi Davida Teniersa mlajšega, Adriaena van Ostadea ali Cornelia Pietersz. Bega ter Martina Dichtla. Med pomembnejšimi naročniki omenjenih slikarjev so bili mdr. cesar Leopold I. in njegov stric Leopold Viljem, Ferdinand Bonaventura I. grof Harrach, Karl Eusebius knez Lichtensteinski in njegov sin Janez Adam Andrej.
Genre Paintings by Netherlandish Artists Working in Vienna and its Vicinity: Jan van Ossenbeeck (1624–1674), Jan Thomas (1617–1678), Johann de Cordua (c. 1630?–1698/1702?) and Jacob Toorenvliet (1635–1719)
The essay discusses the genre works of the painters Jan van Ossenbeeck from Rotterdam, Jan Thomas from Ypres, Johann de Cordua from Brussels and Jacob Toorenvliet from Leiden, who worked in Vienna in the second half of the 17th century. They were influenced by David Teniers II, Adriaen van Ostade, Cornelis Pietersz. Bega and Martin Dichtl. Among the most important patrons of the above mentioned painters were also Emperor Leopold I and his uncle Leopold Wilhelm, Ferdinand Bonaventura I Count Harrach, Karl Eusebius Prince of Lichtenstein and his son Johann Adam Andreas.
Slike pripisane Almanachu in Hermanu Verelstu: materiali in tehnike
V članku so predstavljene analize materialov in tehnike izbranih slik iz opusov na Kranjskem delujočih slikarjev druge polovice 17. stoletja, še posebej dela Almanacha in Harmana Verelsta. Uporabljene so bile rentgenska radiografija (RTG), optična in elektronska mikroskopija (OM; SEM-EDX) ter histokemijsko barvanje presekov barvnih plasti. Podloge slik so bile praviloma rdeče ali rjave in so vsebovale železove gline, same ali v zmesi z gorsko kredo. Vezivo podlog je bilo praviloma oljno. Paleta je bila skromna, vsebovala je kostno črno in svinčevo glajenko – masikot. Barve so bile praviloma nanesene enoslojno, ker so bili toni barv zamešani že na paleti. Redkeje so bile barve izdelane v več slojih. Pentimentov praktično ni, zaslediti pa je na Kranjskem sicer redko izdelavo kompozicije s slojem podloge ali barve – mrtve barve.
Na podlagi analiz je bilo potrjeno, da so delo enega avtorja oziroma delavnice slike Deček s puranom, Kvartopirci I in Kvartopirci II. Z njimi pa na podlagi materialno – tehnoloških značilnosti ne moremo povezati preostalih analiziranih del, zato tudi ni bilo mogoče potrditi domneve o identifikaciji slikarja Almanacha s Hermanom Verelstom.
The Paintings Attributed to Almanach and Herman Verelst: Materials and Techniques
The paper presents the analysis of materials and techniques of the paintings from the second half of 17th century in Carniola. They were examined by x-rays, optical and electronic microscopy (OM and SEM-EDX) and histochemical dyeing of the colour layers cross-sections. Painters of the period used red or brown grounds, which contained iron clays or mixture of iron clays and mountain chalk. As a binding of ground they usually used oil. The set of pigments is modest, but it contains bone black and massicot. Colours are generally applied in one layer, which shows that they were mixed on palette before application. Only in few cases we have found colours composed in several layers. There are practically no pentimenti. Quite exceptional for Carniola is also preparation of composition with additional layer of ground or colour (dead colour).
The findings confirm that A Young Man with a Turkey, The Card Players I and The Card Players II are works of the same author or his workshop. On the other hand, the characteristics of materials and technologies used for other paintings were different, therefore the identification of Almanach with Herman Verelst could not be confirmed.
Šala, satira in alegorija na nemških ilustriranih letakih 17. stoletja in njihov globlji pomen (primeri iz Valvasorjeve zbirke v Zagrebu)
Pričujoči prispevek za simpozij o Almanachu in njegovem času se navezuje na avtorjev članek, objavljen v Acta historiae artis Slovenica, 8, 2003, in obširneje spregovori o eni izmed tematskih skupin, ki so tam le na kratko opisane. Obravnava namreč ilustrirane letake šaljive vsebine, katerih naloga ni bila le zabavati ljudi, temveč pozitivno vplivati na njihova stališča glede vprašanj zasebne in javne morale. Ti letaki so sestavni del kulturološkega diskurza 17. st., ki je potekal na različnih komunikacijskih ravneh, od književnosti in moralne teologije do slikovne publicistike. Njihova predstavitev razširja vpogled v likovni in komunikacijski okvir, v katerem je s svojimi deli na elitni ravni sodeloval tudi Almanach.
Humour, Satire and Allegory on German Illustrated Broadsheets of the 17th Century and Their Deeper Meaning (Examples from the Valvasor Collection in Zagreb)
The present paper, prepared for the symposium about the painter Almanach and his time, refers to the article published by the author in Acta historiae artis Slovenica, 8, 2003, and it deals in detail with one of the thematic groups treated there only briefly. Namely, it discusses illustrated broadsheets of humorous content, whose task was not only to amuse the recipients but also to exert a positive impact on their stance toward the questions of private and public morals. These broadsheets are a constituent part of the culturological discourse of the 17th century that was going on at various communication levels, from literature and moral theology to pictorial publications. The present study of these broadsheets broadens the insight into the visual and communication context within which Almanach participated on an elite level.
Neznane risbe Davida Teniersa mlajšega iz Valvasorjeve zbirke
Do leta 1685 je Janezu Vajkardu Valvasorju uspelo zbrati pomembno zbirko risb, od katerih jih več kakor šestdeset lahko pripišemo Davidu Teniersu II. in njegovi delavnici. Tretjina risb predstavlja krajinske motive, figuralni prizori pa so večinoma ponovitve posameznih uspešnih invencij. Številne med njimi so povezane s slikarskimi realizacijami. V nasprotju s študijami so ponovitve večjih figur praviloma natančno senčene, kar pa ne pomeni, da niso Teniersovo lastnoročno delo. Med pogojnimi atribucijami slikarju je vredna posebne pozornosti edina ohranjena skica za njegovo slikarsko upodobitev galerije nadvojvode Leopolda Viljema.
Unknown drawings by David Teniers the Younger in the Valvasor Collection
By 1685 Johann Weichard Valvasor had brought together a notable collection of drawings. More than 60 of them can be attributed to David Teniers II and his workshop. A third of them are landscape drawings. The majority of the figure drawings are repetitions of single compositional motifs. Many of them are connected with paintings. Unlike the figure studies the repetitions display elaborate hatchings, which however should not be taken as an argument against their autograph status. Among the tentative attributions to Teniers the following deserves particularly close attention: the only surviving sketch for a painting of the gallery of Archduke Leopold Wilhelm.
Slikarstvo 17. stoletja v severni Hrvaški – obrobno poglavje zgodnjebaročnega slikarstva
Slikarstvo druge polovice 17. stoletja v severni Hrvaški je v okviru srednjeevropskega slikarstva obrobnega pomena. Brez vidnih imen in brez pomembnih del domačih slikarjev je v bistvenih značilnostih sorodno slikarstvu sosednjih dežel oziroma njihovih umetnostnih središč, vplivi pa so se pretakali zlasti prek naročil ali uvoženih del tujih umetnikov, kot so bili Hans Georg Geigerfeld, Ivan Eisenhordt in Hans Adam Weissenkircher.
17th Century Painting in North Croatia – A Minor Episode of Early Baroque Painting
The painting of the second half of the 17th century plays a minor role of the Central European Baroque painting. With no outstanding protagonists and no significant works of local painters it shares the essential features with the neighboring countries and the painting of their artistic centers mostly through the commissioned and imported paintings of foreign authors like Hans Georg Geigerfeld, Ivan Eisenhordt or Hans Adam Weissenkircher.
Federico Zeri in Almanachova fortuna critica
V prispevku so predstavljene slovenske študije velikega italijanskega poznavalca Federica Zerija od sedemdesetih do konca devetdesetih let 20. stoletja. Še posebej je poudarjen njihov pomen za razumevanje Almanacha, ki je bil verjetno najpomembnejši, a tudi najskrivnostnejši umetnik, delujoč na Kranjskem v poznem 17. stoletju. Čeprav poznamo le malo zanesljivo Almanachovih del, pa tudi zgodovinskih notic o njem ni veliko in še te so skromne, je Zeriju uspelo rekonstruirati njegovo likovno kulturo in s tem pripraviti temelje za nadaljnje študije. Poleg tega je prav zasluga rimskega raziskovalca, da je danes Almanachovo ime znano tudi v Italiji.
Federico Zeri and Almanach's fortuna critica
The paper presents Slovene studies of the great Italian connoisseur Federico Zeri, from the 1970s to the end of the 1990s. Particular emphasis is placed on their significance with regard to the understanding of the painter Almanach, who was probably the most important, but also the most mysterious of the artists who were active in Carniola in the late 17th century. Although only a few works are known that can reliably be attributed to Almanach and also historical notes about him are rare and meagre, Zeri managed to reconstruct the painter's visual culture and thus to lay foundations for further research. Besides, the credit goes exactly to the Roman researcher for introducing the name of Almanach into Italian scholarly circles.
Konserviranje in restavriranje slik Almanacha in njegovih sodobnikov
Narodna galerija v Ljubljani se v zadnjem desetletju ukvarja z raziskovanjem slikarstva 17. stoletja na Slovenskem. Pri projektu Almanach in slikarstvo druge polovice 17. stoletja na Kranjskem smo se srečali z opusom slik, ki je bil v precej dobrem stanju. Večji posegi so bili potrebni le pri sedmih zelo poškodovanih slikah, ki pred tem niso bile vključene v razstave in so se nahajale v prostorih z neustrezno klimo. Konserviranje in restavriranje je potekalo v Narodni galeriji v Ljubljani in v Restavratorskem centru Zavoda za varstvo kulturne dediščine Slovenije med leti 2000 in 2005. Način konserviranja in restavriranja se je prilagajal vsaki umetnini posebej. V tej razpravi so uporabljeni postopki razvrščeni po največkrat uporabljenem vrstnem redu: dokumentacija in diagnostika pred posegi, konserviranje in restavriranje ter dokumentacija in diagnostika med posegi. Rezultati preiskav so nas spodbudili k nadaljevanju dela.
The Conservation and Restoration of Paintings by Almanach and his Contemporaries
Over the last decade the National Gallery has been researching 17th century paintings in Slovene-speaking lands. In the project Almanach and the painting of the second half of the 17th century in Carniola we encountered an oeuvre in quite good condition. Major intervention was necessary only in the case of seven seriously damaged works which had not been exhibited and had been kept in storage under unsuitable climatic conditions. Conservation and restoration work was carried out at the Restoration Centre of the Institute for the Protection of Cultural Heritage at the National Gallery in Ljubljana between 2000 and 2005. The methods used were adapted to each individual work. In this discussion, the procedures are arranged in terms of usual sequence of use: documentation and diagnostics prior to intervention, conservation and restoration, documentation and diagnostics during intervention. The results of our research encourage us to continue with our work.