Tabulae pictae u palači Petris-Moise u Cresu

This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.

Intaljo s rta Ploče u svjetlu novih saznanja

During the archaeological excavations in Cape Ploča conducted from 1996 to 1998, numerous personal items were found besides the ceramics, including eight engraved gems. One of them, worked in the intaglio technique, is made of carnelian and oval shaped, and for the lack of analogies hitherto interpreted as a “highly stylized chimera”. The article brings new insights that are primarily based on stylistic analysis and iconographic reinterpretation. The intaglio’s origin has been redefined: instead of the previous assumption about its Egyptian provenance, the author has identified it as stemming from central Italy. Moreover, a new date of origin has been proposed, namely the 2nd century BC, which complements the hypothesis on Greek seafarers as the visitors of Diomedes’ shrine and, more precisely, the inhabitants of Greater Greece as its potential users.

Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena

Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.

Dvorac Nova Kraljevica: prilozi za povijest gradnje i uređenja

The article deals with the history of construction and renovations, as well as the interior design of the Nova Kraljevica castle. Based on archival sources and in-situ findings, the author has defined the architectural history of the castle starting from the construction for the Zrinski family in the 17th century, renovations for army barracks, hospital and monastery in the 18th and 19th centuries, to the present day. Abundant archival documentation helps gain insight into the castle's original 17th century features, and detect changes it underwent in the later period. The article also discusses the original function of individual rooms, and various elements of the interior design, including their original location.

Prilog poznavanju zastupljenosti i rasprostranjenosti ikonografski srodnih oltarnih slika s prikazom Gospe od Ružarija s likovima savezničkih vladara na području istočnog Jadrana, južne Italije i Provanse

This article analyses iconographically analogous altar paintings showing Our Lady of the Rosary with rulers from the Holy League of Pope Pius V, situated in the areas of Eastern Adriatic, South Italy, Provence, and the Maritime Alps.

Prilog poznavanju kasnogotičke skulpture u Rijeci: prijedlog za Leonarda Thannera i nepoznata grupa Oplakivanje Krista

The article discusses a late Gothic statue of Pietà in the permanent collection of the Maritime and Historical Museum of the Croatian Littoral in Rijeka. It is a wooden statue with poorly preserved traces of polychrome painting and gilding, discovered in 1920 in the attic of the parish church of Mary’s Assumption in Rijeka. Vanda Ekl dated it to the end of the third quarter of the 15th century without specifying its circle of origin or its history. Based on a stylistic analysis, as well as a series of typological and formal analogies, the Pietà of Rijeka can now be brought into connection with the woodcarver Leonardo Thannner from Bavarian Landshut, active in Friuli during the second half of the 15th century. A crucial comparative example can be found in Thanner’s polychromatic wooden group of The Lamentation of Christ from the church of Santa Maria della Fratta in San Daniele del Friuli (1488). Rijeka Lamentation, a hitherto unknown and here for the first time published statue, can be linked with a workshop or a circle of the Friulian sculptor Giovanni Martini and approximately dated to the first quarter of the 16th century.

„Relacijska forma” kao umjetnički jezik: pristupi i prijepori

The paper aims at mapping and theoretically conceptualizing the controversies around the “relational form.” It does not, however, seek to conciliate the different positions or take “sides” in the debate; instead, it is based on concept-based methodology as an instrument offering a better insight into the researched object. Even though the form of contemporary art, be it as a process or as a procedure, is “broken” according to the traditional idea, the aim of this work is to examine the opposite. In the first part, the notion of “relational form” and the discourses related to its articulation are analyzed. The second part focuses on the techniques and procedures or strategies of the conceptual avant-gardes during the 1990s and 2000s. Eventually, the conclusion considers the efforts, debates, and possibilities of art in the extended field of relational practices. The aim of this research is to define more precisely the ontological status of contemporary art forms.

Kule na ulazu u Kanal sv. Ante – neodvojivi dio šibenskih fortifikacija

The Large and Small Towers at the beginning of St Anthony’s Canal in Šibenik, on today’s capes Burnji Turan and Južni Turan, are part of the city’s medieval fortification system along with the castrum of St Michael and the bulwark, but they have remained largely neglected in scholarly literature. The towers remained part of Šibenik’s fortification system during the early modern period, until the construction of the fortress of St Nicholas and the eventual demolition of the two towers at the beginning of the War of Cyprus in 1570. Although they were built at a distance of nearly one kilometer from the bulwark, they were the earliest defensive belt of Šibenik from the sea. Between the towers, at a distance of about 140 meters, there was a chain that most likely consisted of interconnected wooden beams that allowed it to float. It is difficult to say with certainty when the Venetian authorities ordered the towers to be torn down, but apparently at least one of them was demolished during the so-called Third Venetian- Ottoman War (1537-1540), when the Venetian possessions in Dalmatia were seriously threatened by the powerful Ottoman fleet. The towers definitely ceased to be part of the fortification system at the beginning of the War of Cyprus in 1570.

Prijedlog za Jacopa Amigonija (Bogorodica s Djetetem) na Visovcu

The painting Madonna and Child on the island of Visovac is comparable to the paintings produced by Jacopo Amigoni in the early 1740s, at the time when he stayed in Venice and probably established a workshop. The article explains the reasons for a preliminary attribution of this painting to the prominent painter of the Venetian and European Settecento, and its significance for the Franciscan artistic heritage in Dalmatia.

Slika kao polje introspekcije

The oeuvre of Sunčanica Tuk consists of pulsating, restless factures, composed of vertical, always different moves systematized in sequences, with paint often oozing from them owing to their nervation and pulsation. Her opus is a truly subtle and cultivated self-analysis, a sublime psychogram, something that transforms the artist’s mental state into an immediate human trace, suitable, as the painter says, “for the deepest contemplative dive” into the secrets of her undoubtedly spiritually rich being, for expressing her complex psychic constellation and mental tensions, neuralgia, even drama – which the artist, as it seems, keeps experiencing over and over again. It is a soliloquy rather than a dialogue with the world: an encrypted and masked language of ambiguity and vagueness, a speech in hints that will not be understood by everyone, yet shocks and inspires the observer.