Call for Papers for the conference ART (HISTORY) IN EDUCATIONAL CONTEXTS. Faculty of Humanities a... more Call for Papers for the conference ART (HISTORY) IN EDUCATIONAL CONTEXTS. Faculty of Humanities and Social Sciences, University of Zagreb Zagreb, Croatia, 10 – 11 February 2023
Peristil: zbornik radova za povijest umjetnosti, Vol. 64 No. 1, 2021
U radu je dan osvrt na 50-e godine 20. stoljeća kada se zalaganjem povjesničara umjetnosti Grge G... more U radu je dan osvrt na 50-e godine 20. stoljeća kada se zalaganjem povjesničara umjetnosti Grge Gamulina (Jelsa, 1910 – Zagreb, 1997.) i Milana Preloga (Osijek, 1919. – Zagreb, 1988.), sveučilišnih nastavnika na Odsjeku za povijest umjetnosti Filozofskoga fakulteta u Zagrebu, postavljaju prve konkretne osnove za uvođenje Povijesti likovne umjetnosti kao zasebnoga nastavnog predmeta u hrvatske gimnazije. Izdvojeni su danas već pomalo zaboravljeni, a svojedobno iznimno utjecajni Gamulinovi radovi u periodičkim časopisima, objavljeni 1951. i 1956. godine. U njima je Gamulin uvjerljivo ukazao na važnost uvođenja kulturno-povijesnih predmeta u hrvatske gimnazije, fokusirajući se na Povijest likovne umjetnosti. Istovremeno nije propustio kritički se osvrnuti na goruće probleme u dotadašnjem pristupu povijesno-umjetničkim sadržajima u srednjoškolskoj nastavi, kao što su njihovo neopravdano združivanje s predmetima Crtanje i Povijest, mala satnica dodijeljena ovim sadržajima, nestručan nastavni kadar, neodgovarajući nastavni programi, potreba korištenja suvremenih nastavnih sredstava i drugo. Njegovi stavovi i zalaganja bili su odlučujući u stvaranju temelja za veliku promjenu koja se dogodila nastavnim programom 1960. godine, u kojem se Likovna umjetnost predavala kao zaseban predmet unutar krovnoga predmeta Umjetnost, a čiji je autor bio upravo profesor Prelog. I Gamulin i Prelog su, dakle, izuzev svojih akademskih angažmana na fakultetu i svojih brojnih znanstvenih interesa, uvidjeli važnost i značaj uključivanja povijesti umjetnosti i unutar srednjoškolskoga obrazovanja, smatrajući ju izrazito bitnom za formaciju kulturno obrazovanog pojedinca. U prvim odlučujućim godinama uvođenja i osnaživanja, a zatim i etabliranja predmeta unutar gimnazija, svojim su se glasnim zagovorom trudili izboriti adekvatan položaj povijest umjetnosti u srednjoškolskom obrazovanju. / The paper gives an overview of the 1950s period when the efforts of art historians Grga Gamulin (Jelsa, 1910 ‒ Zagreb, 1997) and Milan Prelog (Osijek, 1919 ‒ Zagreb, 1988), university teachers at the Department of Art History of the Faculty of Humanities and Social Sciences in Zagreb. They lay the first foundations for the introduction of History of Fine Art as a separate subject in Croatian high schools. The authors analyze Gamulin’s somewhat forgotten and at one time extremely influential works in periodicals published in 1951 and 1956. Gamulin convincingly pointed out the importance of introducing cultural and historical subjects in Croatian high schools, focusing on art history. Gamulin also critically addressed the burning issues in the previous approach to historical and artistic content in high school teaching, such as their unjustified association with the subjects Drawing and History, less classes allotted to these contents, unprofessional teaching staff, funds and more. His views and efforts were decisive in creating the foundation for the great change that took place in the 1960 curriculum, in which Visual Arts was taught as a separate subject within the umbrella subject Art, authored by professor Prelog. Both Gamulin and Prelog, in addition to their academic engagements at the university and their numerous scientific interests, recognized the importance and significance of including art history within secondary education, considering it extremely important for the formation of a culturally educated individual. In the first decisive years of the introduction and empowerment, and then the establishment of subject within high schools, their loud advocacy sought to achieve an adequate position of art history in secondary education.
This second round of CFP is to remind you about the new dates of the Art and State conference and... more This second round of CFP is to remind you about the new dates of the Art and State conference and to inform you that the call is still open for a limited number of paper presentations for those who wish to join us in Zagreb this summer.
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference aims to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts, the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people (Merriam Webster Dictionary). Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels. The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
Art and the State in Modern Central Europe (18th – 21st Century), 2024
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference proceedings aim to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people.
Odrzivost kulturne bastine. Zbornik radova znanstveno-stručnog skupa., 2023
Zbornik donosi radove temeljene na izlaganjima sa znanstveno-stručnog skupa „Održivost kulturne b... more Zbornik donosi radove temeljene na izlaganjima sa znanstveno-stručnog skupa „Održivost kulturne baštine“ održanog u sklopu Dana europske baštine u Velikoj Gorici od 13. do 15. listopada 2022. u organizaciji Ministarstva kulture i medija RH, Grada Velike Gorice, Hrvatske akademije znanosti i umjetnosti, Zavoda za znanstvenoistraživački i umjetnički rad u Velikoj Gorici i Instituta za turizam. Radovi razmatraju koncept održivosti kulturne baštine kroz različite prizme, a zajedničko im je svima polazište temeljeno na iskustvu u praksi. Upravo primjeri iz prakse pokazuju mogućnosti, ali i prepreke s kojima se stručnjaci, lokalne zajednice, institucije i drugi dionici susreću pri pokušajima očuvanja kulturne baštine u suvremeno doba. U radovima se obrađuju primjeri iz kategorije materijalne baštine, dakle arhitekture i pokretne baštine te arheoloških nalazišta i krajobraza, kao i iz kategorije nematerijalne baštine, primjerice tradicijskih običaja, vještina i znanja. Upravo takav holistički pogled na kulturnu baštinu prisutan u ovom Zborniku pridonosi promišljanju o budućim smjerovima i izazovima jednog šireg pristupa očuvanju kulture pojedinog geografskog područja na kojem se može temeljiti održivost kulturne baštine u budućnosti. -
International Conference Art (History) in Educational Contexts. Programme and Book of Abstracts. Zagreb: Faculty of Humanities and Social Sciences, University of Zagreb, 10 – 11 February 2023., 2023
Programme and Book of Abstracts of the Conference Art (History) in Educational Contexts, Faculty ... more Programme and Book of Abstracts of the Conference Art (History) in Educational Contexts, Faculty of Humanities and Social Sciences, University of Zagreb 10 – 11 February 2023, Zagreb, Croatia.
https://art-history-education.ffzg.unizg.hr/
Art and the State in Modern Central Europe (18th – 21st Century), 2021
Programme and Book of Abstracts of the Conference Art and the State
in Modern Central Europe (18t... more Programme and Book of Abstracts of the Conference Art and the State in Modern Central Europe (18th – 21st Century) Faculty of Humanities and Social Sciences, University of Zagreb 30 June 2021 – 3 July 2021, Zagreb, Croatia
Art and the State in Modern Central Europe (18th – 21st Century), 2024
This paper analyses the representation of themes from national art within art history studies at ... more This paper analyses the representation of themes from national art within art history studies at the Faculty of Humanities and Social Sciences in Zagreb in the period from its establishment (1877) until the 1970s. It also draws conclusions about how the shaping of the content of national art, as well as the study program, were determined by changes in the socio-political system, which were also reflected in the personnel policy and the structure of the Department. Furthermore, the paper describes the contributions made by individual professors of the Department in the formation of the teaching programs in which topics from national art were taught with almost the same importance and in parallel with those from general art overviews. They were given different designations depending on the political period, such as Yugoslav art, national art, our monuments, domestic monuments, or were even more closely related to the official state designation (Kingdom of Serbs, Croats, and Slovenes, Banovina of Croatia, Federal People’s Republic of Yugoslavia).
Peristil: zbornik radova za povijest umjetnosti, 2023
This paper aims to provide an overview of the art history courses at the Polytechnic; that is, th... more This paper aims to provide an overview of the art history courses at the Polytechnic; that is, the Technical Faculty in Zagreb, by examining the work of three university teachers – Petar P. Fetisov, Petar Knoll and Andre Mohorovičić – all course leaders and art history lecturers of the study programme offered by the Department of Architecture of the Technical Faculty. The paper focuses on their respective academic paths and the circumstances of their employment at the Technical Faculty.
Ovaj je vodič rezultat suradnje skupine stručnjaka s Filozofskoga fakulteta Sveučilišta u Zagrebu... more Ovaj je vodič rezultat suradnje skupine stručnjaka s Filozofskoga fakulteta Sveučilišta u Zagrebu koji su na temelju svojega dugogodišnjega iskustva rada u obrazovanju budućih osnovnoškolskih i srednjoškolskih nastavnika prepoznali potrebu za njegovom izradom, s ciljem kontinuiranoga podizanja kvalitete studijskih programa koji uključuju nastavnu praksu. Vodič je nastao u sklopu projekta Učenje kroz rad i sustav upravljanja studentskim iskustvom na Filozofskom fakultetu u Zagrebu (2020. – 2023.) koji se financira iz Europskoga socijalnoga fonda. Namijenjen je svim mentorima nastavnicima, bez obzira na to koji nastavni predmet predaju. Cilj je vodiča afirmirati ulogu mentora koji rade sa studentima i koji su važna karika u obrazovanju nastavnikā. Naglasak je stavljen na opće vještine potrebne za mentoriranje, a ne na specifična znanja iz predmetnih metodika.
Trident u Hrvatskoj: vizualizacije tridentskoga programa u likovnoj baštini , 2023
U radu je prezentirana ikonografija u poslijetridentskome razdoblju 17. i 18. stoljeća na odabran... more U radu je prezentirana ikonografija u poslijetridentskome razdoblju 17. i 18. stoljeća na odabranim primjerima hrvatske likovne baštine na području sjeverozapadne Hrvatske. Izdvojena su slikarska i kiparska djela iz župnih i hodočasničkih crkava te područnih i dvorskih kapela koja pokazuju da se hrvatska likovna baština ovoga razdoblja ikonografski uklapa u širu umjetničku sliku katoličke Europe te koja stoje kao potvrda snage Crkve nakon Sabora da tridentski program pronikne sve do rubnih krajeva katoličkoga područja, na kojima zatječemo iste one teme koje se nalaze i u samim izvorištima obnove te velikim i moćnim središtima katoličke Europe.
Život umjetnosti: časopis o modernoj i suvremenoj umjetnosti i arhitekturi, 2022
This paper is dedicated to the student journal Umjetnost i mi [Art and Us], an art history annual... more This paper is dedicated to the student journal Umjetnost i mi [Art and Us], an art history annual that was edited and published by the students of the VII Gymnasium in Zagreb under the guidance of Professor Jadranka Damjanov in the 1960s. This valuable and high-quality publication serves as an indispensable source for research into the beginnings of visual arts education in Croatian secondary schools, while its innovativeness and creativity make it relevant within the modern educational context as well.
(Ime hrvatske povjesničarke umjetnosti i sveučilišne profesorice Jadranke Damjanov sinonim je za avangardan, progresivan, nekonvencionalan i po mnogočemu jedinstven pristup odgoju i obrazovanju temeljenom na umjetnosti. U početnim godinama svoje nastavne karijere, ujedno vremenu osamostaljenja nastavnog predmeta Likovna umjetnost unutar hrvatskih gimnazija, profesorica Damjanov sa svojim je učenicima u VII. gimnaziji u Zagrebu pokrenula i uređivala godišnjak povijesti umjetnosti Umjetnost i mi, koji je izlazio od školske godine 1960./1961. do 1968./1969., a koji je u onodobnoj stručnoj zajednici prepoznat kao izniman doprinos unaprjeđenju i inoviranju srednjoškolske nastave. Unutar devet brojeva godišnjaka nalazili su se tekstovi u raznim formama, većinom kratki pisani radovi esejskog tipa, literarni i slobodni osvrti na likovna djela, pjesme, intervjui, dijalozi. Heterogenost i sloboda forme i izričaja koju pronalazimo unutar svakoga broja, zrcale raznolikost učeničkih osobnosti te intiman i dubok odnos prema umjetnosti i svijetu koji nas okružuje. Tekstovi su djelo jednog, dvoje ili skupine učenika, a pojedini su oblikovani kao niz odabranih odgovora na ankete provedene u više razreda. Brojevi su zamišljeni tematski, neki su bili povezani sa sadržajima propisanima nastavnim planom, a neki s odabranom problematikom najavljenom u uvodniku profesorice Damjanov na početku svakog broja.)
Zbornik radova sa skupa 140 godina podučavanja povijesti umjetnosti na Sveučilištu u Zagrebu, 2022
U radu se donose podatci o početcima metodičke izobrazbe budućih nastavnika likovne umjetnosti na... more U radu se donose podatci o početcima metodičke izobrazbe budućih nastavnika likovne umjetnosti na Filozofskom fakultetu u Zagrebu, koja se prvotno odvijala u organizaciji Pedagoškoga instituta, uz honorarni rad A. Kumana, a od 1965. na Odsjeku za povijest umjetnosti radom J. Damjanov. Istaknuti su i pojedini važni segmenti iz područja tadašnjeg srednjoškolskoga obrazovanja, kako bi se naglasile tijesne poveznice visokoškolske i srednjoškolske razine u kontekstu povijesti podučavanja povijesti umjetnosti u Hrvatskoj.
Radovi Instituta za povijest umjetnosti / Journal of the Institute of Art History, 2021
Croatian artistic heritage of the Baroque period includes numerous depictions of the Virgin Mary ... more Croatian artistic heritage of the Baroque period includes numerous depictions of the Virgin Mary as the Immaculate Conception (lat. Immaculata Conceptio) in almost all types of artistic production – altarpieces and statues, wall paintings, votive paintings and prints, and public sculptures. Among them, there is a small group of only a few paintings bearing resemblance to the Gnadenbild of Freising in Germany: a painting in the Franciscan monastery in Zagreb, two paintings in the Ursuline monastery in Varaždin, and a painting on the altar of the Immaculate Conception in the chapel of St Vitus in Varaždin. These paintings depict Mary with a lovely face and a floral wreath on her head framed by twelve stars, with her hair richly curled over her shoulders and adorned with pearl strings, wearing a lavishly embellished dress and a cloak evoking the contemporary 18th-century fashion. She is holding a lily in her left hand, standing on the globe, and trampling the head of a snake coiled over a crescent with her right foot. The iconographic and formal features of these artworks are also recognizable in several paintings of the Freisingermadonna, depictions of the Immaculate Conception based on a wooden sculpture once located in the hall of the Benedictine Lyceum and Grammar School in Freising (Bavaria), which in various sources and publications is referred to as the Freisinger Seminarmadonna, Lyceums-Madonna, Patrona Lycei Frisingensis, or Freisinger Hochschulmadonna. The sculpture was commissioned by the first professor of rhetoric at the lyceum, the Benedictine Wolfgang Ringswerger (Munich, 1658 – Michelfeld, 1721), for the fraternity he founded in 1698. Today, the sculpture is lost, but the veneration of the Immaculate from Freising is evidenced by her numerous reproductions in painting, mostly in Bavaria – in Freising, Sielenbach, Oberrohr, Munich, and Garmisch-Partenkirchen. Among the abovementioned examples from Croatian artistic heritage, the painting from the chapel of St Vitus in Varaždin (1733), attributed to the artist Blaž Gruber (Blasius Grueber, † 1753) stands out as particularly analogous to the Seminarmadonna painting from Munich’s Ratskeller in Munich and the one located in the outer chapel of the parish church of St Joseph (formerly Carmelite) in Vienna. The Varaždin painting was commissioned by the parish priest Gabrijel Herman Patačić, who later became the bishop of Syrmia (1729-1733) and the archbishop of Kalocsa (1733-1745). He was a benefactor of the Varaždin Ursulines, in whose monastery there are still two paintings depicting the Immaculate of Freising. For now, it is not possible to determine with certainty how the paintings came to the monastery, but it can be assumed that they were brought to Varaždin by some of the nuns from Bavaria, recorded in several canonical visitations during the 18th century. Close to the paintings from the Ursuline monastery is the Immaculate from the Franciscan monastery in Zagreb (Kaptol), which is the only painting in Croatian heritage that bears clear evidence of being considered a miracle-working depiction of the Blessed Virgin Mary of Freising: the globe in the lower section of the painting bears the inscription “IMAGO THAVMATVRGA BEATISSIMAE VIRGINIS MARIAE Frisingae, apud patres Benedictinos, in aula.” Similar inscriptions can be found in the graphic sheets depicting the Seminarmadonna of Freising, most probably to be credited with spreading the cult as well as its visual representation. The cult was especially widespread in Freising and the Bavarian region, and among the few examples outside this radius, the said paintings from Zagreb and Varaždin are valuable examples and a peculiarity in the Croatian artistic heritage from the 18th century.
Croatian Journal of Education = Hrvatski časopis za odgoj i obrazovanje, 2021
The contents of art history in Croatian grammar schools had initially been included within the Dr... more The contents of art history in Croatian grammar schools had initially been included within the Drawing subject. From the mid-20 th century, they were combined with the contents from history. From 1960, both Visual Arts and Music had been equal components within the Art course, but in 1994 it formally became a full independent subject in grammar schools. The last educational reform generated a new subject curriculum in 2019 that completely reorganized the subject and brought it closer to contemporary educational principles. In vocational schools during the 1960s, however, a large number of teaching programs contained contents implemented from visual arts as a part of Croato-Serbian Language and Literature course, together with the basics of aesthetic education. However, they were left out in the later programs from most schools during the 1990s, which happened again in the most recent educational documents that were issued in the last several years. The aim of this paper is to discuss the position and specific qualities of Visual Arts subject or topics from the field of visual arts (art history), as well as the changes this subject has underwent during various educational reforms, by means of analysing the teaching programs of grammar and vocational schools in Croatia from the mid-20 th century to the present day.*
Iso Kršnjavi - veliki utemeljitelj. Zbornik radova znanstvenog skupa. Zagreb: Institut za povijest umjetnosti, Hrvatski institut za povijest, 2015
U dokumentima ostavštine Izidora Kršnjavog, pohranjenima u nekoliko zagrebačkih arhiva i instituc... more U dokumentima ostavštine Izidora Kršnjavog, pohranjenima u nekoliko zagrebačkih arhiva i institucija, razni istraživači iščitali su mnoštvo podataka kojima se oblikovala slika njegove političke karijere te objasnio njegov veliki udio u stvaranju ondašnje hrvatske kulturne i umjetničke baštine. Iz istih izvora, iako u dosta manjoj mjeri s obzirom na navedene kategorije, može se rekonstruirati njegov pedagoški i profesorski rad.Nastava povijesti umjetnosti na današnjem Filozofskom fakultetu Sveučilišta u Zagrebu započela je predavanjima i profesurom Kršnjavoga 1878. godine. Zaslugom istraživača koji su se bavili tim segmentom njegova rada razjašnjeni su detalji oko njegova profesorskog imenovanja i uzora, koje nalazi posebice u bečkom modelu studija povijesti umjetnosti i profesoru Rudolfu Eitelbergeru. Upravo na pedagoški segment njegove djelatnosti usmjereno je i ovo izlaganje. Naglasak je stavljen na njegova predavanja, posebice ona neobjavljena – kao što su Povijest kulture u dobi renaissance, O grčkoj nastavi, O estetici, O secesiji i druga – koja je održao na Katedri za povijest umjetnosti zagrebačkog Sveučilišta. Iz zabilješki i dokumenata Kršnjavoga saznajemo o njegovoj nastavnoj djelatnosti, “znanstvenim i umjetničkim ekskurzijama” koje je priređivao za svoje slušače, o njegovim razmatranjima o školstvu i zalaganju za uporabu novih tehnologija u svrhu populariziranja znanosti i umjetnosti. Sve izloženo vrijedno je svjedočanstvo o počecima nastave povijesti umjetnosti u Hrvatskoj te stoji kao temelj njezina daljnjeg razvoja i grananja.
Artur Schneider : 1879.-1946. : zbornik radova znanstveno-stručnog skupa Hrvatski povjesničari umjetnosti, 2016
U radu je dan pregled do sada manje istraženih segmenata nastavnoga rada dr. Artura Schneidera na... more U radu je dan pregled do sada manje istraženih segmenata nastavnoga rada dr. Artura Schneidera na Mudroslovnome fakultetu u Zagrebu (danas Filozofski fakultet). Studij na Mudroslovnome fakultetu Schneider je upisao početkom akademske godine 1898./1899., pohađajući i kolegije iz povijesti umjetnosti kod Izidora Kršnjavog. Školovanje nakon prve godine studija nastavlja u Beču, gdje 1902. godine stječe naslov doktora znanosti, a zatim u travnju 1903. godine upisuje posljednji semestar studija na Mudroslovnome fakultetu. Na istom će fakultetu postati nasljednikom upravo svojega profesora I. Kršnjavoga, s kojim je 1878. godine i započela nastava povijesti umjetnosti na zagrebačkom Sveučilištu. Schneider je nastavu na Fakultetu izvodio od 1913. godine – kada je dobio dozvolu za predavanje (venia legendi) za povijesti talijanske umjetnosti u XV. i XVI. stoljeću – pa sve do 1946. godine, s nekoliko manjih i većih prekida. U ovome radu razmatrane su i stenografirane skripte predavanja profesora Schneidera te je dan pregled svih kolegija koje je u tijeku svojega rada na Fakultetu izvodio. U organizaciji ovih kolegija unutar studija prepoznaje se određena sistematičnost, vidljiva u usmjerenosti na sadržaje organizirane prema podjelama na stilska razdoblja, a koji su smisleno kronološki nizani kroz semestre. Metodičnost u organizaciji kolegija očituje se i u sadržajnom povezivanju teorijskih kolegija s istovremenim održavanjem vježbi ili seminara u istom semestru, a unutar kojih je Schneider studente usmjeravao na tumačenje i sagledavanje pisanih izvora i znanstvene literature, samostalno istraživanje i izlaganje referata. Također, bitno je naglasiti i da je kolegijima i predavanjima A. Schneidera domaća umjetnička baština zaposjela važno mjesto unutar cjelokupne nastave povijesti umjetnosti na Mudroslovnome fakultetu. Djelujući nakon utemeljitelja I. Kršnjavoga, i Schneider pripada donekle još uvijek pionirskom razdoblju ustanovljenja struke povijesti umjetnosti u Hrvatskoj, pokazujući potrebiti profil sveučilišnoga profesora kao osobe upletene u cjelokupnu umjetničku-kulturnu sferu tadašnjega društva. Kao temeljit i brižan profesor, sa svojim je studentima stvorio ozračje trajne bliske komunikacije i poštivanja, u kojem je od njih, s pravom, prepoznat kao »utemeljitelj u širokom rasponu naše discipline.«
Zbornik 4. kongresa hrvatskih povjesničara umjetnosti Institucije povijesti umjetnosti, 2019
U radu se osvrće na početke poučavanja predmeta Likovna umjetnost u hrvatskome srednjoškolskom od... more U radu se osvrće na početke poučavanja predmeta Likovna umjetnost u hrvatskome srednjoškolskom odgojno-obrazovnom sustavu te ukazuje na kvalitetu njegova metodološka utemeljenja kroz rad prof. dr. sc. Jadranke Damjanov. Aktualnost predmeta se i danas prepoznaje kroz izradu prijedloga novoga nacionalnoga predmetnoga kurikuluma dovršenoga 2016. godine u okviru Cjelovite kurikularne reforme hrvatskoga odgoja i obrazovanja. Sukladno suvremenim trendovima u obrazovanju, naglasak u predloženome kurikulumu za Likovnu umjetnost stavljen je na učenička postignuća, razvoj temeljnih, međupredmetnih i stručnih kompetencija te otvorene didaktičko-metodičke sustave koji nastavnicima omogućuju slobodu u izboru sadržaja, metoda i oblika rada. U radu se ističe doprinos predmeta kvaliteti cjelokupnoga srednjoškolskog obrazovanja i zahtjevima cjeloživotnoga obrazovanja, s posebnim naglaskom na potrebu njegova očuvanja u cilju daljnjeg unaprjeđenja cjelokupne struke povijesti umjetnost.
Portal: godišnjak Hrvatskog restauratorskog zavoda / Portal: journal of the Croatian Conservation Institute, 2014
For the celebration of the 350 years of the parish in Slavetić, in 2011, the conservation work wa... more For the celebration of the 350 years of the parish in Slavetić, in 2011, the conservation work was completed on the wall paintings in the sanctuary of the parish church of St. Anthony the Hermit. All painted layers post-dating the original one were removed from the walls, presenting the illusionistic paintings that include the painted retable of the main altar. It has a simple architectural scheme, with a pair of columns visually fanking the tabernacle altar that stands on a built mensa, while its high attic is occupied entirely by the illusionistic depiction of St. Anthony the Hermit. The painted retable forms a distinctly harmonious whole with the wooden tabernacle altar that, as archival records tell us, originated in 1791. We can therefore assume that the painted retable, as well as the complete wall paintings of the sanctuary into which this altar composition was ftted, originated around 1791 or certainly within the last decade of the 18th century. The illusionistic paintings cover all wall surfaces of the sanctuary, optically altering the actual architecture by enlarging, elevating and perforating the space. On the side walls of the sanctuary, an architectural structure of futed half-columns, walls and cornice is painted, topped by the low illusionistic architecture of the vault zone that opens widely to the heavenly landscape with the depiction of St. Anthony of Padua and the Most Holy Trinity. The style characteristics of these paintings, especially the features of the illusionistic architecture and the fgures, indicate that their author is painter Antun Archer, possibly aided by a collaborator or the workshop. More specifcally, the wall paintings are in some portions very reminiscent of those in the parish church of St. John the Baptist in Zagreb (in the sanctuary and the Holy Cross Chapel) and the parish church of St. Nicholas in Hraščina, which date from the same period as the wall paintings in Slavetić and are partially attributed to Archer. He is known to have been active in Zagreb from at least the 1780s until his death (before 1808), and we can assume that he collaborated closely with the Styrian painter Anton Jožef Lerchinger on certain wall paintings in the churches of northwestern Croatia. The Slavetić wall paintings were probably commissioned by the Oršić family, who had the church (initially a chapel) erected on their estate, and were the chief patrons of the parish at the time the wall paintings originated. The same family chose the painted medium for the altar retables in their private chapels in Gornja Bistra and Gornja Stubica, which are attributed to Lerchinger, i.e. his workshop. This concurrence may indicate that the family was encouraged to also commission a painted altar for the Slavetić church and to hire Archer as Lerchinger’s collaborator. The wall paintings in the parish church in Slavetić have over time been overpainted on several occasions, frst with a new painted architectural structure (1929), and later with monochrome coatings. The 1929 overpaint was applied during a major renovation of the church, when painter and restorer Zvonimir Wyroubal was paid for multiple tasks, among those the execution of fve fresco paintings. The nowadays presented wall paintings and the specifc altar arrangement in the sanctuary of the church in Slavetić stand at the endpoint of a kind of timeline of similarly painted churches that appeared within the Croatian art heritage of the 18th century, and are viewed as a branch of the widespread artistic fashion, also contemporary to the wider Central-European region.
Call for Papers for the conference ART (HISTORY) IN EDUCATIONAL CONTEXTS. Faculty of Humanities a... more Call for Papers for the conference ART (HISTORY) IN EDUCATIONAL CONTEXTS. Faculty of Humanities and Social Sciences, University of Zagreb Zagreb, Croatia, 10 – 11 February 2023
Peristil: zbornik radova za povijest umjetnosti, Vol. 64 No. 1, 2021
U radu je dan osvrt na 50-e godine 20. stoljeća kada se zalaganjem povjesničara umjetnosti Grge G... more U radu je dan osvrt na 50-e godine 20. stoljeća kada se zalaganjem povjesničara umjetnosti Grge Gamulina (Jelsa, 1910 – Zagreb, 1997.) i Milana Preloga (Osijek, 1919. – Zagreb, 1988.), sveučilišnih nastavnika na Odsjeku za povijest umjetnosti Filozofskoga fakulteta u Zagrebu, postavljaju prve konkretne osnove za uvođenje Povijesti likovne umjetnosti kao zasebnoga nastavnog predmeta u hrvatske gimnazije. Izdvojeni su danas već pomalo zaboravljeni, a svojedobno iznimno utjecajni Gamulinovi radovi u periodičkim časopisima, objavljeni 1951. i 1956. godine. U njima je Gamulin uvjerljivo ukazao na važnost uvođenja kulturno-povijesnih predmeta u hrvatske gimnazije, fokusirajući se na Povijest likovne umjetnosti. Istovremeno nije propustio kritički se osvrnuti na goruće probleme u dotadašnjem pristupu povijesno-umjetničkim sadržajima u srednjoškolskoj nastavi, kao što su njihovo neopravdano združivanje s predmetima Crtanje i Povijest, mala satnica dodijeljena ovim sadržajima, nestručan nastavni kadar, neodgovarajući nastavni programi, potreba korištenja suvremenih nastavnih sredstava i drugo. Njegovi stavovi i zalaganja bili su odlučujući u stvaranju temelja za veliku promjenu koja se dogodila nastavnim programom 1960. godine, u kojem se Likovna umjetnost predavala kao zaseban predmet unutar krovnoga predmeta Umjetnost, a čiji je autor bio upravo profesor Prelog. I Gamulin i Prelog su, dakle, izuzev svojih akademskih angažmana na fakultetu i svojih brojnih znanstvenih interesa, uvidjeli važnost i značaj uključivanja povijesti umjetnosti i unutar srednjoškolskoga obrazovanja, smatrajući ju izrazito bitnom za formaciju kulturno obrazovanog pojedinca. U prvim odlučujućim godinama uvođenja i osnaživanja, a zatim i etabliranja predmeta unutar gimnazija, svojim su se glasnim zagovorom trudili izboriti adekvatan položaj povijest umjetnosti u srednjoškolskom obrazovanju. / The paper gives an overview of the 1950s period when the efforts of art historians Grga Gamulin (Jelsa, 1910 ‒ Zagreb, 1997) and Milan Prelog (Osijek, 1919 ‒ Zagreb, 1988), university teachers at the Department of Art History of the Faculty of Humanities and Social Sciences in Zagreb. They lay the first foundations for the introduction of History of Fine Art as a separate subject in Croatian high schools. The authors analyze Gamulin’s somewhat forgotten and at one time extremely influential works in periodicals published in 1951 and 1956. Gamulin convincingly pointed out the importance of introducing cultural and historical subjects in Croatian high schools, focusing on art history. Gamulin also critically addressed the burning issues in the previous approach to historical and artistic content in high school teaching, such as their unjustified association with the subjects Drawing and History, less classes allotted to these contents, unprofessional teaching staff, funds and more. His views and efforts were decisive in creating the foundation for the great change that took place in the 1960 curriculum, in which Visual Arts was taught as a separate subject within the umbrella subject Art, authored by professor Prelog. Both Gamulin and Prelog, in addition to their academic engagements at the university and their numerous scientific interests, recognized the importance and significance of including art history within secondary education, considering it extremely important for the formation of a culturally educated individual. In the first decisive years of the introduction and empowerment, and then the establishment of subject within high schools, their loud advocacy sought to achieve an adequate position of art history in secondary education.
This second round of CFP is to remind you about the new dates of the Art and State conference and... more This second round of CFP is to remind you about the new dates of the Art and State conference and to inform you that the call is still open for a limited number of paper presentations for those who wish to join us in Zagreb this summer.
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference aims to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts, the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people (Merriam Webster Dictionary). Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels. The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
Art and the State in Modern Central Europe (18th – 21st Century), 2024
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference proceedings aim to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people.
Odrzivost kulturne bastine. Zbornik radova znanstveno-stručnog skupa., 2023
Zbornik donosi radove temeljene na izlaganjima sa znanstveno-stručnog skupa „Održivost kulturne b... more Zbornik donosi radove temeljene na izlaganjima sa znanstveno-stručnog skupa „Održivost kulturne baštine“ održanog u sklopu Dana europske baštine u Velikoj Gorici od 13. do 15. listopada 2022. u organizaciji Ministarstva kulture i medija RH, Grada Velike Gorice, Hrvatske akademije znanosti i umjetnosti, Zavoda za znanstvenoistraživački i umjetnički rad u Velikoj Gorici i Instituta za turizam. Radovi razmatraju koncept održivosti kulturne baštine kroz različite prizme, a zajedničko im je svima polazište temeljeno na iskustvu u praksi. Upravo primjeri iz prakse pokazuju mogućnosti, ali i prepreke s kojima se stručnjaci, lokalne zajednice, institucije i drugi dionici susreću pri pokušajima očuvanja kulturne baštine u suvremeno doba. U radovima se obrađuju primjeri iz kategorije materijalne baštine, dakle arhitekture i pokretne baštine te arheoloških nalazišta i krajobraza, kao i iz kategorije nematerijalne baštine, primjerice tradicijskih običaja, vještina i znanja. Upravo takav holistički pogled na kulturnu baštinu prisutan u ovom Zborniku pridonosi promišljanju o budućim smjerovima i izazovima jednog šireg pristupa očuvanju kulture pojedinog geografskog područja na kojem se može temeljiti održivost kulturne baštine u budućnosti. -
International Conference Art (History) in Educational Contexts. Programme and Book of Abstracts. Zagreb: Faculty of Humanities and Social Sciences, University of Zagreb, 10 – 11 February 2023., 2023
Programme and Book of Abstracts of the Conference Art (History) in Educational Contexts, Faculty ... more Programme and Book of Abstracts of the Conference Art (History) in Educational Contexts, Faculty of Humanities and Social Sciences, University of Zagreb 10 – 11 February 2023, Zagreb, Croatia.
https://art-history-education.ffzg.unizg.hr/
Art and the State in Modern Central Europe (18th – 21st Century), 2021
Programme and Book of Abstracts of the Conference Art and the State
in Modern Central Europe (18t... more Programme and Book of Abstracts of the Conference Art and the State in Modern Central Europe (18th – 21st Century) Faculty of Humanities and Social Sciences, University of Zagreb 30 June 2021 – 3 July 2021, Zagreb, Croatia
Art and the State in Modern Central Europe (18th – 21st Century), 2024
This paper analyses the representation of themes from national art within art history studies at ... more This paper analyses the representation of themes from national art within art history studies at the Faculty of Humanities and Social Sciences in Zagreb in the period from its establishment (1877) until the 1970s. It also draws conclusions about how the shaping of the content of national art, as well as the study program, were determined by changes in the socio-political system, which were also reflected in the personnel policy and the structure of the Department. Furthermore, the paper describes the contributions made by individual professors of the Department in the formation of the teaching programs in which topics from national art were taught with almost the same importance and in parallel with those from general art overviews. They were given different designations depending on the political period, such as Yugoslav art, national art, our monuments, domestic monuments, or were even more closely related to the official state designation (Kingdom of Serbs, Croats, and Slovenes, Banovina of Croatia, Federal People’s Republic of Yugoslavia).
Peristil: zbornik radova za povijest umjetnosti, 2023
This paper aims to provide an overview of the art history courses at the Polytechnic; that is, th... more This paper aims to provide an overview of the art history courses at the Polytechnic; that is, the Technical Faculty in Zagreb, by examining the work of three university teachers – Petar P. Fetisov, Petar Knoll and Andre Mohorovičić – all course leaders and art history lecturers of the study programme offered by the Department of Architecture of the Technical Faculty. The paper focuses on their respective academic paths and the circumstances of their employment at the Technical Faculty.
Ovaj je vodič rezultat suradnje skupine stručnjaka s Filozofskoga fakulteta Sveučilišta u Zagrebu... more Ovaj je vodič rezultat suradnje skupine stručnjaka s Filozofskoga fakulteta Sveučilišta u Zagrebu koji su na temelju svojega dugogodišnjega iskustva rada u obrazovanju budućih osnovnoškolskih i srednjoškolskih nastavnika prepoznali potrebu za njegovom izradom, s ciljem kontinuiranoga podizanja kvalitete studijskih programa koji uključuju nastavnu praksu. Vodič je nastao u sklopu projekta Učenje kroz rad i sustav upravljanja studentskim iskustvom na Filozofskom fakultetu u Zagrebu (2020. – 2023.) koji se financira iz Europskoga socijalnoga fonda. Namijenjen je svim mentorima nastavnicima, bez obzira na to koji nastavni predmet predaju. Cilj je vodiča afirmirati ulogu mentora koji rade sa studentima i koji su važna karika u obrazovanju nastavnikā. Naglasak je stavljen na opće vještine potrebne za mentoriranje, a ne na specifična znanja iz predmetnih metodika.
Trident u Hrvatskoj: vizualizacije tridentskoga programa u likovnoj baštini , 2023
U radu je prezentirana ikonografija u poslijetridentskome razdoblju 17. i 18. stoljeća na odabran... more U radu je prezentirana ikonografija u poslijetridentskome razdoblju 17. i 18. stoljeća na odabranim primjerima hrvatske likovne baštine na području sjeverozapadne Hrvatske. Izdvojena su slikarska i kiparska djela iz župnih i hodočasničkih crkava te područnih i dvorskih kapela koja pokazuju da se hrvatska likovna baština ovoga razdoblja ikonografski uklapa u širu umjetničku sliku katoličke Europe te koja stoje kao potvrda snage Crkve nakon Sabora da tridentski program pronikne sve do rubnih krajeva katoličkoga područja, na kojima zatječemo iste one teme koje se nalaze i u samim izvorištima obnove te velikim i moćnim središtima katoličke Europe.
Život umjetnosti: časopis o modernoj i suvremenoj umjetnosti i arhitekturi, 2022
This paper is dedicated to the student journal Umjetnost i mi [Art and Us], an art history annual... more This paper is dedicated to the student journal Umjetnost i mi [Art and Us], an art history annual that was edited and published by the students of the VII Gymnasium in Zagreb under the guidance of Professor Jadranka Damjanov in the 1960s. This valuable and high-quality publication serves as an indispensable source for research into the beginnings of visual arts education in Croatian secondary schools, while its innovativeness and creativity make it relevant within the modern educational context as well.
(Ime hrvatske povjesničarke umjetnosti i sveučilišne profesorice Jadranke Damjanov sinonim je za avangardan, progresivan, nekonvencionalan i po mnogočemu jedinstven pristup odgoju i obrazovanju temeljenom na umjetnosti. U početnim godinama svoje nastavne karijere, ujedno vremenu osamostaljenja nastavnog predmeta Likovna umjetnost unutar hrvatskih gimnazija, profesorica Damjanov sa svojim je učenicima u VII. gimnaziji u Zagrebu pokrenula i uređivala godišnjak povijesti umjetnosti Umjetnost i mi, koji je izlazio od školske godine 1960./1961. do 1968./1969., a koji je u onodobnoj stručnoj zajednici prepoznat kao izniman doprinos unaprjeđenju i inoviranju srednjoškolske nastave. Unutar devet brojeva godišnjaka nalazili su se tekstovi u raznim formama, većinom kratki pisani radovi esejskog tipa, literarni i slobodni osvrti na likovna djela, pjesme, intervjui, dijalozi. Heterogenost i sloboda forme i izričaja koju pronalazimo unutar svakoga broja, zrcale raznolikost učeničkih osobnosti te intiman i dubok odnos prema umjetnosti i svijetu koji nas okružuje. Tekstovi su djelo jednog, dvoje ili skupine učenika, a pojedini su oblikovani kao niz odabranih odgovora na ankete provedene u više razreda. Brojevi su zamišljeni tematski, neki su bili povezani sa sadržajima propisanima nastavnim planom, a neki s odabranom problematikom najavljenom u uvodniku profesorice Damjanov na početku svakog broja.)
Zbornik radova sa skupa 140 godina podučavanja povijesti umjetnosti na Sveučilištu u Zagrebu, 2022
U radu se donose podatci o početcima metodičke izobrazbe budućih nastavnika likovne umjetnosti na... more U radu se donose podatci o početcima metodičke izobrazbe budućih nastavnika likovne umjetnosti na Filozofskom fakultetu u Zagrebu, koja se prvotno odvijala u organizaciji Pedagoškoga instituta, uz honorarni rad A. Kumana, a od 1965. na Odsjeku za povijest umjetnosti radom J. Damjanov. Istaknuti su i pojedini važni segmenti iz područja tadašnjeg srednjoškolskoga obrazovanja, kako bi se naglasile tijesne poveznice visokoškolske i srednjoškolske razine u kontekstu povijesti podučavanja povijesti umjetnosti u Hrvatskoj.
Radovi Instituta za povijest umjetnosti / Journal of the Institute of Art History, 2021
Croatian artistic heritage of the Baroque period includes numerous depictions of the Virgin Mary ... more Croatian artistic heritage of the Baroque period includes numerous depictions of the Virgin Mary as the Immaculate Conception (lat. Immaculata Conceptio) in almost all types of artistic production – altarpieces and statues, wall paintings, votive paintings and prints, and public sculptures. Among them, there is a small group of only a few paintings bearing resemblance to the Gnadenbild of Freising in Germany: a painting in the Franciscan monastery in Zagreb, two paintings in the Ursuline monastery in Varaždin, and a painting on the altar of the Immaculate Conception in the chapel of St Vitus in Varaždin. These paintings depict Mary with a lovely face and a floral wreath on her head framed by twelve stars, with her hair richly curled over her shoulders and adorned with pearl strings, wearing a lavishly embellished dress and a cloak evoking the contemporary 18th-century fashion. She is holding a lily in her left hand, standing on the globe, and trampling the head of a snake coiled over a crescent with her right foot. The iconographic and formal features of these artworks are also recognizable in several paintings of the Freisingermadonna, depictions of the Immaculate Conception based on a wooden sculpture once located in the hall of the Benedictine Lyceum and Grammar School in Freising (Bavaria), which in various sources and publications is referred to as the Freisinger Seminarmadonna, Lyceums-Madonna, Patrona Lycei Frisingensis, or Freisinger Hochschulmadonna. The sculpture was commissioned by the first professor of rhetoric at the lyceum, the Benedictine Wolfgang Ringswerger (Munich, 1658 – Michelfeld, 1721), for the fraternity he founded in 1698. Today, the sculpture is lost, but the veneration of the Immaculate from Freising is evidenced by her numerous reproductions in painting, mostly in Bavaria – in Freising, Sielenbach, Oberrohr, Munich, and Garmisch-Partenkirchen. Among the abovementioned examples from Croatian artistic heritage, the painting from the chapel of St Vitus in Varaždin (1733), attributed to the artist Blaž Gruber (Blasius Grueber, † 1753) stands out as particularly analogous to the Seminarmadonna painting from Munich’s Ratskeller in Munich and the one located in the outer chapel of the parish church of St Joseph (formerly Carmelite) in Vienna. The Varaždin painting was commissioned by the parish priest Gabrijel Herman Patačić, who later became the bishop of Syrmia (1729-1733) and the archbishop of Kalocsa (1733-1745). He was a benefactor of the Varaždin Ursulines, in whose monastery there are still two paintings depicting the Immaculate of Freising. For now, it is not possible to determine with certainty how the paintings came to the monastery, but it can be assumed that they were brought to Varaždin by some of the nuns from Bavaria, recorded in several canonical visitations during the 18th century. Close to the paintings from the Ursuline monastery is the Immaculate from the Franciscan monastery in Zagreb (Kaptol), which is the only painting in Croatian heritage that bears clear evidence of being considered a miracle-working depiction of the Blessed Virgin Mary of Freising: the globe in the lower section of the painting bears the inscription “IMAGO THAVMATVRGA BEATISSIMAE VIRGINIS MARIAE Frisingae, apud patres Benedictinos, in aula.” Similar inscriptions can be found in the graphic sheets depicting the Seminarmadonna of Freising, most probably to be credited with spreading the cult as well as its visual representation. The cult was especially widespread in Freising and the Bavarian region, and among the few examples outside this radius, the said paintings from Zagreb and Varaždin are valuable examples and a peculiarity in the Croatian artistic heritage from the 18th century.
Croatian Journal of Education = Hrvatski časopis za odgoj i obrazovanje, 2021
The contents of art history in Croatian grammar schools had initially been included within the Dr... more The contents of art history in Croatian grammar schools had initially been included within the Drawing subject. From the mid-20 th century, they were combined with the contents from history. From 1960, both Visual Arts and Music had been equal components within the Art course, but in 1994 it formally became a full independent subject in grammar schools. The last educational reform generated a new subject curriculum in 2019 that completely reorganized the subject and brought it closer to contemporary educational principles. In vocational schools during the 1960s, however, a large number of teaching programs contained contents implemented from visual arts as a part of Croato-Serbian Language and Literature course, together with the basics of aesthetic education. However, they were left out in the later programs from most schools during the 1990s, which happened again in the most recent educational documents that were issued in the last several years. The aim of this paper is to discuss the position and specific qualities of Visual Arts subject or topics from the field of visual arts (art history), as well as the changes this subject has underwent during various educational reforms, by means of analysing the teaching programs of grammar and vocational schools in Croatia from the mid-20 th century to the present day.*
Iso Kršnjavi - veliki utemeljitelj. Zbornik radova znanstvenog skupa. Zagreb: Institut za povijest umjetnosti, Hrvatski institut za povijest, 2015
U dokumentima ostavštine Izidora Kršnjavog, pohranjenima u nekoliko zagrebačkih arhiva i instituc... more U dokumentima ostavštine Izidora Kršnjavog, pohranjenima u nekoliko zagrebačkih arhiva i institucija, razni istraživači iščitali su mnoštvo podataka kojima se oblikovala slika njegove političke karijere te objasnio njegov veliki udio u stvaranju ondašnje hrvatske kulturne i umjetničke baštine. Iz istih izvora, iako u dosta manjoj mjeri s obzirom na navedene kategorije, može se rekonstruirati njegov pedagoški i profesorski rad.Nastava povijesti umjetnosti na današnjem Filozofskom fakultetu Sveučilišta u Zagrebu započela je predavanjima i profesurom Kršnjavoga 1878. godine. Zaslugom istraživača koji su se bavili tim segmentom njegova rada razjašnjeni su detalji oko njegova profesorskog imenovanja i uzora, koje nalazi posebice u bečkom modelu studija povijesti umjetnosti i profesoru Rudolfu Eitelbergeru. Upravo na pedagoški segment njegove djelatnosti usmjereno je i ovo izlaganje. Naglasak je stavljen na njegova predavanja, posebice ona neobjavljena – kao što su Povijest kulture u dobi renaissance, O grčkoj nastavi, O estetici, O secesiji i druga – koja je održao na Katedri za povijest umjetnosti zagrebačkog Sveučilišta. Iz zabilješki i dokumenata Kršnjavoga saznajemo o njegovoj nastavnoj djelatnosti, “znanstvenim i umjetničkim ekskurzijama” koje je priređivao za svoje slušače, o njegovim razmatranjima o školstvu i zalaganju za uporabu novih tehnologija u svrhu populariziranja znanosti i umjetnosti. Sve izloženo vrijedno je svjedočanstvo o počecima nastave povijesti umjetnosti u Hrvatskoj te stoji kao temelj njezina daljnjeg razvoja i grananja.
Artur Schneider : 1879.-1946. : zbornik radova znanstveno-stručnog skupa Hrvatski povjesničari umjetnosti, 2016
U radu je dan pregled do sada manje istraženih segmenata nastavnoga rada dr. Artura Schneidera na... more U radu je dan pregled do sada manje istraženih segmenata nastavnoga rada dr. Artura Schneidera na Mudroslovnome fakultetu u Zagrebu (danas Filozofski fakultet). Studij na Mudroslovnome fakultetu Schneider je upisao početkom akademske godine 1898./1899., pohađajući i kolegije iz povijesti umjetnosti kod Izidora Kršnjavog. Školovanje nakon prve godine studija nastavlja u Beču, gdje 1902. godine stječe naslov doktora znanosti, a zatim u travnju 1903. godine upisuje posljednji semestar studija na Mudroslovnome fakultetu. Na istom će fakultetu postati nasljednikom upravo svojega profesora I. Kršnjavoga, s kojim je 1878. godine i započela nastava povijesti umjetnosti na zagrebačkom Sveučilištu. Schneider je nastavu na Fakultetu izvodio od 1913. godine – kada je dobio dozvolu za predavanje (venia legendi) za povijesti talijanske umjetnosti u XV. i XVI. stoljeću – pa sve do 1946. godine, s nekoliko manjih i većih prekida. U ovome radu razmatrane su i stenografirane skripte predavanja profesora Schneidera te je dan pregled svih kolegija koje je u tijeku svojega rada na Fakultetu izvodio. U organizaciji ovih kolegija unutar studija prepoznaje se određena sistematičnost, vidljiva u usmjerenosti na sadržaje organizirane prema podjelama na stilska razdoblja, a koji su smisleno kronološki nizani kroz semestre. Metodičnost u organizaciji kolegija očituje se i u sadržajnom povezivanju teorijskih kolegija s istovremenim održavanjem vježbi ili seminara u istom semestru, a unutar kojih je Schneider studente usmjeravao na tumačenje i sagledavanje pisanih izvora i znanstvene literature, samostalno istraživanje i izlaganje referata. Također, bitno je naglasiti i da je kolegijima i predavanjima A. Schneidera domaća umjetnička baština zaposjela važno mjesto unutar cjelokupne nastave povijesti umjetnosti na Mudroslovnome fakultetu. Djelujući nakon utemeljitelja I. Kršnjavoga, i Schneider pripada donekle još uvijek pionirskom razdoblju ustanovljenja struke povijesti umjetnosti u Hrvatskoj, pokazujući potrebiti profil sveučilišnoga profesora kao osobe upletene u cjelokupnu umjetničku-kulturnu sferu tadašnjega društva. Kao temeljit i brižan profesor, sa svojim je studentima stvorio ozračje trajne bliske komunikacije i poštivanja, u kojem je od njih, s pravom, prepoznat kao »utemeljitelj u širokom rasponu naše discipline.«
Zbornik 4. kongresa hrvatskih povjesničara umjetnosti Institucije povijesti umjetnosti, 2019
U radu se osvrće na početke poučavanja predmeta Likovna umjetnost u hrvatskome srednjoškolskom od... more U radu se osvrće na početke poučavanja predmeta Likovna umjetnost u hrvatskome srednjoškolskom odgojno-obrazovnom sustavu te ukazuje na kvalitetu njegova metodološka utemeljenja kroz rad prof. dr. sc. Jadranke Damjanov. Aktualnost predmeta se i danas prepoznaje kroz izradu prijedloga novoga nacionalnoga predmetnoga kurikuluma dovršenoga 2016. godine u okviru Cjelovite kurikularne reforme hrvatskoga odgoja i obrazovanja. Sukladno suvremenim trendovima u obrazovanju, naglasak u predloženome kurikulumu za Likovnu umjetnost stavljen je na učenička postignuća, razvoj temeljnih, međupredmetnih i stručnih kompetencija te otvorene didaktičko-metodičke sustave koji nastavnicima omogućuju slobodu u izboru sadržaja, metoda i oblika rada. U radu se ističe doprinos predmeta kvaliteti cjelokupnoga srednjoškolskog obrazovanja i zahtjevima cjeloživotnoga obrazovanja, s posebnim naglaskom na potrebu njegova očuvanja u cilju daljnjeg unaprjeđenja cjelokupne struke povijesti umjetnost.
Portal: godišnjak Hrvatskog restauratorskog zavoda / Portal: journal of the Croatian Conservation Institute, 2014
For the celebration of the 350 years of the parish in Slavetić, in 2011, the conservation work wa... more For the celebration of the 350 years of the parish in Slavetić, in 2011, the conservation work was completed on the wall paintings in the sanctuary of the parish church of St. Anthony the Hermit. All painted layers post-dating the original one were removed from the walls, presenting the illusionistic paintings that include the painted retable of the main altar. It has a simple architectural scheme, with a pair of columns visually fanking the tabernacle altar that stands on a built mensa, while its high attic is occupied entirely by the illusionistic depiction of St. Anthony the Hermit. The painted retable forms a distinctly harmonious whole with the wooden tabernacle altar that, as archival records tell us, originated in 1791. We can therefore assume that the painted retable, as well as the complete wall paintings of the sanctuary into which this altar composition was ftted, originated around 1791 or certainly within the last decade of the 18th century. The illusionistic paintings cover all wall surfaces of the sanctuary, optically altering the actual architecture by enlarging, elevating and perforating the space. On the side walls of the sanctuary, an architectural structure of futed half-columns, walls and cornice is painted, topped by the low illusionistic architecture of the vault zone that opens widely to the heavenly landscape with the depiction of St. Anthony of Padua and the Most Holy Trinity. The style characteristics of these paintings, especially the features of the illusionistic architecture and the fgures, indicate that their author is painter Antun Archer, possibly aided by a collaborator or the workshop. More specifcally, the wall paintings are in some portions very reminiscent of those in the parish church of St. John the Baptist in Zagreb (in the sanctuary and the Holy Cross Chapel) and the parish church of St. Nicholas in Hraščina, which date from the same period as the wall paintings in Slavetić and are partially attributed to Archer. He is known to have been active in Zagreb from at least the 1780s until his death (before 1808), and we can assume that he collaborated closely with the Styrian painter Anton Jožef Lerchinger on certain wall paintings in the churches of northwestern Croatia. The Slavetić wall paintings were probably commissioned by the Oršić family, who had the church (initially a chapel) erected on their estate, and were the chief patrons of the parish at the time the wall paintings originated. The same family chose the painted medium for the altar retables in their private chapels in Gornja Bistra and Gornja Stubica, which are attributed to Lerchinger, i.e. his workshop. This concurrence may indicate that the family was encouraged to also commission a painted altar for the Slavetić church and to hire Archer as Lerchinger’s collaborator. The wall paintings in the parish church in Slavetić have over time been overpainted on several occasions, frst with a new painted architectural structure (1929), and later with monochrome coatings. The 1929 overpaint was applied during a major renovation of the church, when painter and restorer Zvonimir Wyroubal was paid for multiple tasks, among those the execution of fve fresco paintings. The nowadays presented wall paintings and the specifc altar arrangement in the sanctuary of the church in Slavetić stand at the endpoint of a kind of timeline of similarly painted churches that appeared within the Croatian art heritage of the 18th century, and are viewed as a branch of the widespread artistic fashion, also contemporary to the wider Central-European region.
Radovi Instituta za povijest umjetnosti/Journal of the Institute of Art History, 39, 2015
The paper brings new insights into the reception and use of Andrea Pozzo ' s figures, published i... more The paper brings new insights into the reception and use of Andrea Pozzo ' s figures, published in his treatise Perspectiva pictorum et architectorum (1693, 1700), in 18 th-century painted altarpieces in Croatia. Certain figures can be established as models for the design of painted altarpieces in the oeuvres of Ivan Krstitelj Ranger, Anton Jožef Lerchinger, and Antun Archer. Each of these painters used Pozzo ' s models and principles in an idiosyncratic way, reflecting thereby different approaches and stylistic developments in 18 th-century wall painting in Croatia.
Radovi Instituta za povijest umjetnosti/Journal of the Institute of Art History, 44-1, 2020
The painting Auxilium in tribulatione, located in the parish church of Our Lady of Snow in Kutina... more The painting Auxilium in tribulatione, located in the parish church of Our Lady of Snow in Kutina, stands out with its specific and complex iconography, which has, for now, no analogies in any other work from Croatian artistic heritage. It is a depiction of an intercessory prayer for good death presented as a complex conversation between the dying person, various saints, angels, Mary, and the Holy Trinity in a tripartite vertical composition. The painting probably relied on an older model, such as can be recognized in several Roman prints from the 1580s: a copperplate engraving by the Carmelite Giacomo Ramirez, dedicated to the Blessed Virgin Mary, printed by Giovanni Battista di Lazzaro Panzera da Parma (Battista Parmensis) in 1585; a copperplate engraving dedicated by a certain Francesco Testa to Laurenzius Ramirez Figueroa Córdoba O.P., Bishop of Sigüenza (Spain), printed likewise in 1585; or a copperplate printed by the heirs of Claudio Duchetti in 1586. Related to these prints is one by Peeter van der Borcht, printed in Antwerp by Adriaen Huybrechts, which has been published in several previous studies, and which for now remains only roughly dated. It can certainly be viewed in the context of the Spanish-Dutch political and social circumstances in Antwerp and throughout the Spanish Netherlands in the years following the reconquest of the city in 1585.The said iconographic solution of the Auxilium in tribulatione reveals the recognizable spirit of the religious principles born of the decisions of the Council of Trent, primarily the veneration of Mary, which is presented here as the Gate of Heaven (Porta coeli), and sacramental life as a precondition for a good and blessed death. In terms of distribution, it is recognizable in several paintings (mostly oils on canvas, but also wall paintings) in the area of today’s Poland and France, and in some examples in today’s Czech Republic, Spain, Austria, and Slovakia. This iconography also crossed the borders of the European continent, so one finds it in paintings in Ecuador, Mexico, and Peru, the then colonial territories under the rule of the Spanish crown. Within this series of visual examples, the painting from Kutina is situated at the end of its timeline. Namely, in the reports of canonical visits to the parish, the painting was first mentioned in 1780, and can thus be dated to the time before or around that year. This date is confirmed by its stylistic features, which show some alterations with regard to the originals: the drapery becomes more refracted and dynamic, the painted halos are scattered in the form of symbolic light, and the space is almost entirely filled with swirling celestial atmosphere. Thematically, the painting complements the elaborate iconography of the wall paintings, which fill all the walls of the church interior. As for the painted scenes from the legend of Our Lady of Snow in the sanctuary, the role of Mary as a protector at the hour of death, or a deliverer of the souls in purgatory, is emphasized in two scenes, while the conceptually rich image of the Auxilium in tribulatione further emphasizes the worship of Mary as mediator between heaven and earth. In the context of our artistic heritage, that is, artworks that speak about good and blessed death, the painting from Kutina occupies a special place precisely because of its elaborate content, thus testifying to the longevity of the iconographic motifs that have the power to convey the still fresh religious message almost two centuries after its creation.
The project Art and the State in Croatia from the Enlightenment to the Present aims to explore in... more The project Art and the State in Croatia from the Enlightenment to the Present aims to explore influences of the state regime on art production and interpretation of artworks and artistic heritage. Since the Croatian cultural and political space in the period from the late 18th century to 1991 formed part of different states (Austro-Hungarian Empire, Independent State of Croatia, Yugoslavia, Republic of Croatia), the project researchers will attempt to show the degree and nature of the impact the state-based bodies exerted on artistic production and cultural and educational policies. Croatian art will therefore be contextualised with artistic developments in the neighbouring countries or the areas of political association with Croatia, due to which the implementation of the project entails numerous field researches (urban space, museums, libraries, archives). In terms of its goals, the project is divided into two major groups of activities – research on the impact of the state on different areas of artistic production through commissions, grants and censorship, and the impacts on the process of artistic heritage production and care and on formal and informal education in the field of visual arts. In addition to the principal investigator Dragan Damjanović the project includes 14 researchers: Josipa Alviž, Marina Bregovac Pisk, Matea Brstilo Rešetar, Sandi Bulimbašić, Frano Dulibić, Ivan Kokeza, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Zvonko Maković, Željka Miklošević, Jasminka Najcer Sabljak, Jasmina Nestić, Patricia Počanić and Sanja Zadro. By engaging researchers from heritage institutions (museums and conservation departments), the project contributes to the promotion of interinstitutional cooperation and ensures multidimensional views on intricate relationships between art and the state. Project results will be published in journals, books, proceedings, catalogues and the like, as well as through exhibitions and conferences. The team plans to organize two project-related scientific conferences and a workshop. Project is financed by Croatian Science Foundation (Hrvatska zaklada za znanost/ HRZZ).
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Call for papers by Jasmina Nestic
Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels.
The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
Books by Jasmina Nestic
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https://art-history-education.ffzg.unizg.hr/
in Modern Central Europe (18th – 21st Century)
Faculty of Humanities and Social Sciences, University of Zagreb
30 June 2021 – 3 July 2021, Zagreb, Croatia
Papers by Jasmina Nestic
structure of the Department. Furthermore, the paper describes the contributions made by individual professors of the Department in the formation of the teaching programs in which topics from national art were taught with almost the same importance and in parallel with those from general art overviews. They were given different designations depending on the political period, such as Yugoslav art, national art, our monuments, domestic monuments, or were even more closely related to the official state designation (Kingdom of Serbs, Croats, and Slovenes, Banovina of Croatia, Federal People’s Republic of Yugoslavia).
(Ime hrvatske povjesničarke umjetnosti i sveučilišne profesorice Jadranke Damjanov sinonim je za avangardan, progresivan, nekonvencionalan i po mnogočemu jedinstven pristup odgoju i obrazovanju temeljenom na umjetnosti. U početnim godinama svoje nastavne karijere, ujedno vremenu osamostaljenja nastavnog predmeta Likovna umjetnost unutar hrvatskih gimnazija, profesorica Damjanov sa svojim je učenicima u VII. gimnaziji u Zagrebu pokrenula i uređivala godišnjak povijesti umjetnosti Umjetnost i mi, koji je izlazio od školske godine 1960./1961. do 1968./1969., a koji je u onodobnoj stručnoj zajednici prepoznat kao izniman doprinos unaprjeđenju i inoviranju srednjoškolske nastave. Unutar devet brojeva godišnjaka nalazili su se tekstovi u raznim formama, većinom kratki pisani radovi esejskog tipa, literarni i slobodni osvrti na likovna djela, pjesme, intervjui, dijalozi. Heterogenost i sloboda forme i izričaja koju pronalazimo unutar svakoga broja, zrcale raznolikost učeničkih osobnosti te intiman i dubok odnos prema umjetnosti i svijetu koji nas okružuje. Tekstovi su djelo jednog, dvoje ili skupine učenika, a pojedini su oblikovani kao niz odabranih odgovora na ankete provedene u više razreda. Brojevi su zamišljeni tematski, neki su bili povezani sa sadržajima propisanima nastavnim planom, a neki s odabranom problematikom najavljenom u uvodniku profesorice Damjanov na početku svakog broja.)
adorned with pearl strings, wearing a lavishly embellished dress and a cloak evoking the contemporary 18th-century fashion. She is holding a lily in her left hand, standing on the globe, and trampling the head of a snake coiled over a crescent with her right foot. The iconographic and formal
features of these artworks are also recognizable in several paintings of the Freisingermadonna, depictions of the Immaculate Conception based on a wooden sculpture once located in the hall of the Benedictine Lyceum and Grammar School in Freising (Bavaria), which in various sources and
publications is referred to as the Freisinger Seminarmadonna, Lyceums-Madonna, Patrona Lycei Frisingensis, or Freisinger Hochschulmadonna. The sculpture was commissioned by the first professor of rhetoric at the lyceum, the Benedictine Wolfgang Ringswerger (Munich, 1658 – Michelfeld, 1721), for the fraternity he founded in 1698. Today, the sculpture is lost, but the veneration of the Immaculate from Freising
is evidenced by her numerous reproductions in painting, mostly in Bavaria – in Freising, Sielenbach, Oberrohr, Munich, and Garmisch-Partenkirchen. Among the abovementioned examples from Croatian artistic heritage, the painting from the chapel of St Vitus in Varaždin (1733), attributed to the artist Blaž Gruber (Blasius Grueber, † 1753) stands out as particularly analogous to the Seminarmadonna painting from Munich’s Ratskeller in Munich and the one located in the outer chapel of the parish church of St Joseph (formerly Carmelite) in Vienna. The Varaždin painting was commissioned by the parish priest Gabrijel Herman Patačić, who later became the bishop of Syrmia (1729-1733) and the archbishop of Kalocsa (1733-1745). He was a benefactor of the Varaždin Ursulines, in whose monastery there are still two paintings depicting the Immaculate of Freising. For now, it is not possible to determine with certainty how the
paintings came to the monastery, but it can be assumed that they were brought to Varaždin by some of the nuns from Bavaria, recorded in several canonical visitations during the 18th century. Close to the paintings from the Ursuline monastery is the Immaculate from the Franciscan monastery
in Zagreb (Kaptol), which is the only painting in Croatian heritage that bears clear evidence of being considered a miracle-working depiction of the Blessed Virgin Mary of Freising: the globe in the lower section of the painting bears the inscription “IMAGO THAVMATVRGA BEATISSIMAE
VIRGINIS MARIAE Frisingae, apud patres Benedictinos, in aula.” Similar inscriptions can be found in the graphic sheets depicting the Seminarmadonna of Freising, most probably to be credited with spreading the cult as well as its visual representation. The cult was especially widespread in Freising and the Bavarian region, and among the few examples outside this radius, the said paintings from Zagreb and Varaždin are valuable examples and a peculiarity in the Croatian artistic heritage from the 18th century.
complete wall paintings of the sanctuary into which this altar composition was ftted, originated around 1791 or certainly within the last decade of the 18th century. The illusionistic paintings cover all wall surfaces of the sanctuary, optically altering the actual architecture by
enlarging, elevating and perforating the space. On the side walls of the sanctuary, an architectural structure of futed half-columns, walls and cornice is painted, topped by the low illusionistic architecture of the vault zone that opens widely to the heavenly landscape with the depiction of St. Anthony of Padua and the Most Holy Trinity. The style characteristics of these paintings, especially the features of the illusionistic architecture and the fgures, indicate that their author is painter Antun Archer, possibly aided by a collaborator or the workshop. More specifcally, the wall paintings are in some portions very reminiscent of those in the parish church of St. John the Baptist in Zagreb (in the sanctuary and the Holy Cross Chapel) and the parish church of St. Nicholas in Hraščina, which date from the same period as the wall paintings in Slavetić and are partially attributed to Archer. He is known to have been active in Zagreb from at least the 1780s until his death (before 1808), and we can assume that he collaborated closely with the Styrian painter Anton Jožef Lerchinger on certain wall paintings in the churches of northwestern Croatia. The Slavetić wall paintings were probably commissioned by the Oršić family, who had the church (initially a chapel) erected on their estate, and were the chief patrons of the parish at the time the wall paintings originated. The same family chose the painted medium for the altar retables in their private chapels in Gornja Bistra and Gornja Stubica,
which are attributed to Lerchinger, i.e. his workshop. This concurrence may indicate that the family was encouraged to also commission a painted altar for the Slavetić church and to hire Archer as Lerchinger’s collaborator. The wall paintings in the parish church in Slavetić have
over time been overpainted on several occasions, frst with a new painted architectural structure (1929), and later with monochrome coatings. The 1929 overpaint was applied during a major renovation of the church, when painter and restorer Zvonimir Wyroubal was paid for multiple tasks, among those the execution of fve fresco paintings. The nowadays presented wall paintings and the specifc altar arrangement in the sanctuary of the church in Slavetić stand at the endpoint of a kind of timeline of similarly painted churches that appeared within the Croatian art heritage of the 18th century, and are viewed as a branch of the widespread artistic fashion, also contemporary to the wider Central-European region.
Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels.
The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
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https://art-history-education.ffzg.unizg.hr/
in Modern Central Europe (18th – 21st Century)
Faculty of Humanities and Social Sciences, University of Zagreb
30 June 2021 – 3 July 2021, Zagreb, Croatia
structure of the Department. Furthermore, the paper describes the contributions made by individual professors of the Department in the formation of the teaching programs in which topics from national art were taught with almost the same importance and in parallel with those from general art overviews. They were given different designations depending on the political period, such as Yugoslav art, national art, our monuments, domestic monuments, or were even more closely related to the official state designation (Kingdom of Serbs, Croats, and Slovenes, Banovina of Croatia, Federal People’s Republic of Yugoslavia).
(Ime hrvatske povjesničarke umjetnosti i sveučilišne profesorice Jadranke Damjanov sinonim je za avangardan, progresivan, nekonvencionalan i po mnogočemu jedinstven pristup odgoju i obrazovanju temeljenom na umjetnosti. U početnim godinama svoje nastavne karijere, ujedno vremenu osamostaljenja nastavnog predmeta Likovna umjetnost unutar hrvatskih gimnazija, profesorica Damjanov sa svojim je učenicima u VII. gimnaziji u Zagrebu pokrenula i uređivala godišnjak povijesti umjetnosti Umjetnost i mi, koji je izlazio od školske godine 1960./1961. do 1968./1969., a koji je u onodobnoj stručnoj zajednici prepoznat kao izniman doprinos unaprjeđenju i inoviranju srednjoškolske nastave. Unutar devet brojeva godišnjaka nalazili su se tekstovi u raznim formama, većinom kratki pisani radovi esejskog tipa, literarni i slobodni osvrti na likovna djela, pjesme, intervjui, dijalozi. Heterogenost i sloboda forme i izričaja koju pronalazimo unutar svakoga broja, zrcale raznolikost učeničkih osobnosti te intiman i dubok odnos prema umjetnosti i svijetu koji nas okružuje. Tekstovi su djelo jednog, dvoje ili skupine učenika, a pojedini su oblikovani kao niz odabranih odgovora na ankete provedene u više razreda. Brojevi su zamišljeni tematski, neki su bili povezani sa sadržajima propisanima nastavnim planom, a neki s odabranom problematikom najavljenom u uvodniku profesorice Damjanov na početku svakog broja.)
adorned with pearl strings, wearing a lavishly embellished dress and a cloak evoking the contemporary 18th-century fashion. She is holding a lily in her left hand, standing on the globe, and trampling the head of a snake coiled over a crescent with her right foot. The iconographic and formal
features of these artworks are also recognizable in several paintings of the Freisingermadonna, depictions of the Immaculate Conception based on a wooden sculpture once located in the hall of the Benedictine Lyceum and Grammar School in Freising (Bavaria), which in various sources and
publications is referred to as the Freisinger Seminarmadonna, Lyceums-Madonna, Patrona Lycei Frisingensis, or Freisinger Hochschulmadonna. The sculpture was commissioned by the first professor of rhetoric at the lyceum, the Benedictine Wolfgang Ringswerger (Munich, 1658 – Michelfeld, 1721), for the fraternity he founded in 1698. Today, the sculpture is lost, but the veneration of the Immaculate from Freising
is evidenced by her numerous reproductions in painting, mostly in Bavaria – in Freising, Sielenbach, Oberrohr, Munich, and Garmisch-Partenkirchen. Among the abovementioned examples from Croatian artistic heritage, the painting from the chapel of St Vitus in Varaždin (1733), attributed to the artist Blaž Gruber (Blasius Grueber, † 1753) stands out as particularly analogous to the Seminarmadonna painting from Munich’s Ratskeller in Munich and the one located in the outer chapel of the parish church of St Joseph (formerly Carmelite) in Vienna. The Varaždin painting was commissioned by the parish priest Gabrijel Herman Patačić, who later became the bishop of Syrmia (1729-1733) and the archbishop of Kalocsa (1733-1745). He was a benefactor of the Varaždin Ursulines, in whose monastery there are still two paintings depicting the Immaculate of Freising. For now, it is not possible to determine with certainty how the
paintings came to the monastery, but it can be assumed that they were brought to Varaždin by some of the nuns from Bavaria, recorded in several canonical visitations during the 18th century. Close to the paintings from the Ursuline monastery is the Immaculate from the Franciscan monastery
in Zagreb (Kaptol), which is the only painting in Croatian heritage that bears clear evidence of being considered a miracle-working depiction of the Blessed Virgin Mary of Freising: the globe in the lower section of the painting bears the inscription “IMAGO THAVMATVRGA BEATISSIMAE
VIRGINIS MARIAE Frisingae, apud patres Benedictinos, in aula.” Similar inscriptions can be found in the graphic sheets depicting the Seminarmadonna of Freising, most probably to be credited with spreading the cult as well as its visual representation. The cult was especially widespread in Freising and the Bavarian region, and among the few examples outside this radius, the said paintings from Zagreb and Varaždin are valuable examples and a peculiarity in the Croatian artistic heritage from the 18th century.
complete wall paintings of the sanctuary into which this altar composition was ftted, originated around 1791 or certainly within the last decade of the 18th century. The illusionistic paintings cover all wall surfaces of the sanctuary, optically altering the actual architecture by
enlarging, elevating and perforating the space. On the side walls of the sanctuary, an architectural structure of futed half-columns, walls and cornice is painted, topped by the low illusionistic architecture of the vault zone that opens widely to the heavenly landscape with the depiction of St. Anthony of Padua and the Most Holy Trinity. The style characteristics of these paintings, especially the features of the illusionistic architecture and the fgures, indicate that their author is painter Antun Archer, possibly aided by a collaborator or the workshop. More specifcally, the wall paintings are in some portions very reminiscent of those in the parish church of St. John the Baptist in Zagreb (in the sanctuary and the Holy Cross Chapel) and the parish church of St. Nicholas in Hraščina, which date from the same period as the wall paintings in Slavetić and are partially attributed to Archer. He is known to have been active in Zagreb from at least the 1780s until his death (before 1808), and we can assume that he collaborated closely with the Styrian painter Anton Jožef Lerchinger on certain wall paintings in the churches of northwestern Croatia. The Slavetić wall paintings were probably commissioned by the Oršić family, who had the church (initially a chapel) erected on their estate, and were the chief patrons of the parish at the time the wall paintings originated. The same family chose the painted medium for the altar retables in their private chapels in Gornja Bistra and Gornja Stubica,
which are attributed to Lerchinger, i.e. his workshop. This concurrence may indicate that the family was encouraged to also commission a painted altar for the Slavetić church and to hire Archer as Lerchinger’s collaborator. The wall paintings in the parish church in Slavetić have
over time been overpainted on several occasions, frst with a new painted architectural structure (1929), and later with monochrome coatings. The 1929 overpaint was applied during a major renovation of the church, when painter and restorer Zvonimir Wyroubal was paid for multiple tasks, among those the execution of fve fresco paintings. The nowadays presented wall paintings and the specifc altar arrangement in the sanctuary of the church in Slavetić stand at the endpoint of a kind of timeline of similarly painted churches that appeared within the Croatian art heritage of the 18th century, and are viewed as a branch of the widespread artistic fashion, also contemporary to the wider Central-European region.
person, various saints, angels, Mary, and the Holy Trinity in a tripartite vertical composition. The painting probably relied on an older model, such as can be recognized in several Roman prints from the 1580s: a copperplate engraving by the Carmelite Giacomo Ramirez, dedicated to the Blessed Virgin Mary, printed by Giovanni Battista di Lazzaro Panzera da Parma (Battista Parmensis) in 1585; a copperplate engraving dedicated by a certain Francesco Testa to Laurenzius Ramirez Figueroa Córdoba O.P., Bishop of Sigüenza (Spain), printed likewise in 1585; or a copperplate printed by the heirs of Claudio Duchetti in 1586. Related to these prints is one by Peeter van der Borcht, printed in Antwerp by Adriaen Huybrechts, which has been published in several previous studies, and which for now remains only roughly dated. It can certainly be viewed in the context of the Spanish-Dutch political and social circumstances in Antwerp and throughout the Spanish Netherlands in the years following the reconquest of the city in 1585.The said iconographic solution of the Auxilium in tribulatione reveals the recognizable spirit of the religious principles born of the decisions of the Council of Trent, primarily the veneration of Mary, which is presented here as the Gate of Heaven (Porta coeli), and sacramental life as a precondition for a good and blessed death. In terms of distribution, it is
recognizable in several paintings (mostly oils on canvas, but also wall paintings) in the area of today’s Poland and France, and in some examples in today’s Czech Republic, Spain, Austria, and Slovakia. This iconography also crossed the borders of the European continent, so one finds it in paintings in Ecuador, Mexico, and Peru, the then colonial territories under the rule of the Spanish crown. Within this series of visual examples, the painting from Kutina is situated at the end of its timeline. Namely, in the reports of canonical visits to the parish, the painting was first mentioned in 1780, and can thus be dated to the time before or around that year. This date is confirmed by its stylistic features, which show some alterations with regard to the originals: the drapery becomes more refracted and dynamic, the painted halos are scattered
in the form of symbolic light, and the space is almost entirely filled with swirling celestial atmosphere. Thematically, the painting complements the elaborate iconography of the wall paintings, which fill all the walls of the church interior. As for the painted scenes from the legend of Our Lady of Snow in the sanctuary, the role of Mary as a protector at the hour
of death, or a deliverer of the souls in purgatory, is emphasized in two scenes, while the conceptually rich image of the Auxilium in tribulatione further emphasizes the worship of Mary as mediator between heaven and earth. In the context of our artistic heritage, that is, artworks that speak about good and blessed death, the painting from Kutina occupies
a special place precisely because of its elaborate content, thus testifying to the longevity of the iconographic motifs that have the power to convey the still fresh religious message almost two centuries after its creation.
Project is financed by Croatian Science Foundation (Hrvatska zaklada za znanost/ HRZZ).