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Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal for the Critique of Science, Imagination & New Anthropology / Časopis za Kritko Znanosti, Domišljijo in Novo Antropologijo is the property of Institute for the Critique of Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Poliptih koji je za oltar sv. Martina u zadarskoj katedrali od Vittorea Carpaccia naručio kanonik Martin Mladošić jedno je od onih djela iz slikareva opusa oko čije kronologije nisu usuglašena mišljenja, pa su razni autori zadarski poliptih datirali gotovo u čitav raspon slikareve djelatnosti. Dokument koji je nedavno pronađen u zadarskom arhivu baca potpuno novo svjetlo na problematiku datiranja poliptiha, isključujući sve datacije u rane godine Carpacciova stvaralaštva te dijelom razotkriva uvjete i okolnosti narudžbe i izrade djela. Naime, 12. rujna 1497. godine u Zadru je Martin Mladošić imenovao opunomoćenike koji su u Veneciji trebali zahtijevati od slikara Viktora Scarpationa (Vittorea Carpaccia) da dovrši rad na pali za oltar sv. Martina u katedrali sv. Stošije u Zadru, u skladu s dogovorom koji je prethodno sklopio s naručiteljem. U kombinaciji s već otprije poznatim podatkom iz Mladošićeve oporuke od 21. travnja 1496. godine, koji se odnosio na izradu okvira za sliku, može se utvrditi da je poliptih naručen 1496., a da je izrada potrajala do konca 1497. ili početka 1498. godine. Tako datiran, zadarski je poliptih moguće precizno smjestiti u vrijeme između dvaju velikih Carpacciovih ciklusa, to jest nakon dovršenja Ciklusa sv. Uršule, a prije početka rada na ciklusu u Scuoli di San Giorgio degli Schiavoni. Također, u svjetlu podatka da su se naručitelj i slikar osobno susreli, može se pretpostaviti da je prikaz donatora na slici doista portret uglednoga zadarskog kanonika.

Mletački slikar Baldassare DʼAnna (Venecija, 1572. – 1646.) zastupljen je brojnim slikama u Istri i Dalmaciji. Relativno dobro istražena, njegova su djela protumačena kao eklektični radovi na kojima se prepoznaju izravni i dosljedni utjecaji suvremenika i prethodnika na liniji Tizian – Jacopo Palma, mlađi. Taj je očigledni utjecaj rezultirao konvencionalnim oltarnim palama i slikama sakralne tematike koje slijede renesansne kompozicijske obrasce simetričnosti i jasnoga rasporeda s čvrsto modeliranim likovima na kojima ponavlja tjelesne odlike i fizionomije. Tom korpusu slikarovih djela u Hrvatskoj (i Bosni i Hercegovini) autor dodaje dosad neuočena djela na otoku Braču, Šolti, Lošinju i Krku na kojima se ne prepoznaju novosti u likovnom smislu, ali se još više uočava uloga, značenje i popularnost koju je DʼAnnino zakašnjelo renesansno slikarstvo imalo kod dalmatinskih naručitelja. Ukazuje se i na – nedovoljno istraženu – ulogu njegovih suradnika u radionici jer su vidljive oscilacije u likovnoj vrijednosti njegovih slika.

Osim na temelju vjerskog pregalaštva i karitativnog rada, Ana Marija Marović (Venecija, 1815. – Venecija, 1887.) visoki je ugled stekla zahvaljujući svojemu pjesničkom i slikarskom djelu. Na osnovi potonjega uvrštena je u Slovnik umjetnikah jugoslavenskih Ivana Kukuljevića Sakcinskog, stupivši tako i u hrvatsku galeriju umjetničkih ličnosti. Premda se informacije o njezinu slikarskom opusu prenose u okrilju kulturne historiografije, sa stanovišta povijesti umjetnosti o njezinu slikarstvu je razmjerno malo rečeno. U članku se rekonstruiraju povijesne okolnosti njezina slikarskog rada, revidira se korpus poznatih djela te se podrobnije analizira njezino najambicioznije ostvarenje – oltarna pala Bogorodice žalosne (Addolorata) naručena u sklopu novog opremanja crkve Santa Maria del Pianto o dei Sette Dolori u Veneciji (1851.).

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Contributions to Contemporary History / Prispevki za Novejšo Zgodovino is the property of Prispevki za Novejso Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Autor publicira dvije oltarne pale iz župne crkve sv. Vida i Modesta u Trstenom kraj Dubrovnika. Palu Poklonstvo pastira na glavnom oltaru potpisao je Tomaso Cassani Bugoni (Venecija, oko 1696./1700. – 1767.). Na temelju očigledne sličnosti slikaru se u istoj trstenskoj crkvi pripisuje i pala Bogorodica od Presvetog Ružarija sa sv. Dominikom, sv. Katarinom Sijenskom, sv. Vidom i sv. Modestom. Iznose se podatci o slikaru koji je djelovao sredinom 18. stoljeća, određuju se stilske osobine navedenih slika te prepoznaju mogući poticaji na kojima su nastajala njegova djela. Svjetlinom kolorita slikar pokazuje ovisnost o Giovanniju Battisti Tiepolu i majstorima koji su djelovali pod njegovim utjecajem. S obzirom na to da je njegov opus u Veneciji i Venetu slabo istražen te zbog oskudnih biografskih podataka teško je iznijeti pouzdane zaključke o njegovu školovanju i djelatnosti. Unatoč tome dvije oltarne pale u Trstenom proširuju znanja o likovnoj kulturi u Dubrovačkoj Republici sredinom 18. stoljeća te ukazuju da su mletački majstori zastupljeni većim brojem djela na tom području.

U članku se, temeljem desetak dosad nepoznatih arhivskih podataka, pokušava rekonstruirati životni put i umjetnički razvoj najznačajnijega dalmatinskoga gotičkog slikara Blaža Jurjeva Trogiranina. Podatak da je u dokumentima iz 1419. godine naveden kao »slikar Blaž iz Zadra« potvrđuje pretpostavku da je dio svoje mladosti, a zacijelo i školovanja, proveo u tom gradu, u vrijeme kada je tamo dominantna slikarska ličnost bio Menegelo Ivanov de Canali, pa je moguće određene trečentističke arhaizme, prisutne u Blaževim djelima, dovesti u direktniju vezu s izvorištem u Menegelovu slikarstvu. Također, potvrde višestrukih boravaka u Splitu pružaju uporište za pomicanje uobičajene datacije raspela u crkvi sv. Frane u majstorovu zreliju stvaralačku fazu, pa je onda lakše predočiti moguće etape Blaževa likovnog sazrijevanja: od početne, snažnije vezane uz menegelovska izvorišta, preko pretpostavljenog boravka u Veneciji, a zatim razvijene djelatnosti u Trogiru i Dubrovniku, do potpune afirmacije i umjetnički najplodnijeg razdoblja tridesetih godina 15. stoljeća.

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Šibenski slikar Ivan Vulić (Ivan de Lupis), koji je djelovao u prvoj trećini 16. stoljeća, bio je dosad potpuno nepoznat stručnoj javnosti. No arhivska građa otkriva zanimljivu i složenu ličnost, lokalnog majstora kojem slikarski zanat nije mogao osigurati prikladnu egzistenciju, pa je promijenio zanimanje i postao bilježnik, ali se nastavio baviti i slikarstvom. Između 1511. i 1524. godine zabilježen je njegov rad na pet slikarskih djela u Šibeniku: ormaru bratovštine mornara sv. Nikole, pali za Vladana Rutčića iz Vrane, slici Bogorodice za Ivana Miloševića iz Zatona, oslikavanju kapele sv. Klare u crkvi sv. Frane te na oltarnoj pali i Gospinoj kapeli u crkvi sv. Marije od Kaštela. Premda niti jedno od navedenih djela nije sačuvano, već sami arhivski podaci svjedoče da je Ivan Vulić bio aktivan domaći slikar, jedan od posljednjih predstavnika “dalmatinske slikarske škole”.

Slika Bogorodica s Djetetom na Visovcu usporediva je sa slikama Jacopa Amigonija s početka petoga desetljeća 18. stoljeća, kada boravi u Veneciji i vjerojatno organizira radionicu. Članak objašnjava prijedlog atribucije slike velikom imenu mletačkoga i europskoga settecenta te njezino značenje za franjevačku slikarsku baštinu u Dalmaciji.

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prodravski zbornik is the property of Koprivnica Town Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In June 2019, the Faculty of Arts of the University in Ljubljana and the Archives of the Republic of Slovenia organized an international scientific symposium "Works of Art on Parchment and Paper". Proceedings with 27 peer-reviewed articles were published in November 2019. Experts from the field of natural and humanistic sciences presented their results related to techniques of monuments' creation and their place in the time of creation; they presented relationships among artists and their audiences and presented problems of preservation, conservation, restoration and interpretation of art works on parchment and paper. The article gives a brief overview of the symposium and then focuses on the interconnection among humanistic and natural sciences and reflects the author's thoughts on the meaning and wholeness of research, knowledge collection and achievement of scientific goals. [ABSTRACT FROM AUTHOR]

Narodna galerija v Ljubljani hrani portret plemkinje, ki je nekdaj veljala za Turjačanko, iz druge polovice 17. stoletja. Na podlagi primerjalne analize je bilo mogo- če v dami na sliki prepoznati Eleonoro Marijo Rozalijo kneginjo Eggenberg (1647−1703). V prispevku so predstavljeni rezultati zadnjih raziskav o provenienci, času nastanka in avtorstvu kneginjinih že znanih portretov in še enega novo identificiranega. Posebna pozornost je namenjena javnemu delovanju portretiranke in njene- mu vplivu na umetnostna naročila v dvorcu Eggenberg pri Gradcu.

Članak obrađuje dva portreta na kojima je vjerojatno prikazana Beatrica Frankapan (Modruš ?, oko 1480. – ? 1510.) s ordenom Labudova reda (njem. Schwanenorden). Prema literaturi, berlinski portret nalazio se u zbirci njemačkoga Krunskoga princa (Fridrik III. Pruski), a nakon 1918. godine otuđen je i s vremenom zaboravljen. Drugi je portret nazvan ‘admontski’ prema benediktinskom samostanu u Admontu, ali arhivske provjere pokazuju da ne potječe iz njega. Bio je na pohrani u Joanneumu u Grazu od prije 1903. do 1935. godine, a od tada je u zbirci Thyssen-Bornemisza, prvo u Castagnoli kraj Lugana, a sada u Madridu. Pripisan je neznanome njemačkom slikaru, djelatnome u Ansbachu, odakle je rodom drugi suprug Beatrice Frankapan, Juraj Brandenbuški iz kuće Hohenzollern i gdje je središte južnoga ogranka viteškoga Labudova reda. U 18. stoljeću ženski lik na tom portretu protumačen je kao sv. Ema Krška (njem. Hl. Hemma von Gurk). Bio je predloškom za brojne kopije u Štajerskoj, Koruškoj i Kranjskoj (slikarske, kiparske i grafičke), među kojima su dva grafička prikaza sačuvana i u Grafičkoj zbirci Hrvatskoga državnoga arhiva u Zagrebu. U austrijskoj literaturi takvi prikazi sv. Eme Krške, nastali kao kopije ‘admontskoga’, odnosno madridskoga portreta, za koji je moguće pretpostaviti da prikazuje Beatricu Frankapan, zovu se Frangepani-Typus. Causa occasionalis za madridski portret mogla je biti udaja za Jurja Brandenburškoga 1509. godine, što određuje dataciju slike Portret Beatrice Frankapan (?).

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art Words / Likovne besede is the property of Slovenian Association of Fine Arts Societies (ZDSLU) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Filozofski Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

U tekstu se iznose novi podaci o slikarima koji su tijekom 17. i 18. stoljeća djelovali u Dalmaciji ili su im slike sačuvane u tamošnjim crkvama. Autor povezuje sačuvane umjetnine s određenim umjetnicima čija se imena spominju i u dokumentima. Tako se raspravlja o Angelu Manciniju, Mateju Otoniju, Giuseppeu Marcattiju, Franju Gianacchiju i Pietru Tantiniju. Njihova su djela sačuvana u Zadru, Biogradu, Pirovcu, Šibeniku i Poljicima. Nekima od njih pripisuju se nova djela ili ispravljaju i dopunjavaju podatci o njihovoj djelatnosti dok se o nekima donose prvi put relevantni podaci.

Copyright of Art Words / Likovne besede is the property of Slovenian Association of Fine Arts Societies (ZDSLU) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Historiae Artis Slovenica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archaeology & Science / Arheologija i Prirodne Nauke is the property of Institute of Archaeology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art Words / Likovne besede is the property of Slovenian Association of Fine Arts Societies (ZDSLU) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kao rezultat višegodišnjih istraživanja prepoznata su i identificirana nova djela mletačkog slikara Mateja Ponzonea Pončuna koji se u četvrtom desetljeću 17. stoljeća doselio u Split gdje mu je brat Sforza Ponzone bio nadbiskup. Tu je za sebe, majku i brata dao izraditi grobnicu u svetištu katedrale sv. Dujma za koju je slikar trebao izvesti ciklus slika s prizorima iz života sv. Dujma. Autor navodi nekoliko oltarnih pala koje je Ponzone naslikao za dalmatinske naručitelje, a čuvaju se u crkvama na otoku Braču (Nerežišća, župna crkva), u Splitu (crkva sv. Mikule u Velom Varošu, sada crkva sv. Križa; samostan sv. Klare), Trogiru (crkva sv. Petra, nekada crkva sv. Mihovila) i na otoku Čiovu (crkva sv. Lazara / sv. Josipa). Analiziraju se i odlike Ponzoneova slikarstva te se upozorava na njegovu venecijansku stilsku formaciju. No, kao inteligentan i moderan slikar Ponzone se osvrtao i na druge umjetnike, pa se može uočiti da u prikazivanju lika sv. Frane Asiškoga (Šibenik, crkva sv. Frane) slijedi rješenja Federica Baroccija (1535.–1612.).

Leontine (Leo, Lea, Leonie) von Littrow (Trst, 1855. – Opatija, 1925.) kći je mornaričkog časnika, riječkoga lučkog kapetana i pomorskog inspektora, koja je od djetinjstva do kraja života živjela u Rijeci i Opatiji. Slikanje uči kod pariškog slikara Jeana d’Alheima, a u gotovo pola stoljeća umjetničkog djelovanja prolazi razvoj od početničkog »romantizma« do plenerizma i impresionizma te, na kraju, do ekspresivnog slikanja primorskih i dalmatinskih krajolika. Od 1880. godine izlaže na brojnim izložbama u Beču, Münchenu, Budimpešti, Pragu, Londonu, Opatiji, Klagenfurtu, Salzburgu, Černivcima, Wrocławu, Kopru i Rijeci, a naročit uspjeh postiže na samostalnim izložbama u Londonu od 1896. do 1904. godine.

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Copyright of Art History Journal / Zbornik za Umetnostno Zgodovino is the property of Slovenian Association of Art Historians / Slovensko Umetnostnozgodovinsko Drustvo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art History Journal / Zbornik za Umetnostno Zgodovino is the property of Slovenian Association of Art Historians / Slovensko Umetnostnozgodovinsko Drustvo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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In the church of Sts John the Baptist and John the Evangelist in Izola, an altar painting of Dead Christ with Angels, Sts John the Baptist and John the Evangelist has been hidden from the eyes of the public, as the church has been in disuse for some time. This article is the first study of the altarpiece in the context of Istrian and Venetian painting. In addition to the new attribution, it discusses its role and meaning, and attempts to shed light on the chronology and the circumstances of its commission. The composition, figures, colouring and stylistic approaches of the Izola altarpiece reveal close parallels with six canvases in Koper and three altarpieces in Funtana and Buzet, which in 2005 were first attributed by Nina Kudiš to an anonymous artist known as the Master of the Funtana Altarpiece, who was active in western and central Istria in the second and third decade of the 17th century. The attribution of the Izola altarpiece to the Master of the Funtana Altarpiece can be confirmed by several elements and compositional strategies closely resembling those in the two altarpieces in Buzet. The facial physiognomy of St John the Baptist in Izola is almost identical to St Francis of Assisi, while the facial type and the frontal positioning of St John the Evangelist reveal parallels to St Damian in the altarpiece depicting Cod the Father with saints in the parish church in Buzet. Further parallels between the paintings reflect in the postures of St John the Baptists and Sts Cosmas and Damian, in the forms of the drapery as well as in several other details. On the other hand, the angels with the Instruments of the Passion in Izola altarpiece strongly resemble (one is almost identical to) those in the altarpiece depicting Virgin Mary with saints in Buzet city museum. Dead Christ with Angels, Sts John the Baptist and John the Evangelist can be associated with the mention of "images of St John the Baptist and John the Evangelist" above the stone altar in the 1634 visitation record of the Bishop of Koper, Pietro Morari. In 1636, it was recorded as an"old painting" in the newly carved wooden altar. According to Paolo Naldini's Corografia, around 1700 the Church of Sts John the Baptist and John the Evangelist was the seat of the Confraternity of the Holy Cross. However, in his 1634 visitation description of the church Bishop Morari mentions the Confraternity of St. John the Evangelist. Therefore the latter is more likely to have commissioned the altarpiece. The decision of the small confraternity to include the image of Dead Christ in the altarpiece could be influenced by the major Izola's confraternity, the Confraternity of the Holy Sacrament with its seat in the parish church of St Maurus. Its altar in the parish church was adorned with The Entombment of Christ by Jacopo Palma il Giovane - the painter, whose style, compositions and subjects represemted the major influence to the Master of the Funtana Altarpiece. [ABSTRACT FROM AUTHOR]

The revenge, in itself, has never been a value in civil societies; also the feud, although consented in some cases, has never had a figurative documentation, clear and recognizable, in those societies. Especially in the Christian world, the celebrated civic values are peace and harmony. On this topic, I present three basic examples: first, a painting on wood by Antonio Orsini, dating back to the mid-fifteenth century, which illustrates the reconciliation between two knights before a tournament in Ferrara; then, the altarpiece commissioned in Perugia by Atalanta Baglioni to Raphael in 1507; in the end, two altarpieces, respectively dating back to the sixteenth and the eighteenth centuries, reminiscent of the pacification of opposing political parties in Benevento. [ABSTRACT FROM AUTHOR]

Slikar Filippo Naldi bio je prema vlastitom iskazu podrijetlom iz Firence. U službi mletačke vojske živio je i djelovao u Dalmaciji sredinom 18. stoljeća. Spominje se u Opuzenu gdje je bio upravitelj luke. Naldi je na širem dalmatinskom prostoru izradio velik broj slika vjerskoga sadržaja te nekoliko portreta. Ovom prigodom pripisuje mu se sedam slika u crkvama Dalmatinske zagore i u Poljicima (Zavojane kraj Vrgorca, Dobranje kraj Imotskoga, Kostanje u Poljicima, Čaporice kraj Trilja i Franjevački samostan u Sinju). Autor analizira odlike Naldijeva slikarstva i njegovo značenje u dalmatinskoj umjetnosti i društvu 18. stoljeća.