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The article deals with eight portraits of the Koper patrician family Carli, preserved ln Poreč Regional Museum. The family members are dressed alla turca to signify their service as dragomans at the Ottoman Porte. Their accurately painted clothes, head dresses and jewellery are discussed in the light of recent costume studies and contemporary travellers' books. The author attempts to identify some of the family members depicted in the portraits on the basis of inscriptions, painted details and comparison with portraits of Central European and Venetian envoys to the Porte.

V diplomskem delu sem raziskal zgodovino ilustracije in s pomočjo deskriptivne metode strnjeno predstavil ilustracijo in njen razvoj v 20. stol. v Evropi in Severni Ameriki vključno z nekaterimi predstavniki določenega geografskega področja. Diplomsko delo prav tako orisuje razvoj tehnologije, še posebej računalnika, in kako je le-ta vplivala na razvoj ilustracije in postopke produkcije, tiska in publikacije. Ker je področje digitalne ilustracije v Sloveniji precej neraziskano, sem se v empiričnem delu diplomskega dela naslonil predvsem na digitalni medij. S komparativno metodo in metodo analize sem ugotavljal prednosti in slabosti digitalne ilustracije nasproti analognim tehnikam, njene možnosti publikacije in vpliva na ilustracijo samo. Z empirično metodo in metodo analize sem izdelal 6 ilustracij, skozi katere navedem svoje postopke produkcije in publikacije. Naslonim se na programa Adobe Photoshop in Adobe Illustrator kot primera rasterske in vektorske programske opreme. In this thesis I researched the history of Illustration and with a descriptive method, made a summarized overview of illustration and it’s evolution in the 20th century in Europe and North America, including a few representatives of a certain geographical region. The thesis also describes the evolution of technology, especially the evolution of the computer and how it influenced the evolution of illustration and production, print and distribution procedures. Because digital illustration is fairly unresearched in Slovenia, I leaned towards the digital media in the empirical part of the thesis. With a comparative method and the method of analysis I found pros and cons in comparison to analog techniques, it’s publication possibilities and influence on illustration. With an empirical method and method of analysis I made 6 illustrations, through which I describe my methods of production and publication. I use Adobe Photoshop and Adobe Illustrator as examples of raster and vector software.

Diplomsko delo iz umetnostno zgodovinskega vidika obravnava dvorec Turnišče in problematiko njegove rabe. Za boljše razumevanje teme je na začetku predstavljen razvoj baroka v Evropi in Sloveniji s poudarkom na baročni arhitekturi. Obsežneje je predstavljen razvoj baročne arhitekture v 17. in 18. stoletju v Sloveniji, ki ga je doslej obravnaval predvsem Nace Šumi. Sledi zgodovina dvorca, ki se prične z njegovim lastništvom in gradbeno zgodovino. Znotraj gradbene zgodovine so obravnavane tudi vse prezidave, ki so potekale skozi čas. Nadalje je predstavljen arhitekt Johan Joachim Carlone, ki je domnevno zgradil dvorec za grofe Thurne. Skozi nalogo so raziskani tudi vsi posegi Zavoda za varstvo naravne in kulturne dediščine Maribor znotraj dvorca, ki so potekali v zadnjih desetletjih. Naslednji sklop naloge je posvečen aktualni problematiki dvorca, ki se dotika lastništva in možnosti nadaljnje uporabe. Ob tem so obravnavani vsi možni predlogi izrabljanja gradu, ki so bili podani na Mestno občino Ptuj. Diplomsko delo temelji na obravnavi dvorca iz umetnostnozgodovinskega vidika, dotika pa se tudi vprašanja rabe, ki ni nujno umetnostnozgodovinska. Lastništvo dvorca in gradbeni posegi vanj so obravnavani kronološko, za boljšo vizualizacijo in razumevanje pa so dodani načrti, vedute in ostalo slikovno gradivo. The following graduation thesis centres on the Turnišče mansion and issues regarding its use from an art historical perspective. For a better understanding of this topic, we will firstly present the development of the Baroque era across Europe and in Slovenia, with the emphasis on Baroque architecture. The thesis includes a more comprehensive presentation of the development of Baroque architecture in the 17th and 18th century in Slovenia, which has hitherto been discussed mainly by Nace Šumi. Next is the history of the mansion, which starts with its ownership and construction history. All alterations, which have taken place over time, are also included in the construction history. Furthermore, we also present the architect Johan Joachim Carlone, who allegedly built the mansion for the counts Thurne. Throughout this paper we also investigated all interventions inside the mansion made by the Institute for the Protection of Natural and Cultural Heritage Maribor (Zavod za varstvo naravne in kulturne dediščine Maribor), which took place in the last few decades. The next section is devoted to the current issues of the mansion, which touch on the ownership status and the possibility of its further use. At the same time, we address all possible proposals for the usage of the castle, which were submitted to the Municipality of Ptuj. The graduation thesis is based on a discussion about the mansion from the point of view of art history, and it also touches upon the questions of use, which is not necessarily connected with art history. The ownership of the mansion and the relevant construction activities are discussed in a chronological order, and for a better visualization and understanding, plans, blueprints, vedute and other graphic material are also included in the paper.

V diplomski nalogi sem razširila svoje dosedanje znanje o Kužnem znamenju v Mariboru. Primerjala sem ga z znamenji v Ljubljani, Radljah ob Dravi in na Ptuju. V prvem delu diplomske naloge me je zanimalo, zakaj so na znamenju poleg svetega Roka in svetega Sebastijana, ki sta priprošnjika zoper kugo, prisotni tudi drugi svetniki, ki so bili sicer v Mariboru posebej čaščeni, niso pa imeli posebne povezave s kugo to so sveti Frančišek Asiški, Frančišek Ksaver, Donat in Anton Padovanski. Meščani Maribora so namreč sami določili, kateri svetniki bodo postavljeni na znamenje, glede na to, kateri so jim bili najbliže. Originalni kipi iz Kužnega znamenja so shranjeni v Zavodu za varstvo kulturne dediščine Maribor in v Pokrajinskem muzeju. Ugotovila sem, da so originali zelo slabo ohranjeni, saj se za znamenje ni pravilno skrbelo, kar je pripomoglo k njegovemu propadu. Izgubila sta se tudi dva kipa svetnikov – svetega Janeza Krstnika in Janeza Nepomuka. Tudi na kopiji znamenja se že poznajo vplivi vremena. Drug del diplomske naloge sem posvetila primerjavi Kužnega znamenja v Mariboru z znamenji v Ljubljani, Radljah ob Dravi in na Ptuju. Vsa znamenja so si izredno podobna, saj so zgrajena po določenem sistemu – spodaj imajo razgiban del, na katerem so velikokrat postavljeni kipi svetnikov, v višino pa se dviguje steber, na vrhu katerega stoji Marija, ki ima lahko v rokah Jezusa. Takšni sta znamenji v Mariboru in Radljah ob Dravi. V Ljubljani je del, na katerega so postavljeni svetniki, dvignjen v višino, na Ptuju pa je edina figura na znamenju Marija. In this paper I have broadened my existing knowledge of the Plague Memorial in Maribor. I compared it with the plague memorials in Ljubljana, Radlje ob Dravi and Ptuj. In the first part of this paper I was interested to know why in addition to St. Roch and St. Sebastian, who were plague intercessors, there are other saints present on the monument who were otherwise highly venerated in Maribor, but did not have a special connection with the plague. These saints are St. Francis of Assisi, St. Francis Ksaver, St. James and St. Anthony of Padua. The citizens of Maribor specified which saints they wanted represented on the memorial according to the saints they felt closest to. The original statues from the Plague Memorial are stored at the Institute for Protection of Cultural Heritage Maribor and in the Maribor Regional Museum. I ascertained that the original statues are very poorly conserved. This is because the memorial has not been properly cared for, which has contributed to its decay. Two of the saints have been lost - St. John the Baptist and John of Nepomuk. On the copy of the memorial there are already signs of weathering. In the second part of this paper I focused on comparisons of the Plague Memorial in Maribor with plague memorials in Ljubljana, Radlje ob Dravi and Ptuj. All the memorials are very similar since they are built according to a defined system – the base is a diverse part on which are often placed statues of saints, accompanied by a towering column on top of which stands the Virgin Mary, who can be holding Jesus in her arms. Such are the memorials in Maribor and Radlje ob Dravi. In Ljubljana, the part on which the saints are placed is raised up high in Ptuj the only figure in the memorial is St. Mary.

V diplomskem delu Pogled na figuro v opusu Augusta Rodina so predstavljeni način in karakteristike Rodinovega ustvarjanja, ki so opredeljeni skozi njegove izbrane kipe in kiparske skupine. Predstavljen je izjemen pogled umetnika na figuro in želja, da bi v kiparskem materialu izrazil življenje. Pri doseganju živosti figure in izrazu notranjega stanja si je pomagal z upodobitvijo kretenj, gibanja, govorico telesa, obraznih izrazov, stičnih točk, modeliranja mišic in obdelavo ploskve. Začetek naloge zajema predstavitev umetnika in kratek poudarek njegovega zgleda po renesančnem kiparstvu. Nadaljevanje se osredotoča na predstavitev karakteristik njegovega ustvarjanja. Predstavimo figuro Bronasta doba, ki v njegovem ustvarjanju prikazuje rojstvo kretnje in Janeza Krstnika, ki je v njegovem opusu pomemben zaradi prikaza gibanja. Scensko vrednost v likovni umetnosti predstavimo na Calaiskih meščanih. Sledi predstavitev zaznave čutnosti in povezanosti dveh teles skozi stične točke na figurah Poljub in Večna pomlad. S prikaza popolnih teles preidemo na opis figure Stara orožarka in videnja lepote v ''grdem''. Proti koncu naloge so predstavljeni pogledi na modeliranje na Rodinovem najbolj znanem delu, Mislec. Zaključimo z bistveno ugotovitvijo Rodina, da je telo sestavljeno iz ploskev, katere naj bi same po sebi predstavljale živost in razgibanost, kar je namenoma prikazano na anatomsko necelostnih figurah Korakajoči mož in Iris, božji poslanki. The thesis A View of the Figure in August Rodin's Opus discusses unique methods and characteristics of Rodin's work through the analysis of selected sculptures and sculptural groups. The paper explores the artist's remarkable outlook on the figure and his desire to breathe life into the sculptural material. In order to achieve liveliness in his figures and convey their inner states, he uses gesture, movement, body language, facial expression, points of contact, muscle modelling and surface processing. The beginning of the thesis includes a brief presentation of the artist and the influence of Renaissance sculpture on his work. The characteristics of his opus are presented through examples such as the figure Age of Bronze, which defines the artist's expression of gesture, and Saint John the Baptist, which depicts movement. The scenic value of his art is exemplified in The Burghers of Calais, followed by a presentation of perception of sensuality and connection of two bodies through points of contact in the figures The Kiss and Eternal Spring. This display of perfect bodies is juxtaposed with The Old Courtesan, a figure which demands a search for beauty in the ''ugly''. Rodin’s most famous work, The Thinker serves as a prime example of the artist’s views on modelling. Rodin’s key finding that a body is composed of surfaces, which in itself represent liveliness and dynamics, is clearly exemplified in deliberately anatomically flawed figures The Walking Man and Iris, Messenger of the Gods.

Diplomsko delo Oprema gradu Muretinci je bilo napisano kot sistematičen pregled opreme grajske kapele svete Ane v križniškem gradu v Muretincih. Predstavljena je kratka zgodovina gradu v Muretincih, njegova arhitektura in oprema, ki spada v kapelo. Želeli smo ugotoviti, v kakšnem stanju je kapela danes, kako je bila opremljena ob izgraditvi, kako se je skozi stoletja spreminjala, koliko inventarja je ohranjenega iz baročnega obdobja, v katerem je bila kapela zgrajena in v kakšnem stanju je njena oprema sedaj. Pregledali smo stare fotografije in druge vire, s pomočjo katerih smo ugotovili, katera umetniška dela so del inventarja kapele. Kapelo in inventar smo fotografirali, opisali in opredelili sedanje stanje kapele in inventarja. Skozi raziskovanje smo prišli do zaključkov da so se ohranila vsa pomembna umetniška dela, med katera spadajo oltar, pripadajoča kiparska in slikarska dela ter dve sliki. Ugotovili smo, da je kapela z opremo v postopku restavriranja, in je skupaj z inventarjem, ki se je ohranil, v zelo dobrem stanju. Žal pa smo ugotovili, da je nekaj inventarja izgubljenega, posebej velja omeniti kiparska dela z oltarja. The graduation thesis Equipment of the Muretinci Castle was written as a systematic overview of the equipment of the chapel of Saint Ann, built by the Teutonic Order, in the castle. The thesis contains a short history of the castle, a description of its architecture and the detailed description of the equipment of the chapel. We wished to find out the state the chapel is in today, what it looked like when it was built, how it changed through the centuries, how much equipment is left from the baroque period, in which the chapel was built and what is the state of preservation of the equipment of the chapel today. We studied old photographs and other sources in order to determine which art works formed part of the inventory of the chapel. Through research we came to the conclusion that all the important art works from the baroque period have been preserved. These are the altar and the paintings and sculptures that belong with the altar and two separate paintings. We discovered that the chapel is undergoing restoration, along with all the equipment, and is in good state of preservation. Unfortunately we also discovered some of the inventory missing, the most important piece that is missing are some altar sculptures.

Franc Berneker je v generaciji slovenskih akademskih kiparjev, ki je bila kakovostno in slogovno neenotna, prvi prekinil z akademizmom ter svoj kiparski izraz obogatil s sočasnimi umetniškimi tokovi ter gibanji, hkrati pa kot sopotnik impresionistov in član kluba Sava bistveno prispeval k nastanku in uveljavitvi sodobne slovenske umetnosti. Kiparski razvoj Franca Bernekerja se je začel na pragu 20. stoletja, ko je v konservativnem akademskem okolju umetnosti še prevladoval realističen kiparski izraz, ki je dobival vso podporo premožnih meščanov. Na dunajski akademiji je še vedno prevladoval akademski realizem, podprt z neobarokom, medtem ko očitnejši modernizmi niso bili dovoljeni, vendar je v delih nekaterih umetnikov vseeno mogoče opaziti odmeve novih sočasnih slogovnih tendenc: elemente secesije, simbolizma, socialnega realizma, novega klasicizma ter oblikovne in vsebinske poteze Rodinovega kiparstva. Tudi pri analizi Bernekerjevega začetnega ustvarjanja lahko izluščimo prevladujoče vplive oziroma nove slogovne tendence, ki jim je kipar (ne)posredno sledil. Oblikovno, manj vsebinsko, se je preko močnega vpliva, ki ga je imel Rodin na sočasno evropsko kiparstvo, naslonil predvsem na Rodinovo kiparstvo Prav slikovita oziroma impresionistična modelacija, ki odseva notranje napetosti ter dinamiko figure in povzroča nemirno trepetanje svetlobe na površini ter tako bistveno razgiba figuro, je rodinovski princip, ki se ga je kipar vedno znova posluževal tako v portretih, kiparskih skupinah kot tudi spomeniških osnutkih. Vendar pa umetnine jasno dokazujejo kiparjevo sposobnost ter umetniško avtonomnost, da ne sledi zgolj izbranemu slogovnemu izrazu, temveč tako tradicionalne kot moderne kiparske usmeritve podredi svojemu umetniškemu čustvovanju in ustvarja novo celoto. Bistvena značilnost, ki zaznamuje umetnika, je namreč tematika njegovih del. S svojim osebnim lirizmom (material je želel oživiti tako, da bi postal življenje, ki ga je sam videl) in s tem povezano mehko modelirano kiparsko formo, razkrojeno s slikovnimi pobliski površine, se je odrekel akademskemu realizmu in se približal rodinovskemu izrazu. Bernekerjevo malo plastiko le formalno opredeljujejo centimetri, bolj pa njena specifična tematika in plastična struktura, ki je edinstvena v vsakem materialu in obliki. Berneker je namreč v svojih malih plastikah izkoriščal nakopičeno znanje evropske kiparske tradicije in ga podredil svojim idejam ter kiparskemu izražanju. Pomen male plastike v Bernekerjevem opusu vsekakor ni zanemarljiv, čeprav je kipar svoja najboljša dela ustvaril predvsem s portretiranjem različnih osebnosti. Portretiranju se je Berneker posvečal že od najzgodnejših študijskih let in tako ustvaril mnogo portretov, ki so v njegovem ustvarjalnem opusu najštevilčnejše zastopani. Prav v portretiranju je kontinuirano dokazoval svojo nesporno nadarjenost: prepoznamo ga lahko kot odličnega portretista s posluhom za upodobljeno osebo in njegovo notranje čustvovanje, hkrati pa je tudi oblikovno posegal po kiparskih novostih svojega časa. Ob Bernekerjevih portretih predstavljajo poetične kiparske skupine enega od vrhuncev njegovega ustvarjanja, s katerim je požel priznanje svojih sodobnikov in si utrdil svoje mesto v slovenskem kiparstvu. In a generation of Slovenian academic sculptors, which was qualitatively and stylistically inconsistent, Franc Berneker first broke from academism and enriched his sculptural expression with contemporary artistic currents and movements, while simultaneously contributing to the development and promotion of contemporary Slovenian art as a companion of the impressionists and a member of the club Sava. The sculptural development of Franc Berneker began on the threshold of the 20th century, when the conservative academic art environment was dominated by a realistic sculptural expression, which got full support of wealthy citizens. At the Viennese Academy, academic realism, supported by neo-baroque, was still dominant, while evident modernism was not allowed. However, echoes of new, simultaneous stylistic tendencies could be seen in the works of some artists: elements of secession (art noveau), symbolism, social realism, neoclassicism and the design and contextual influences of Rodin's sculptures. When analyzing Berneker's initial creations, we can identify the dominant influences or new stylistic tendencies, which he (in)directly followed. The design, less the content, leaned primarily on Rodin's sculptures, over the strong influence Rodin had on European sculpture. The colourful, impressionistic creation of forms, reflecting internal tensions and figure dynamics that causes restless flickering of light on the surface and so enlivens the figure, is a principle of Rodin, which the sculptor repeatedly used on his portraits, sculptural groups and sketches of monuments. The artwork is however a clear proof of the sculptor's ability and artistic autonomy, not to merely follow the chosen stylistic expression, but to subjugate both traditional and modern stylistic directions to his own artistic sensation, thus creating a new whole. The essential characteristic feature of the artist is the subject of his work. Through personal lyricism (wanting to revive the material to become the life he himself saw) and related soft sculptural form, decomposed with picturesque flashes of the surface, he gave up academic realism and approached Rodin's expressions. Berneker's small sculpture is only formally defined by centimetres, and more by the specific thematic and plastic structure, which is unique in any material or form. Berneker exploited the accumulated knowledge of European sculptural tradition and through his small sculpture, subjected it to his ideas and sculptural expression. The importance of small sculpture in Berneker's opus is certainly not negligible, even though the sculptor created his best works primarily by portraying different personalities. Berneker was devoted to portraiture since his earliest years of study and thus created many portraits, which make for the most numerable part of his opus. It is also the portraiture where he continuously proved his undeniable talent: he can be recognized as an excellent portraitist with sensitivity for the depicted person and his inner feelings, while also reaching towards the new sculptural innovations of his time. Alongside Berneker's portraits, his poetical sculptural groups make for one of the highlights of his creations, with which he garnered recognition of his contemporaries, and strengthened his place in the Slovenian sculpture.

Diplomsko delo obravnava umetnostna naročila grofov Celjskih na območju severozahodne Hrvaške s poudarkom na sakralni arhitekturi. Zaradi boljšega razumevanja teme je na začetku predstavljena kratka zgodovina grofov Celjskih in njihov odnos do pavlincev. Sledi kratka predstavitev zgodovinskih dogajanj na prostorih današnjega Medmurja pred prihodom Celjskih, za tem pa še opredelitev bivanja grofov Celjskih na prostoru severozahodne Hrvaške, med drugim tudi posesti v lasti družine Celjskih. To je pomembno za kontekst nastanka sakralnih objektov po njihovem naročilu. Sledi predstavitev umetnostnih naročil na območju severozahodne Hrvaške. Pavlinski samostan v Lepoglavi je bil zgrajen kot eno izmed prvih naročil grofov Celjskih in je povezan s tako imenovano parlerjansko gotiko na Hrvaškem in v Sloveniji. Pavlinski samostan Sv. Jelene (Helene) v Šenkovcu je nastal nekaj let pred prihodom Celjskih, največji posegi na samostanu pa so bili izvedeni v času njihovega bivanja v Medmurju. Tretje pomembno naročilo je bila nekdanja cerkev sv. Mihaela v Mihovljanu. Za lažje razumevanje bom pri vsaki od sakralnih stavb predstavila tudi kratko zgodovino le-te in upodobitve stavbe na slikah. Ker je od večine naštetih stavb danes ostalo zelo malo, se bom v svojem raziskovanju naslonila predvsem na arhivske vire ter fragmente iz obdobja, ko so le-ti nastali. Poskusila bom med seboj primerjati obstoječe primere in v njih najti značilnosti istega ali podobnega stila. S tem bom tudi odprla vprašanje avtorstva, s katerim se v zadnjem času ukvarja veliko raziskovalcev. Graduation thesis discusses the counts of Celje's Art commissions in northwestern Croatia with the emphasis on the sacral architecture. At the beginning there is a brief history on counts of Celje and their attitude towards the Paulinists due to better understanding of the theme. The following chapter introduces the brief history of Medmurje before the arrival of counts of Celje followed by description of the north-western Croatia and the lands in possession of the counts as this is important for the further development of sacral architecture commissioned by the counts of Celje. Afterwards, the art commissions in northwester Croatia will be presented: the Paulinist monastery in Lepoglava, one of the first sacral object commissioned by counts of Celje in possible relation to parlerian gothic in Croatia and Slovenia the Paulinist monastery of St. Helen in Šenkovec, which was built few years before the arrival of counts of Celje, but the main construction work was done under their reign. The final object of my study will be former church of St. Michael in Mihovljan. For better understanding of the theme I will present every building's history and artistic depictions. As today we have little or none material evidences of these great buildings, the focal point of my study will be based on fragments and the archive resources. I will try to compare the building on the basis of existing fragments and photographs in order to determine similarities in style. By doing so, I will open the question of the author of the buildings, which is the main preoccupation of researchers lately.

Diplomsko delo z umetnostnozgodovinskega vidika obravnava javne spomenike v Celju, ki so bili postavljeni po letu 1991. Za pojasnitev teme je predstavljeno samo mesto Celje in njegova zgodovina, razloženo je tudi kiparstvo v izbranem obdobju, definiran je pojem javnega spomenika. Predstavljeni so štirje spomeniki: spomenik Antonu Martinu Slomšku (delo kiparke Karle Bulovec Mrak), ki se nahaja na Slomškovem trgu, obeležje slovenske osamosvojitve, ki ga je izdelal Franc Purg in se nahaja na Trgu svobode poleg Savinškovega spomenika NOB, spomenik Almi Karlin, ki je bil postavljen na Krekovem trgu, trenutno pa je zaradi obnovitvenih del trga deponiran ter spomenik Josipu Pelikanu na Trgu Celjskih knezov. Avtor slednjih dveh je kipar Vasilije Četković. Spomeniki so popisani, opisani, navedena je njihova lokacija, predstavljene so upodobljene osebe oziroma dogodki, prav tako tudi avtorji obravnavanih spomenikov. Spomeniki so razvrščeni kronološko, za boljšo vizualizacijo je dodano tudi slikovno gradivo. Diplomsko delo se dotakne tudi vprašanja kvalitete spomenikov in odzivov publike na postavitev teh del. This study paper discusses public monuments in Celje that have been erected after year 1991. To explain the background of theme there is an introduction of the city of Celje and its history, sculpture in this era and the concept of public monument are also explained. Four public monuments are presented: monument of Anton Martin Slomšek, work of sculptor Karla Bulovec Mrak, positioned on Slomškov trg, monument of Slovenian independence, made by Franc Purg and positioned on Trg svobode, monument of Alma Karlin, erected on Krekov trg and currently stored due to renovation of the square, and the last one is the monument of Josip Pelikan, positioned on Trg Celjskih knezov. Author of last two monuments is Vasilije Četković. Monuments are enlisted, described, located, depicted people or events are introduced, and so are authors of monuments. Monuments are enlisted chronologically, pictures are added in order of better visualisation. Thesis also discusses the quality of monuments and public reaction to them.

Diplomsko delo obravnava arhitekturno plastiko na historističnih zgradbah v Mariboru, pri tem se osredotoča na figuralno arhitekturno plastiko, tj. kipe in reliefe, omenjena pa je tudi dekorativna arhitekturna plastika. Zaradi boljšega razumevanja teme je na začetku predstavljeno obdobje historizma in pojasnitev pojma arhitekturna plastika. Sledi predstavitev desetih izbranih historističnih zgradb in opis kiparskih del, ki se pojavljajo na fasadah teh zgradb: Slovensko narodno gledališče Maribor (1864), Pošta Maribor (1894), Prva gimnazija Maribor (1871─1873), Srednja šola za gostinstvo in turizem Maribor (1913/14─1916), OŠ bratov Polančičev Maribor (1895), OŠ Prežihovega Voranca Maribor (1905), gospodarsko stanovanjsko poslopje (1896) na Partizanski c. 77, večstanovanjska hiša (1899) na vogalu Aškerčeve ul. 2 in Ul. Heroja Staneta 18, Friedrigerjeva vila oz. vila Transilvanija (1910) na Mladinski ul. 45 (1927) ter stanovanjska vila na Kosarjevi ul. 41. Diplomsko delo se osredotoča na prepoznavanje in interpretacijo kipov in motivov, upodobljenih na reliefih, ter na povezovanje teh kiparskih del z vlogo oz. funkcijo posamezne stavbe ali njenim naročnikom. Nadalje ugotavlja stanje raziskav in primerja mariborsko historistično arhitekturno plastiko z ostalimi po Sloveniji. Dotika se tudi vprašanja avtorjev in izvajalcev kiparskih del ter morebitnih vzorov. Graduation thesis discusses architectural sculpture on historicist buildings in Maribor, it focuses on figurative architectural sculpture, i.e. statues and reliefs, but it also mentions decorative architectural sculpture. At the beginning of this paper historicism as a period and the term architectural sculpture are explained for better understanding of the theme. This is followed by a presentation of the ten chosen historicist buildings and a description of the sculptural works located on the facades of these buildings: Slovene National Theatre Maribor (1864), Post office Maribor (1894), Prva gimnazija Maribor (1871─1873), Secondary School for Catering and Tourism Maribor (1913/14─1916), Polančič Brothers Primary School in Maribor (1895), Prežihov Voranc Primary School in Maribor (1905), a commercial residential building (1896) on Partizanska c. 77, an apartment block (1899) on the corner of the streets Aškerčeva ul. 2 and Ul. Heroja Staneta 18, villa Friedriger, also known as villa Transilvanija, (1910) on Mladinska ul. 45, and lastly, a residential villa (1927) on Kosarjeva ul. 41. The graduation thesis centres on recognising sculptures and motifs on the reliefs, their interpretation, and their connection with the function of each of these buildings or their owners. Furthermore, it establishes the state of research and compares historicist architectural sculpture in Maribor with other similar works in Slovenia. It also touches on the question of authors and sculptors/stonemasons and on any possible patterns.

V diplomskem delu je predstavljen natančen opis in analiza vseh osmih oltarjev, vključno s kiparskimi deli na oltarjih, ki se nahajajo v baziliki Marije Matere usmiljenja v Mariboru, ter oltar postavljen v kapeli. Diplomsko delo je sestavljeno iz teoretičnega dela, ki vključuje natančen umetnostno zgodovinski opis vseh obravnavanih oltarjev, materialno sestavo, ikonografsko določitev in opis kiparskih del ter slogovno opredelitev kiparskih del. Raziskovalna naloga temelji predvsem na terenskem delu in na natančnem opazovanju, izvedenim tekom pisanja naloge. Na koncu naloge so vključene končne ugotovitve, do katerih sem prišla. Velika zahvala za postavitev bazilike Matere Usmiljenja v Mariboru gre dunajskemu arhitektu Richardu Jordanu, ki je poskrbel, da so vsi elementi, arhitektura, liturgična oprema in stenske poslikave enotne in skladne, ter graškemu kiparju Eduardu Kubovskemu, ki je izdelal skoraj vso oltarno plastiko. In my diploma paper are presented the detailed description and the analysis of all the eight altars including the sculpture works on the altars which are in the Basilica of St. Mary Mother of Mercy in Maribor, and the altar which is set in the chapel. The diploma paper consists of the theoretical part, which includes the detailed historical description of all the considered altars, the material structure, iconographic determination, the description of sculpture works and the stylistic determination of sculpture works. The research paper is mostly based on the field work and precise observation, performed while writing the paper. At the end of the paper are also included my final findings. The gratitude for setting up the Basilica of St. Mary Mother of Mercy goes to the Vienna architect – Richard Jordan who ensured that all the elements, architecture, liturgical equipment and the wall paintings are unified and symmetrical. Gratitude goes also to the sculptural from Graz – Eduard Kubovsky who made almost the entire altar plastic.

V diplomskem delu so najprej izpostavljena dejstva o spomenikih, skulpturah, kipih in javni plastiki nasploh ter kaj razumemo pod temi termini in kakšna je razlika med njimi. Na kratko je predstavljena zgodovina in razvoj slovenskega kiparstva, ki je osnova za razumevanje kasneje odkrite javne plastike. Diplomsko delo prikazuje obstoječo javno plastiko, nastalo v letih med 1991 in 2011. Izpostavlja kulturni problem na področju kiparstva in s tem povezane javne plastike v času samostojne Slovenije. V tem času se je v primerjavi s preteklimi umetnostnimi obdobji odkrilo zelo malo javnih plastik, ki so nujne za spodbujanje in razumevanje sodobne kulture. V zadnjem delu diplomske naloge primerjam javne plastike med Mariborom in Ljubljano. Poglabljam se v razlike med tematikami nastalih javnih plastik, uporabljenimi materiali in predvsem njihovo pomembnostjo v okolju, znotraj katerega so postavljene. Rezultat diplomskega dela je popis, opis in analiziranje javnih plastik, ki so bile postavljene med letoma 1991 in 2011 na območju Maribora in Ljubljane. To področje je bilo doslej zelo slabo raziskano in opisano v obstoječi literaturi in fotografskih zapisih. V zaključku poudarjam pomembnost javne plastike in njen vpliv na rast kulture v okolju, v katerem je postavljena. In the beginning of my diploma paper, the facts about monuments, sculptures, statues, and public plastic arts in general are presented – what these terms mean, and what the difference between them is. A short description of the history and course of Slovenian sculpture arts follows as a basis for understanding the public sculptures that have been unveiled in later periods. The main problem this diploma deals with are the existing public sculptures, which have been produced between the years 1991 and 2011. This exposes a cultural problem with sculpture arts and correlated public plastic arts in the period of the independent Slovenia namely, a small amount of public sculptures were unveiled in comparison with previous artistic eras, even though these sculptures are necessary for encouraging and understanding the contemporary culture. In the last part of my diploma paper, a comparison between public sculptures in Ljubljana and Maribor is made followed by a deeper analysis of themes of the public sculptures, materials used, and the importance of these sculptures in their set environment. The result of this diploma paper is an inventory, a description, and an analysis of public sculptures erected in Ljubljana and Maribor between 1991 and 2011 – since this is a poorly researched area of expertise in the existing literature and photographic material. Simultaneously, I point out the importance and influence of public sculptures on the cultural growth in their set environments.

Kljub temu, da je stara župnijska cerkev Marijinega vnebovzetja v Turnišču dobro znan spomenik gotskega stenskega slikarstva, se zahvaljujoč zanimanju številnih raziskovalcev vrednotenje njenega umetnostnozgodovinskega konteksta venomer dopolnjuje. Del k temu predstavljajo tudi »ponovno odkriti« fragmenti Akvilove stenske poslikave, ki so bili sneti ob zadnjih večjih konservatorsko-restavratorskih delih v sedemdesetih letih 20. stoletja. Od takrat pa so bili shranjeni v depojih Restavratorskega centra Zavoda za varstvo kulturne dediščine Slovenije v Ljubljani. Danes jih hrani Pomurski muzej v Murski Soboti. Gre za t. i. fragment s svetniškimi glavami in fragment z arhitekturnim členom iz prizora Marijine smrti in pogreba, ki sta se nahajala ob srednji konzoli južne stene prezbiterija, in z južne zunanjščine cerkvene ladje snet del monumentalne upodobitve svetega Krištofa. Ob že znanih fragmentih, uničene donatorske podobe dolnjelendavskih Bánfijev in Marije z Jezusom iz Narodne galerije v Ljubljani, predstavljajo slednji pravo novost, ki jim je do sedaj zaradi premajhne pričevalnosti in nedostopnosti bilo namenjeno razmeroma malo pozornosti. Diplomsko delo jih v smislu ikonografske rekonsktrukcije vpenja v izrazito domišljeno shemo stenske poslikave v turniški cerkvi. Johannes Aquila΄s wallpainting made the old parish church of St. Mary Assumption in Turnišče the monument of an international importance. The art history evaluation of the wallpaintings was in process simultaneously with the restoration works in the 20th century. The part of the wallpainting, which was made in the third quarter of the 14th century by the Johannes Aquila΄s workshop, was removed in the process of restoration. The first group of the wallpainting fragments consists of the two fragments which were discovered in the 1920’s by the art historian France Stelè – St. Mary with Jesus (kept in the National Gallery in Ljubljana) and the ruined donor image of Ladislaw Bánffy. The collection of Pomurje Museum in Murska Sobota includes three fragments which were removed during the restoration works of Ivan Bogovič in the 1970’s. Beside the two fragments from the south wall of the presbytery, he also removed a part of the St. Christopher image from the south outside of the church ship. The author attempts to reconstruct the iconographic involvement of the fragments in the outstandingly designed scheme of the wallpainting in Turnišče church and place this work of art in the context of artistic and cultural creativeness of the late 14th century.

V diplomski nalogi so bila obravnavana znamenja in kapelice v studeniški in makolski župniji, ki doslej v literaturi še niso bile natančno popisane in opredeljene. Namen diplomskega dela je preučiti ter izdelati natančen topografski popis znamenj in kapelic v studeniški in makolski župniji preučiti njihovo arhitekturo ter njihovo slikarsko in kiparsko opremo ikonografsko opredeliti različne tipe Kristusa in Marije poudariti pomen in izbor upodobitev svetnikov, ki se nahajajo v znamenjih. Namen diplomskega dela je tudi raziskati provenienco kipov in slik višje umetniške kakovosti. Popis kulturnozgodovinskih objektov se je opiral na tipologijo, ki jo je v strokovno literaturo uvedel Marijan Zadnikar. Lokacija se je določila glede na kraje in hišne številke. Opis je potekal po določeni metodologiji. Ugotovljeno je bilo, da je največ kapelic na tem območju zaprtega tipa, ki so jih iz raznih razlogov večinoma postavili lastniki zemljišč. Najpogostejši vzrok je bila zahvala za uslišane prošnje ob boleznih, vrnitvi iz vojske in drugih srečnih dogodkih. Predvideva se, da so kipe višje kakovosti, ki se nahajajo v Studenicah, postavile dominikanke ob praznovanju petstoletnice samostana. Več del v kapelicah in znamenjih je kiparskih kot slikarskih. Tukaj gre izpostaviti Lurško Mater Božjo, tj. tip, ki se najpogosteje pojavlja v kiparskih in tudi slikarskih delih. Poleg Lurške Marije se pojavlja še tip Brezmadežne, Marije Kraljice in Marije z Jezusom ter Srca Marijinega. Od Kristusov bi izpostavila tip »hrvaškega Kristusa« in Kristusa v ječi. Od slikarskih del je največ naslikanih svetniških podob. My diploma thesis deals with pillars and chapels in the Studenice and the Makole parishes, which have not yet been studied in any great detail. The purpose of the thesis is to study the pillars and the chapels of the Studenice and the Makole parishes and to create an accurate topographical list of them. To study their architecture, along with the paintings and the sculptures found in them. To define the iconography of various types of Christ and Mary, and to highlight the meaning of the saints portrayed in the pillars. The purpose of the thesis is also to research the origin of the statues and paintings of high artistic quality. The list of the culturally and historically significant objects was based on the typology introduced by Marijan Zadnikar. Location was determined based on the towns and the house numbers. Descriptions were made in accordance with the selected methodology. Conclusions show that most chapels in this area are of the closed type and were, for the most part, built by landowners for various reasons. The most common reason for the building of the chapels was to show gratitude for fulfilled requests, in cases of illnesses, safe returns from the army and other joyful events. It is assumed that the statues at Studenice, which are of a substantial quality, were built by the Dominican sisters to mark the five hundred years of the convent. The chapels and the pillars contain more statues than paintings. I would like to point out the Lurška Mati Božja, which is the most common type represented in the statues and the paintings as well. Other frequently observed types are the Immaculate Conception, Queen Mary, Mary with Jesus and Heart of Mary. Of the various Christ types, I would like to mention the “Croatian Christ” and the Jailed Christ. Most paintings depict various saints.