Slika Poklonstvo kraljeva nalazi se u zbirci biskupa Đure Kokše od početka osamdesetih godina 20. stoljeća s atribucijom Jeanu II. Restoutu, proslavljenom članu dinastije normandijskih slikara i ...jednoj od perjanica pariške slikarske scene. Članak analizira umjetničku praksu sakralnih narudžbi u kasnobaroknom slikarstvu u Parizu i u francuskoj provinciji te ističe izvorište rješenja Restoutova Poklonstva kraljeva u opusu njegova učitelja i ujaka Jeana Jouveneta. Usprkos potpisu »Restout« na slici iz zbirke biskupa Kokše, njezine likovne značajke i usporedba s potvrđenim Restoutovim autografima u Sèvresu kraj Pariza (1718.) i Saint-Jean-de-Luzu u Baskiji (1727.) upućuju na to da se radi o radioničkoj replici, koju je – prema starijoj radioničkoj praksi, a koja se tada postupno mijenjala uz uvođenje autorski isključivoga atributivnog pojma »autograf«, kako ga danas razumijemo – za potrebe tržišta bilo moguće autorizirati potpisom.
The great revival of interest in the theme of ars moriendi in the early 17th century aimed to promote Tridentine bona vita, i.e. a sacramental “good life”, to large numbers of the faithful. The rules ...and program of the Bona Mors Confraternity in Rome—founded in 1648—were soon spread through its branches wherever the Jesuits settled. The Croatian Jesuits were divided into two provinces: Dubrovnik was part of the Roman Province, while all the other colleges and residences were part of the Austrian Province. Eight Bona Mors Confraternities within Jesuit colleges and residences were founded in Zagreb (1653), Rijeka (1656), Varaždin (1662), Dubrovnik (1670 or before), Osijek (1703), Požega (1704), Petrovaradin (1713), and Belgrade (1726). Bona Mors spirituality became an exceptionally efficient apparatus for Jesuit pastoral endeavors and deeply marked the spiritual life and artistic heritage of the communities and regions.
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 (?).
In the 17th century, the hagiography and iconography of Bishop Iohannes Traguriensis were enriched by various members of Trogir’ s noble families. In this promotion of the cult of the local beato, ...Dominik Andreis stands out with his efforts: he was the author of an unpublished Litany in Croatian (1632), the instigator of publishing an Italian Vita by Giovanni Francesco Loredan (1648), and the sponsor of a three act drama by Girolamo Brusoni (1656), performed in Trogir with musical intermezzos and published two years later (1658).
Sliku Bogorodica s Djetetom i sv. Antun Padovanski biskup Đuro Kokša vjerojatno je nabavio između 1983. i 1989. (kada je prvi puta izložena u okviru zbirke), kao djelo Denisa Calvaerta. Slika ne ...doseže Calvaertovu vrsnoću, ali se može povezati s Calvaertovom radionicom zbog sličnosti u kompozicijskom rješenju, razumijevanju prostora i tipologiji likova. Među Calvaertovim učenicima slikar Vincenzo Spisanelli ostao je posebno blizak učitelju.
The painting of the Virgin and Child with St. Anthony of Padua was likely acquired by Bishop Đuro Kokša between 1983 and 1989, during which time it was first exhibited as part of his collection. Initially attributed to Denis Calvaert, the painting does not achieve Calvaert’s level of excellence but can be associated with his workshop due to similarities in compositional arrangement, spatial understanding, and figure typology. Among Calvaert’s students, Vincenzo Spisanelli remained particularly close to his teacher’s style.
Slika Sveta obitelj s malim sv. Ivanom Krstiteljem ušla je u zbirku biskupa Đure Kokše vjerojatno između 1983. i 1989. godine. Nepoznato je podrijetlo nabave, ali prema stilskim značajkama ...razgovjetno je autorsko ime komu je to vrsno djelo moguće pripisati, Giuseppe Antonio Petrini (Carona, kanton Ticino, 23. listopada 1677. – Lugano, prije 8. travnja 1759.), kasnobarokni slikar iz Ticina. Usporedbom sa sigurnim Petrinijevim djelima u članku se obrazlaže atribucija, a potom i uloga Petrinija na slikarskoj sceni Ticina i Lombardije. U povijesti umjetnosti najzanimljivija su njegova rješenja naraštajnih težnji prvih desetljeća settecenta da se odupre već praznim i umornim gestama baroka kroz oživljavanje ranobaroknih formula, koje je Mina Gregori prepoznala kao antibarokni osjećaj s uporištem u stoljeće starijoj tradiciji (tal. neoseicentismo).
Picture of the Holy Family with little St. John the Baptist came to the collection of Bishop Đuro Kokša, probably between 1983 and 1989. The origin of the acquisition is unknown, but according to the stylistic features, the author's name to whom this excellent work can be attributed is clear, Giuseppe Antonio Petrini (Carona, canton Ticino, Oct 23, 1677 – Lugano, before Apr 8, 1759). Petrini was a late Baroque painter from Ticino, and he studied under Bartolomeo Gudiobono in Genoa (and probably also in Turin). He was praised by his contemporaries (Carlo Giuseppe Ratti, Johann Caspar Füssli), and he was in demand by clients in Ticino and Lombardy, in particular. In the history of art, the most interesting are his solutions to the generational aspirations of the first decades of the seventeenth century (Italian: settecento) to resist the already hollow and tired gestures of the Baroque through the revival of early Baroque formulas, which Mina Gregori recognized as »an anti-baroque feeling with a foothold in a century older tradition« (Italian: neoseicentismo).
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.
O narudžbama djela kod bolonjskoga slikara Giovannija Francesca Barbierija zvanoga il Guercino svjedoči umjetnikova Knjiga računa, gdje je 9. kolovoza 1632. zabilježen predujam za narudžbu slike „sv. ...Tome apostola u polufiguri, za gospodina pukovnika iz Bologne”. Dugo godina slika se smatrala izgubljenom, a onda su u posljednjih desetak godina objavljene dvije, kojima pridružujemo i treću, iz zbirke biskupa Kokše. Za atributivno određenje zagrebačke slike važno je poznavanje rada u Guercinovoj obiteljskoj radionici, čiji su članovi uz uobičajenu pomoć umjetniku izrađivali i radioničke replike prema tržišno traženim djelima.
The artist’s book of accounts testifies to the commissions of works from the Bolognese painter Giovanni Francesco Barbieri, known as il Guercino, where on August 9, 1632, an advance payment for the commission of the painting ”St. Thomas the Apostle in half-figure, for Mr. Colonel from Bologna”. For many years, the painting was considered lost, and then in the last ten years, two were published, to which we also add the third, from the collection of Bishop Kokša in Zagreb. For the attributive determination of the Zagreb painting, it is important to take into account the work in Guercino’s family workshop, whose members, in addition to the usual assistance to the artist, also made workshop replicas of works in demand on the market.
The painting of the Virgin and Child with St. Anthony of Padua was likely acquired by Bishop Đuro Kokša between 1983 and 1989, during which time it was first exhibited as part of his collection. ...Initially attributed to Denis Calvaert, the painting does not achieve Calvaert’s level of excellence but can be associated with his workshop due to similarities in compositional arrangement, spatial understanding, and figure typology. Among Calvaert’s students, Vincenzo Spisanelli remained particularly close to his teacher’s style.
The artist’s book of accounts testifies to the commissions of works from the Bolognese painter Giovanni Francesco Barbieri, known as il Guercino, where on August 9, 1632, an advance payment for the ...commission of the painting ”St. Thomas the Apostle in half-figure, for Mr. Colonel from Bologna”. For many years, the painting was considered lost, and then in the last ten years, two were published, to which we also add the third, from the collection of Bishop Kokša in Zagreb. For the attributive determination of the Zagreb painting, it is important to take into account the work in Guercino’s family workshop, whose members, in addition to the usual assistance to the artist, also made workshop replicas of works in demand on the market.
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