The article examines the furnishing of country residences, the collecting practises and art patronage of members of two families of the old and new nobility, the Erdödy and the ...Vranyczány-Dobrinović, who played an important role in Croatian society and politics. The Erdödy furnished their castles in Jastrebarsko, Novi Marof and Bajnski dvori with Historicist furniture and decorated them with their collections, which consisted mainly of works of art by Old Masters. The Vranyczány followed the trend of Historicist interior decoration and expressed their personal taste more strongly, which was reflected in their estates of Mirkovec and Gornje Oroslavje, which became the centre of social gatherings of the modern Croatian art scene.
Arhitektura Zagreba u razdoblju ranoga novog vijeka tek je djelomično istraživana, a obrađena je samo u pregledima barokne arhitekture i tek su rijetki primjeri iscrpno istraženi. U radu su ...razmotrene dvije najznačajnije crkve podignute sredinom 18. stoljeća u Zagrebu, župna crkva sv. Marije na Dolcu i nekadašnja isusovačka, danas župna crkva sv. Franje Ksaverskog na Ksaveru. Za crkvu na Dolcu predložena je nova datacija, na temelju podataka u samoj crkvi vidljivih nakon restauracije. Obje crkve tako su građene sredinom stoljeća, povezuje ih i isti naručitelj, a u komparativnoj analizi arhitekture obaju crkava uočavaju se brojna zajednička mjesta, koja se dosad nisu razmatrala. Kao izvorište rješenja zagrebačkih crkava predlaže se vodeći arhitekt u Grazu u tom razdoblju, Josef Hueber. Utjecaj njegove radionice seže čitavim područjem jugoistoka srednje Europe, a u brojnim elementima istaknutima u analizi obaju crkava, posebno u crkvi na Ksaveru, može se prepoznati njegov stil i karakteristični elementi.
U radu je prikazano oblikovanje pročelja i zvonika novopodignutih ili obnovljenih crkava u razdoblju baroka u Međimurju, ukupno 28 primjera. Prema smještaju zvonika crkve su razvrstane u tipološke ...grupe pročelja s dva zvonika, pročelja sa zvonikom iznad, zatim pročelja sa zvonikom smještenim uz tijelo crkve – uz pročelje, ispred pročelja ili uza svetište. U ovom korpusu primjenjuju se tipološka rješenja zastupljena u baroknoj arhitekturi kontinentalne Hrvatske, a u analizi su se pokazale i neke specifičnosti. Prije svega zamjetna je gotovo jednako zastupljena prisutnost utjecaja i iz štajerske i iz mađarske arhitekture, vidljiva u dinamiziranim oblicima i dekoracijama, odnosno u raširenoj primjeni klasicističkih motiva. Nadalje, snažno je prisutno isticanje kontinuiteta i »dugog trajanja« sakralne arhitekture prigradnjom novih dijelova na starije crkve, raširena pojava i u drugim srednjoeuropskim regijama u kojima je (bio) prisutan protestantizam. Te značajke uvelike određuju specifičnosti ovog korpusa unutar barokne sakralne arhitekture kontinentalne Hrvatske.
In the Croatian art historiography of the Cold-War period, Baroque art stands out as a particular subject of interest. Defined in simplified terms as the art of Counter Reformation and of absolute ...monarchy, that is to say the art of the Church and the nobility, Baroque art posed a stark contrast to the dominant ideology of communism, with its emphasis on the culture of the peasantry and the workers. One might expect that for art historians this was not likely to offer the best possible conditions for researching local Baroque heritage. However, no comprehensive account of art historiography in Croatia in the 20th century has yet been written--nor has the subject even attracted much interest among the research community as yet. Over the past decade a growing number of texts have appeared dealing with the beginnings of art history on Croatian territory1 or with a number of individual influential scholars who have blazed the trail in promoting art history as a professional practice in the first half of the 20th century. This essay's diachronic comparison will give an initial idea of the shifts in interpretation that occurred from the 1950s through to the 1980s, as the ideologically determined emphases and dominant aesthetic theories of the time, for instance, are far less present in the newer texts than they were in the earlier exhibition, which was organised in a decade crucial to the shaping of socialist Yugoslavia's cultural and visual identity. Abridged Publication Abstract
An overview of the façades of Međimurje churches built during the Baroque period reveals a typological affinity with comparable regions in continental Croatia – Hrvatsko Zagorje, Varaždin County, and ...Križevci-Koprivnica County – as well as some characteristic peculiarities. Most have a bell tower in front of the façade, following a traditional form since the Middle Ages, including churches in Sveti Martin na Muri, Selnica, Prelog, Gornji Mihaljevec, Sveti Križ, Cirkovljan, Donji Kraljevec, Dekanovec, Mursko Središće, Podturen, Sveta Marija, Ivanovec, Sveti Juraj u Trnju, Belica, Nedelišće, Kotoriba, and Razkrižje. The oldest among these are the churches of St Martin in Sveti Martin na Muri and St Mark in Selnica, with bell towers in front of the façade supported by buttresses, along with the likewise older parish church in Prelog. The bell tower of the church in Kotoriba stands out with its curved sides as a high-Baroque design. Apart from being positioned in front of the façade, the bell tower is sometimes located next to it, as observed in the parish church in Goričan and the Franciscan church in Čakovec, where the bell tower’s position follows the tradition of spatial organization in Franciscan building complexes. A third variant within this group is the bell tower’s placement next to the sanctuary, as yet another example of continued tradition, seen in churches in Donji Vidovec, Lopatinec (Sveti Juraj na Bregu), and Štrigova. These examples of adding a Baroque bell tower to the Gothic sanctuary emphasizes continuity and long duration, important features of re-Catholicization in regions with widespread Protestantism. Stylistically more pronounced is the type of façade with an integrated bell tower, prevalent in 18th-century architecture across Central Europe and exemplified by churches in Legrad, Novo Selo Rok, and Kapelščak. The most complex in terms of design are church façades with two bell towers, such as St Jerome in Štrigova and St Rochus in Draškovec. The Pauline church in Štrigova shows numerous parallels with the Maria Trost church in Graz, executed by the Stengg construction workshop – including its prominent position in the landscape, the wide façade with bell towers on the sides, the curved contour of the central gable, and the originally rich architectural articulation. The church in Draškovec is an exquisite combination of late Baroque style in its interior design and emphasized Classicism in the design of the façade and the bell tower. In addition to numerous common features, such as the typology and adoption of certain traditional solutions, the peculiarity of this group of churches in relation to other regions of continental Croatia is the appearance of dynamically shaped façades and bell towers. Churches in Lopatinec and, to a lesser extent, in Legrad have façades along the curve of the ground plan, while the bell tower of the church in Kotoriba has an accentuated dynamic plan, with recessed sides and prominent corners with pilasters. These examples demonstrate the adoption of influences from neighbouring Styria, especially the sacral architecture of Graz’s architect Johann Georg Stengg. Another specificity of the corpus of Međimurje churches is the number of churches designed in the Classicist style, with high-quality achievements in a combination with late Baroque, reflecting the proximity and connectedness of Međimurje to the Hungarian artistic circles. The analysis of bell tower and façade designs in this corpus has shown that within the typological groups present across the area, along with the general features of Baroque architecture, one also finds very specific solutions that corresponded to the needs of the environment. In other words, the adoption of models and their adaptation to the local context is an example of cultural transfer expressing the local character, in which the commissioning environment has left its visible mark.
Die Forschungen von Renate Wagner-Rieger haben die Entwicklung der Kunstgeschichte im zentraleuropäischen Raum wesentlich angeregt, so auch in Kroatien, und dies gilt vor allem für die ...Architekturforschung. Die Texte von Wagner-Rieger aus den 1960er und 1970er Jahren hätten hochwahrscheinlich den Impuls für die Entwicklung der Barockforschung, besonders in Nordkroatien, gegeben. Als die wichtigsten Thesen von Wagner-Rieger, die in den kroatischen Forschungen zu beobachten sind, ist die Typologie der Jesuitenkirchen, die Đurđica Cvitanović (1924-2009) an Beispielen der Jesuitenarchitektur in Kroatien entwickelt hat und der Stilpluralismus als das wichtigste Stilmerkmal der Kunst der mariatheresianischen Epoche, bearbeitet in Texten von Anđela Horvat (1911-1985).
The research of Renate Wagner-Rieger has influenced the whole Central European area, as well the development of art history in Croatia, especially architectural research. The texts by Wagner-Rieger from the 1960s and 1970s would most likely have given impulse to the development of Baroque research, especially in northern Croatia. The most important theses of Wagner-Rieger, which were adopted in Croatian research, are first of all the typology of the Jesuit churches, which Đurđica Cvitanović (1924-2009) developed further using examples of Jesuit architecture in Croatia, as well as the stylistic pluralism as the most important stylistic feature of the Art of the Mariatheresian Era in texts by Anđela Horvat (1911-1985).
Istraživanja Renate Wagner-Rieger uvelike su utjecala na razvoj povijesti umjetnostiu Hrvatskoj, kao i u čitavom srednjoeuropskom prostoru, posebno na istraživanjearhitekture. Njezini su tekstovi iz 1960-ih i 1970-ih vrlo vjerojatno dali presudanimpuls za intenziviranje istraživanja umjetnosti baroknog razdoblja, posebno ukontinentalnoj Hrvatskoj. Najvažnije teze Renate Wagner-Rieger koje su utjecale naistraživanja u Hrvatskoj su one o tipologiji isusovačkih crkava, koju je primijenilaĐurđica Cvitanović (1924. - 2009.) te teza o pluralizmu stilova u umjetnosti marijoterezijanskog razdoblja, koju je primijenila Anđela Horvat (1911. - 1985.).
V članku so predstavljeni oprema podeželskih rezidenc, zbirateljstvo in umetnostno naročništvo članov rodbin Erdödy in Vranyczány-Dobrinović, predstavnikov starega in novega plemstva, ki so ...imeli pomembno vlogo v družbenem in političnem življenju Hrvaške. Člani rodbine Erdödy so svoje gradove Jastrebarsko, Novi Marof in Bajnski dvori prenovili skladno z novimi trendi in jih opremili s historicističnim pohištvom in likovnimi deli večinoma starih mojstrov. Člani rodbine Vranyczány pa so sledili modi historicistične notranje opreme z močno izraženim osebnim okusom, vidnim predvsem na posestih Markovec in Gornje Oroslavje, ki sta postali srečevališče tedanje hrvaške umetniške srenje.
The history of studying Baroque art reflects the development of art history in Croatia. The study of Baroque art in Croatia was heavily influenced by the Vienna School of Art History, its most ...prominent protagonists and research topics, and this influence was present throughout the entire twentieth century. It can be compared to the issue of cultural heritage conservation, which evolved in Croatia under the direct influence of the Vienna School and Vienna as a political centre, not only by adopting ideas but also by establishing institutions responsible for the protection of cultural heritage during the Austro-Hungarian Monarchy. The paper briefly discusses some aspects of work and methods of Wiener Schule der Kunstgeschichte (‘Vienna School of Art History’) that have had an impact on Croatian art history.1 It gives a short overview of the beginnings of art history in Croatia with Ivan Kukuljević Sakcinski and Iso Kršnjavi, as well as the most important occurrences that shaped the field’s development and cultural sphere at the end of the nineteenth century, with the aim of explaining the great upturn in researching and appraising Baroque art at the beginning of the twentieth century brought about by Gjuro Szabo, who adopted the ideas and theses of Vienna School, especially those of Alois Riegl.
Art History in Croatia developed under influence of Vienna School of Art History. The ideas of Viennese art history were integrated in all fields of art history, but research of art of the Baroque ...period was especially close to contemporary development in Vienna. Strong negative attitude towards this period in early art history in Croatia started to gradually changing at the beginning of 20th century, primarily due to Gjuro Szabo (1875—1943). Szabo was schooled in Nuremberg and Vienna, under strong influence of Alois Riegl. In his article on Style (1914) he adopted Riegls idea of Kunstwollen and in his reports on monuments in Northern Croatia (1912—19) and the later book Kroz Hrvatsko zagorje (1939), he introduced methodology of Riegl in the evaluation of the monuments and art of baroque period. Anđela Horvat (1911—1985) applied most of the Szabo’s methodology and so prolonged influence of the Vienna School into the second half of the 20th century.
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