Blood and Milk in Medieval ImageryThe wall painting Plague Image (also named the Image of Scourge, Mater omnium, The Virgin of Mercy, Our Lady of Protection, Mary the Mediatrix, Double Intercession, ...Combined Intercession, Our Lady’s Intercession etc.) in the Church of St. Primus in #rna near Kamnik in Slovenia, executed in 1504, at the end of the Middle Ages and at the dawn of the Renaissance in Central Europe, reflects well the passage between the two worlds of imagination and their visual representation. The triangular composition – with God the Father, the universal entity, at its apex, and lower with Christ exposing his wounds (Man of Sorrows, Imago pietatis) on the left, and Virgin Mary on the right, with her bosom bare – determines the believer’s perception. The scene combines the notions of birth, symbolized by the charity of Mary offering her milk, and death, symbolized by the cruelty of blood shed by Christ and the menacing sword of God the Father. At the time of their realization, the figures of Christ and Mary were meant to be spiritual, imaging the mysteries of the Eucharist and the Incarnation. The present text examines the question as to what extent the believers of the past connected, in their imagination, Christ’s nakedness and Mary’s bosom with parts of the body of a common human. The masked eroticism of the two figures put a stamp on this suggestive image which in the course of history provoced various reactions...
The Varaždin Franciscan infirmary was built in 1667, adjacent to the western wing of the Franciscan Monastery. It included a pharmacy which was used, not only by the monks, but also by the people of ...the entire town. The infirmary and the pharmacy were thoroughly restored in the mid-18th century, when the renowned Pauline painter, John the Baptist Ranger, painted the vault of the biggest ground floor room. Unfortunately, due to inadequate space usage and capillary rising damp, the frescoes were quite damaged in the 20th century. For various reasons, all preceding attempts of sanation had been terminated, leaving the issues of damp and salt cristallization unresolved, which led to rapid deterioration of the painted layer. In 2013, Croatian Conservation Institute was included in the issue, because of the severe state of the frescoes. That was when initial conservation and restoration research was conducted. It was found that the microclimatic conditions in the former pharmacy were extremely poor, mainly due to several factors: wet aggregate of concrete floors, a walled-in furnace, which was found damaged in the hallway of the ground floor, and the surface cement plaster and waterproof coat Aquathrill, which had been applied in previous interventions.
U ovome radu sagledavaju se obilježja pristupa povjesničara umjetnosti
Grge Gamulina historizaciji i analizi Proljetnog salona kao izložbene
manifestacije koja je – okupivši velik broj prominentnih ...osobnosti
hrvatske umjetničke pozornice – bitno odredila prevladavajuća
usmjerenja u slikarstvu međuratnog razdoblja. Ponajprije, razmatra
se Gamulinov vrijedan prinos valorizaciji te određenju i imenovanju
pojedinih oblikovno-stilskih inklinacija u usporedbi s uvriježenim
interpretacijama nacionalnog modernog slikarstva. Upozorava se,
također, na autorovu težnju za analizom dosega hrvatskog slikarstva
u kontekstu magistralnih kretanja na europskoj umjetničkoj sceni, pri
čemu se ističu njegovi stavovi bliski tradicionalnom razumijevanju
geografije umjetnosti. Unatoč tomu, Gamulin prepoznaje mnoge opće
vrijednosti u djelima i opusima koji ne pripadaju pretpostavljenoj
antologiji hrvatskog slikarstva postavljenoj u odnos s dominantnim
europskim oblikovno-stilskim dosezima, stvarajući na taj način slojevitu
sliku o heterogenom modernističkom umjetničkom tkivu, tipičnom za
kulture tzv. rubnih sredina. Proljetni salon tako za Gamulina postaje
važna opća odrednica u korpusu nacionalnog međuratnog slikarstva,
svojevrsna izvanstilska kategorija koja omogućuje obuhvaćanje svih
disparatnih tendencija toga razdoblja i unutar koje se može jednakovrijedno
raspravljati o ostvarenim dominantnim stilskim prinosima
(često presudnim za sagledavanje razvojnih linija hrvatskog slikarstva),
kao i o specifikumu opusa pojedinih slikara, od kojih su neki bili samo
tangencijalno vezani uz tu izložbenu manifestaciju.
Provider: - Institution: - Data provided by Europeana Collections- Mentorica: Vanja Repič Kostadinoski- All metadata published by Europeana are available free of restriction under the Creative ...Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Mentorica: Vanja Repič Kostadinoski- All metadata published by Europeana are available free of restriction under the Creative ...Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Mentorica: Vanja Repič Kostadinoski- All metadata published by Europeana are available free of restriction under the Creative ...Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Mentorica: Vanja Repič Kostadinoski- All metadata published by Europeana are available free of restriction under the Creative ...Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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