1,721,082 research outputs found
A TESTIMONY ABOUT KRUNO PRIJATELJ AS GALERIST
Full text linkAutor osvjetljava kronologiju prijateljskih i profesionalnih veza s akademikom Krunom Prijateljem za vrijeme njegova rada u Galeriji umjetnina u Splitu. U ta dva desetljeća priređene su brojne izložbe vrsnih hrvatskih i drugih suvremenih umjetnika. U tekstu autor iznosi popis izložaba, koje je Kruno Prijatelj otvorio ili popratio svojim govorom ili tekstom.In light of moments of their long friendship and collaboration, author emphasizes Prijatelj's gallerist work. As director of the Artistic Gallery in Split, Kruno Prijatelj organized impressive number of exhibitions of most prominent artistis in Croatia
ABOUT KRUNO PRIJATELJ AND IMPORTANCE OF HIS WORK IN CROATIAN ART HISTORY
Full text linkAutorica analizira ličnost i djelatnost akademika Krune Prijatelja, ističući u prvi plan prožimanje znanstvenika i erudita što se ogleda u njegovom podjednakom interesu za umjetnička djela od srednjeg vijeka do suvremenih autora.The authoress analyzes Kruno Prijatelj within his work. Unique unity of science and erudition meet in his opus, marked by his universal interest for art - from Antiquity and Middle ages to modem ar
Tracing Anđela Horvat’s Terse Postcards – Anđela Horvat and Kruno Prijatelj
Full text linkU Konzervatorskom odjelu Ministarstva kulture u Splitu nalazi se pismohrana pokojnog akademika Krune Prijatelja u kojoj se
nalazi bijela koverta sa sadržajem od dvadesetdevet razglednica i dopisnica te nekoliko kratkih pisama koje je Anđela Horvat uputila
na neku od njegovih adresa. Iz sačuvanog se korpusa razabire da je Anđela Horvat Prijatelju rijetko slala dopisnice koje su bile
službene i bezlične. Za prepisku s dragim joj kolegom birala je radije razglednice različitih slikovnih sadržaja. Razvidno je da odabir
slikovnih motiva razglednica nije bio tek nasumičan, nego da su oni uvijek bili vezani uz osobne interesne sfere Anđele Horvat,
a ponajviše uz struku povijesti umjetnosti. Tih njenih lapidarnih dopisnica, koje su stizale na adresu akademika Krune Prijatelja,
prisjetio se i sam kada je 17. prosinca 1986. godine održao svoj komemorativni govor posvećen preminuloj akademkinji Horvat.
Istaknuo je tada Prijatelj u svom govoru kako za Anđelu Horvat nije dovoljno nabrajati samo njene znanstvene rezultate, nego sve ono što je ona živjela i bila. Nastavljajući njegovim dobronamjernim primjedbama, donosimo ovdje pregled građe sačuvane u Prijateljevoj
bijeloj koverti u kojoj nam je podjednako zanimljiv tekstualni segment korespodencije između dvoje uglednih znanstvenika kao i iščitavanje slikovnih sadržaja razglednica koje su se nametnule kao nijemi tumači puta kojim je Anđela Horvat kročila.The Ministry of Culture’s Conservation Department in Split preserves the correspondence of the late Fellow of the Croatian Academy of Sciences and Arts Prof. Kruno Prijatelj, which includes a white envelope containing twenty-nine postcards and several brief letters sent by
Anđela Horvat to one of the addresses of Prof. Prijatelj. The earliest preserved postcard is dated 27th December 1945, and the last was signed on 9th March 1984. The preserved collection instantly reveals that Anđela Horvat’s postcards sent to Prof. Prijatelj were rarely formal and impersonal. In her correspondence with the dear colleague she chose postcards of different visual content. The choice of visual motifs of the postcards was not just random; they were always connected to Anđela Horvat’s personal interests, mostly art-historical. She thus expressed a part of her own identity within the narrower social category to which both Croatian Academy Fellows belonged, and the vocation they both passionately lived. The majority of her postcards can be connected to illustrations in her published works. Among the preserved
material stand out several postcards with black and white photographs, whose visual characteristics, according to the author, suggest that they were taken by Anđela Horvat herself. The author fi nds proof of Anđela Horvat’s photographic skills in the texts of Kruno Prijatelj and
Branko Fučić. In her analysis of introductory lines and complimentary closes the author also discerns the relationship between the two correspondents, and concludes that their relationship developed from workfellow correct to workfellow friendly. The author divides the textual body of their correspondence into several categories, concluding that the most numerous were the ones in which Anđela Horvat asks Prof. Prijatelj for offprints or expresses her gratitude for received publications. Other categories include complimentary cards in occasion of her colleague’s recent scholarly publications or his achievements, and postcards revealing the readiness of Anđela Horvat to assist his colleague in obtaining information for his scholarly research, such as unpublished manuscripts, photographs of works of art and similar items
"Arbe al Polo Sud": Trent'anni di corrispondenza ritrovata tra Kruno Prijatelj e Rodolfo Pallucchini
No full textNei fondi archivistici di Rodolfo Pallucchini (Milano, 1908 - Venezia, 1989) della Fondazione Giorgio Cini di Venezia e dell’Università degli Studi di Udine sono conservate lettere, minute, fotografie che documentano i rapporti internazionali dello storico dell’arte che per più di mezzo secolo fu instancabile promotore degli studi sulla civiltà artistica veneziana dalla sua cattedra a Padova e dall’Istituto di storia dell’arte all’isola di San Giorgio. Non stupisce allora il carteggio instaurato con Prijatelj, di cui Pallucchini aveva le pubblicazioni nella propria biblioteca personale (oggi in lascito all’ateneo friulano), dal 1958 al 1988 diviso nelle due sedi citate e per la presente occasione riunito, ordinato e commentato. L’amicizia e la stima reciproca tra i colleghi è documentata da discussioni su problemi, scambi di riproduzioni di opere, segnalazioni di mostre e convegni, restituendo l’immagine di un’universale, utopistica e per questo affascinante ‘Repubblica degli storici dell’arte veneta’ che fondò l’attività di ricerca di quegli uomini usciti dai grandi conflitti europei del Novecento
Miniatures in Split Breviary of 1291. from Correr Museum, Venice
Full text linkPublicirajući minijature splitskog brevijara iz 1291. godine, pohranjenog u venecijanskom muzeju Correr, autor konstatira da njihov stil pripada venecijanskom krugu. Dilema ostaje da li brevijar potječe iz Venecije ili Dalmacije, a autor razlikuje minijature dvije ruke. Prvu bi karakterizirali romaničko-bizantski elementi, a drugu romanički, s diskretnim natruhama gotike. Uspoređujući splitski brevijar s recentnim, evropskim primjerima,
autor ističe izrazite kolorističke vrijednosti i visoku kulturu njegova vlasnika.In his text on the miniatures in the Split Breviary of 1921 from the Correr Museum in Venice the author characterizes their style as Valentin. However, it is still not clear whether its origins are Venetian or Dalmatian. The author discerns two different miniature authors: the first one's style characterized by Romanesque and Byzantine elements, the latter artist's by Romanesque and slightly Gothic traits. In his comparison of the Split Breviary with its European contemporaries the author emphasizes its colorism as well as the owner's high culture
ATTRIBUTION TO URBAN OF BAVARIA
Full text linkAutor iznosi prijedlog za rekonstrukciju umjetničke ličnosti drvorezbara Urbana Bavanca "de Surgge", koji je djelovao u Dalmaciji između 1636-1645. u Lopudu, Lastovu, Kotoru i na Hvaru. Na temelju likovnih analogija i arhivske grade autor iznosi hipotezu da je Urban autor drvenih polikromiraníh reljefa predele i likova pobočnih svetaca Uznesenja Bogorodice na glavnom oltaru crkve Gospe od Šunja na Lopudu te oltara s Bogorodicom i svecima Nikolom i Rokom u župnoj crkvi u Jelsi (koji je mogao izvorno biti u dominikanskoj crkvi sv. Marka u Hvaru), te oltara s likovima svetaca Roka, Fabjana i Sebastijana u crkvici sv. Roka u Vrboskoj na Hvaru. Autor ističe nordijsku komponentu, naročito u fizionomijama likova.ln this study the author suggests a reconstruction of the artistic personality ol the wood sculptor Urban of Bavaria "de Surgge". who had worked in Dalmatia in the first half of the 17c, while the archives mention his presence in Lopud in 1636, on the island of Lastovo in 1637, in Kotor in 1640 and 1641, and on the island of Hvar 1645. Employing a number of artistic analogies and archive materials, K. Prijatelj proposes the hypothesis about Urban as a likely author of the polychrome wood predella reliefs and the figures of the saints surrounding the central composition of the Ascension of Our Lady on the high altar of Gospa od Šunja on Lopud, of the parish church altar in Jelsa with Our Lady with SS Nicholas and Rocco (it is assumed that its original location was in the Dominican church of St. Mark in Hvar), and of the altar in the chapel of St. Rocco at Vrboska, on the island of Hvar, with the tigures of SS Rocco, Fabian and Sebastian. The author studies the stylistic traits shared by these works and points out the Nordic Component most obvious in the faces of his figures
ALTAR PALA IN THE PARISH CHURCH AT NEREŽIŠČE
Full text linkAutor obrađuje oltarnu palu "Bogorodica s Djetetom i Katarinom Aleksandrijskom i Ivanom Evanđelistom" u župnoj crkvi u Nerežišću na otoku Braču koju je zaslugom don Josipa Franulića, župnika u Gdinju, i donacijom Frane Beroša, oba iz Nerežisća, 1994. vrsno restaurirao prof. Josip Delić, restaurator restauratorske radionice Državne uprave za zaštitu spomenika kulturne i prirodne baštine u Splitu. Na temelju komparativne analize sa slikama mletačkoga slikara Filippa Zanibertija (1585.-1636.) u Šibeniku, Castelccu kod Trevisa, Veneciji i Lyonu autor predlaže atribuciju pale, koja se datira nakon 1627., a prije 1633., ovom slikaru prve polovice 17. stoljeća koji je rođen u Bresciji i bio učenik slikara Sante Perande i sudrug i suvremenik Mateja Ponzonija-Pončuna (1583.-nakon 1661). Zanibertijeve veze s Dalmacijom moguće su i preko Ponzonija i preko šibenslog biskupa F. V. Arrigonija koji je također bio iz Brescije.The author studies an altar pala representing the "Madonna and Child with Catherine of Alexandria and Saint John the Evangelist" in the parish church at Nerežišće on the island of Brač. Through the good offices of don Josip Franulić, person in Gdinj, and a donation by Franc Beroš, both from Nerežišće, the painting was ably restored in 1994 by Josip Delić, an artist working at the restoration studio of the State Office for the Protection of the Cultural and Natural Heritage in Split. After comparative analysis with the paintings of the Venetian artist Filippo Zaniberti (1585-1636) in Šibenik, Casteluccio near Treviso, Venice and Lyon, the author proposes the attribution of this pala (dated after 1627 and before 1633) to this painter who was active in the first half of the seventeenth century. A native of Brescia, Zaniberti was a student of the painter Santa Peranda and a collaborator and contemporary of Matej Ponzoni-Pončun (1583- after 1661). Relations with Dalmatia were also possible through Ponzoni or the Bishop of šibenik F. V. Arrigoni who was also a native of Brescia
THE ALTERPIECE OF THE ST. HYACINTH BY PONZONI (?) IN KORCULA
Full text linkAutor publicira oltarnu palu sv. Jacinta iz Opatijskog muzeja u Korčuli, koja potječe iz crkve Gospe od zaćeća u istom gradu. Uz centralni prikaz ukazanja Bogorodice dominikanskom svecu poljskog porijekla, u dvanaest manjih polja prikazani su prizori iz svečeva života. Autor pripisuje sliku dalmatinskom slikaru Matiji Ponzoniju - Pončunu (1586- nakon 1663), učeniku Palme ml. i Santa Perande koji je djelovao u Veneciji i Friuliju, a povremeno i u svojoj domovini. Publicirano djelo autor datira četvrtim desetljećem 17. stoljeća, kada je umjetnik djelovao u DalmacijiThe author discusses the altarpiece of St. Hyacinth in the Abbey Museum in Korčula, brought from the Church of Our Lady of Conception in the same town. The central part presents the revelation of the Virgin to a Dominican saint of Polish origin and the twelve smaller parts depict scenes from the saint's life. The work is attributed to s Dalmatian painter, Matija Ponzoni - Pončun (1586 - later than 1663), a disciple of Palma the Younger and Santa Peranda, who worked in Venice and Friuli and occasionally in his native country. The painting probably dates from the 1640's, when the artist was working in Dalmatia
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