Italian sculptor Angelo Putti marked both Italy and several Austrian lands (Gorizia, Carniola, Carinthia, Styria), while most of his works survive in present-day Slovenia. His oeuvre has been studied by Italian, Austrian and Slovene art historians; by combining all three aspects the view of the artist becomes global. However, for a complete image, Istrian local aspect is missing: Putti's work for Istria was unknown until recently; his statue of St. Nicholas of 1726 at Pazin is joined here by his statues at Žminj (Calvary, 1728) and works probably done by local stone cutters after his models. The paper is a part of the Anglo-Italian scientific monograph “Art History in Slovenia” (Opera Instituti Artis Historiae), in which the researchers present their findings on the programme subject: Barbara Murovec, Art History in Slovenia; Mija Oter Gorenčič, Research into the architectural sculpture of the high Middle Ages in Slovenia; Tina Košak, Research into 17th and 18th century genre painting in Slovenia; Franci Lazarini, Classicist and historicist architecture in Styria and Carniola; Damjan Prelovšek, Plečnik and the Slovenes; Mija Oter Gorenčič, Architectural sculpture of the high Middle Ages at the Cistercian monastery church at Kostanjevica na Krki (Landstrass) and its European context; Ana Lavrič, Art collecting and patronage in the 17th century, Bishop Otto Friedrich Buchheim’s artistic pursuit in Rome, Ljubljana, Vienna, Salzburg and Passau; Helena Seražin, Architect Giorgio Massari (1687−1766), sacred architecture in the county of Gorizia, Friuli, Istria and Dalmatia; Marjeta Ciglenečki, Elsa Kasimir and the Vienna Secession. Other scientific monographs: 1. Mija Oter Gorenčič: Deformis formositas ac formosa deformitas. Monastic Architectural Sculpture of the 12th and 13th centuries in Slovenia, Ljubljana 2009: Original scholarly monograph, dealing in an overall way with all known and preserved pieces of monastic architectural sculpture of the 12th and 13th centuries in Slovenia. The authoress reveals numerous paradoxes and inadequate interpretations, and she upgrades earlier findings with her own, acquired on the basis of extensive fieldwork and a thorough study of both earlier and recentmost scholarly literature and profound comparative analysis with west-European monastic as well as non-monastic art. 2. Blaž Resman, Helena Seražin: Administrative Unit Kočevje, Ljubljana 2010. 3. Administrative Unit Jesenice (ed. Blaž Resman), Ljubljana 2011. 4. Administrative Unit Ajdovščina (eds. Helena Seražin), Ljubljana 2012. 5. Administrative Unit Hrastnik (ed. Blaž Resman, Helena Seražin), Ljubljana 2013. 6. Administrative Unit Logatec (ur. Blaž Resman, Helena Seražin), Ljubljana 2014. Scientific monographs of the series Artistic Topographic Inventories of Slovenia, which will, in due course, cover the whole Slovenian territory. Art monuments are selected and dealt with according to modern topographic principles; they are presented in thorough descriptions (including archival sources and older publications) as well as with architectural plans and extensive photographic documentation. 7. Polona Vidmar, Das Grabmal des ersten Herzogs der Steiermark . Zu Ikonographie, architektonischem Kontext und Rezeption des Otakar-Grabmals aus der ehemaligen Kartause Seitz (Žiče), Graz: Grazer Universitätsverlag: Leykam, 2014 (Allgemeine wissenschaftliche Reihe, 36). In this monograph, the tombstone of Otokar I, Duke of Styria, originating from Žiče (Seitz) Charterhouse (now located in the Church of St. Henry in Pohorje) is discussed with regards to its patronage, the original location, and its reception by the Carthusian monks as the keepers of Otokar’s grave as well as by pilgrims who visited the grave in later periods. The author discusses in detail the context of the supposed commissioner of the tombstone, Duke Leopold VI of Babenberg. A new thesis is made by the author assuming that the reasons behind the commission of Leopold VI in the s
COBISS.SI-ID: 33333037
The emphasis was laid upon the research of the art in public space. Two thematic issues of the journal Acta historiae artis Slovenica were edited in 2013: Establishing National Identity in Public Space. Public Monuments in Slovenia (18/1) and Serbia in the 19th Century and Visualizing Memory and Making History. Public Monuments in Former Yugoslav Space in the Twentieth Century (18/2). http://uifs1.zrc-sazu.si/index.php?q=sl/node/20 The art-historical analysis of public monuments and their reception, as well as the media propaganda for retaining statues of the communist leaders in situ, demonstrate how successful Tito’s project of Yugoslavia, with its repressive and propagandistic methods, actually was. The cult of a living personality was reserved for Tito, whereas monuments dedicated to the memory of others were erected posthumously. Among the Slovenian politicians of the post-war Yugoslav period, Edvard Kardelj (1910–1979) and Boris Kidrič (1912–1953) were those most often used in visual and monumental propaganda. In literature, the Kidrič statue on Prešeren Street in Ljubljana was mostly defined as one of the National Liberation War Memorials, although it represents a portrait of a post-war politician. Four years after Kidrič’s death, four sculptors were invited to participate in a closed competition to create his statue. The winner of the competition, Zdenko Kalin, made a plaster model of Kidrič’s head on a spiral base but for the final version of the sculpture he had to closely follow a photograph. In contrast with other East European states, the visual appearance of Slovenian public space and its monuments has not changed since 1991. Just as with the erection of monuments in a public space to promote the cult of a certain politician, their removal is also a part of historical reality. While in the past the decision to remove a monument was based mostly on political, propaganda and ideological motifs, today these should be replaced by ethical judgements. Other papers on public monuments: LAVRIČ, Ana. "Javni" spomenik škofu Antonu Martinu Slomšku v azilu mariborske stolnice. Acta historiae artis Slovenica, 1, 18, str. 25-64, 128 [COBISS.SI-ID 36477741] VIDMAR, Polona. Lokalpatriotismus und Lokalpolitik : die Denkmäler Wilhelms von Tegetthoff, Kaiser Josefs II. sowie Erzherzog Johanns in Maribor und die Familie Reiser. Acta historiae artis Slovenica, 1, 18, str. 65-87, 129-130 [COBISS.SI-ID 36477997] KOMIĆ MARN, Renata. Men on horseback : role and reception of the equestrian monument in Slovenia = Možje na konjih : vloga in recepcija konjeniškega spomenika na Slovenskem. Acta historiae artis Slovenica, 2, 18, str. 75-94, 95-114, 185-186 [COBISS.SI-ID 36480557] MOHAR, Katarina. "Freedom is a monument" : the Victory Monument in Murska Sobota - its erection, destiny and context = "Svoboda je spomenik" : Spomenik zmage v Murski Soboti - nastanek, usoda, kontekst. Acta historiae artis Slovenica, 2, 18, str. 115-130, 131-145, 186 [COBISS.SI-ID 36481069] PRELOVŠEK, Damjan. Monuments by the architect Jože Plečnik = Plečnikovi spomeniki. Acta historiae artis Slovenica, ISSN 1408-0419, 2013, [št.] 2, 18, str. 11-26, 27-41, 187-188, ilustr. [COBISS.SI-ID 36479277]
COBISS.SI-ID: 36481325
The analysis of visitation records gives an insight into the rules governing the disposition of saintly figures in retables: the central place was accorded to the titular saint, while companion saints are positioned in pairs in such a way that those of higher rank are placed on the more distinguished gospel side, whereas those of lower rank stand on the subordinate epistle side. Such practice of the disposition of saintly figures was not decided upon individually, it was the hierarchical principle established by the Church and consequently applied in the art of the late Renaissance and Baroque periods.
COBISS.SI-ID: 33211693
The scientific paper presents reports on, vedute and washed drawings of city plans, castles and fortifications of places that were in the late 1630s visited and surveyed by Giovanni Pieroni, court war engineer, in Gorizia region, Carniola and Military Border. They are likewise relevant for the investigation of certain sacred monuments and urbanistic development of cities in these lands, and they also accurately place Slovene patrimony into European artistic context of the first half of the 17th century.
COBISS.SI-ID: 36027437
The pilgrimage church at Ptujska Gora, built around 1400 and devoted to the Virgin of Mercy, is recognized as one of the most highly regarded and valued examples of cultural heritage in Slovenia. Pilgrims, of course, began to determine the nature of the site from the beginning of the 15 th century on and a significant number of images depicting the pilgrims to Ptujska Gora have been produced over the centuries. These images provide valuable insight into the demographic shifts in the quintessential Ptujska Gora pilgrim over time. In the 15 th century, noblemen and clergymen were portrayed as donators, closely connected to the Virgin (for example, the relief in the main altar with 82 figures under the cloak of the Virgin, and the predella of the altar of Our Lady of the Rosary and the frescoes in the Cross Chapel). In the 17 th and 18 th century it is apparent that the most devoted pilgrims came from the middle classes (see the copper engraving by Wolfgang Kilian, depicting eight miracles). From the 19 th century on, peasants and pilgrims from the lower classes attracted the attention of artists (such as Alois Kasimir and France Mihelič). Up until the 1970s, the pilgrims to Ptujska Gora typically reflected the structure of socialist society in which religion was unwelcome; their images were systematically recorded by the photographer Stojan Kerbler.
COBISS.SI-ID: 19549448