The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a student of Max Dvořak (1874-1921), was appointed the conservator of the province of Carniola. It became fully established in 1919, when, after the dissolution of the Austro-Hungarian Monarchy, the University of Ljubljana was founded. The paper analyses the activities of three art historians, in addition to France Stele also Izidor Cankar (1886-1958) and Vojeslav Mole (1886-1973), who shaped Slovenian art history between the two world wars. After the end of World War II, all aspects of life were completely subordinated to the Soviet system of the one-party communist state. Ideological suitability was the only standard of acceptability, also at the university. In the immediate post-war period, the older generation of art historians, who were educated in the Western European tradition, mostly in Vienna, were placed in a completely new ideological-political context, which has highly influenced the development and methodology of the discipline until the present day.
COBISS.SI-ID: 38174509
Monograph is the first complete overview of the architecture from ca. 1790 until 1918 in territory of Slovenia. In the first, analytical part, the historical circumstances, style and architectural development, urbanism, protection of monument and especially history of various building types including comparison with other Central European architecture are presented, the catalogue brings the information about the most important buildings from the above mentioned period in the Republic of Slovenia.
COBISS.SI-ID: 276146688
The paper deals with artistic interpretations of the »kurent«, one of the most attractive carnival masks from the Ptuj region; it is focused to the peaks in the oeuvres of the painter France Mihelič (1907–1998) and the photographer Stojan Kerbler (born in 1938). The first was acknowledged with the carnival tradition in the time when the ethnologists only began to research the customs which were therefor totally authentic; the second observed the carnivals at the time of their commercialization. The paper stresses the ability of both artists to follow the elementarity. With his interpretation of the “kurent” which followed the experience of death (The Dead Kurent, 1938) France Mihelič fundamentally influenced the today understanding of this carnival figure.
COBISS.SI-ID: 22001672
In the scientific article a rare example of a profane historical ceiling painting in Slovenia is treated. The paper discusses historical, formal and iconographic sources for the paintings, commissioned in 1882 by Hermann Baron Goedel-Lannoy for his palace in Maribor and painted by Francesco Barazzutti. Based on the career of the commissioner and his recent elevation to baronial ranks, the author argues that the baron wanted to expose to view his new social status by imitation of the imagery developed by old nobility, especially by participants in the Ottoman wars, like Counts Khisl, Brandis, Gaisruck, Gravisi and Ragogna Torre. The baroque ceiling and easel paintings with Ottoman motives, commissioned by mentioned counts are interpreted from novel perspective.
COBISS.SI-ID: 21902344
The pedestal and the four statues of the Doctors of the Church reveal that the altar was a half-size copy of the Cathedra Petri, the altar made 1657–1666 by Gianlorenzo Bernini in the apse of St Peter’s basilica in Rome. The Dobrova altar, made mainly after the reproduction in the book Numismata Summorum Pontificum by Filippo Bonanni (1696), also followed the Roman example also in the architectural frame which is partly preserved and proves that the altar plan had been made already before the church building was begun. The initiator of the ambitious project was probably Canon Francis Gottfried Pillichgrätz, administrator of the Dobrova church and since 1725 the Dean of the Ljubljana Cathedral Chapter.
COBISS.SI-ID: 39559981