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Venetian Sculpture of the 17th and the 18th Centuries in Dalmatia – the Story of Cultural and Artistic Relations between the Capital and the Periphery of Serenissima

The Venetian sculpture of the 17th and the 18th centuries, a subject neglected by the art historians for too long, received the just attention of the researchers only during the last two decades. The works of numerous sculptors were enlarged, sorted and chronologically ordered. Many sculptures were reattributed and the research is far from being completed, also because the stylistic development of this impressively large group of monuments resembles but it is not entirely parallel to the development of Venetian baroque painting. For example, only recently it emerged that the majority of sculptors, famous for their works in marble, were continuously producing sculptures in wood. The significant adjustment of the personal style to a different material has been causing some important problems in attribution. During the mentioned period Dalmatia made part of Serenissima. In this paper I intend to explore the dynamics and specific ways in which the new sculptural currents and personalities emerging in the capital of Serenissima were received there. Who were the preferred authors and why? Who were the donors before and immediately after the fall of Serenissima? What were the instances when they preferred wooden sculpture over the marble one? These are some of the issues I intend to discuss in the proposed paper.

Venetian sculpture of the 17th and the 18th centuries; Zadar; Donnors; Artistic Relations

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