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Pregled bibliografske jedinice broj: 922148

Zbornik radova

Autori: Prijatelj Pavičić, Ivana
Naslov: Restoration of the titular cult in Dalmatian cities in the context of Trident renewal: the case of Zadar and the case of Split
Izvornik:
Skup: Between Venice, the Kingdom of Hungary and the Habsburgs, The State and Religious Iconography and the Places of Its Dissemination during the Early Modern Period in the Historical Croatian Territories
Mjesto i datum: Zagreb, Hrvatska, 2.-3. 6. 2016.
Ključne riječi: Pietro Ferrari ; the cycle of paintings depicting scenes from the lives of Saint Domnius and Saint Domnion, Split Cathedral, cycle of canvases depicting Zadar legends of Saint Simeon ; Church of Saint Simeon the Righteous ; Zadar
Sažetak:
In her paper author analysed two cycles of Baroque painting dedicated to the saints who were patron saints of the cities of Split and Zadar: - The cycle of paintings depicting scenes from the lives of Saint Domnius and Saint Domnion in Split Cathedral, by the painter Pietro Ferrari ; - The sometime cycle of canvases depicting Zadar legends of Saint Simeon in the Church of Saint Simeon the Righteous in Zadar. Both cycles represent an example of how, in the late 17th and during the first half of the 18th centuries in Baroque art in Venetian Dalmatia, local legends of city patrons Saint Doimus (Dujam/Duje) and Saint Simeon (Šimun) the Righteous were promoted. The first part of the paper analyses the motives of legends of the lives of two Salonitan bishops and martyrs, Saint Domnio (according to legend he was Salonitan bishop in the 1st century) and Saint Domninus (assassinated in the early fourth century in Salona). The two saints are venerated in Split under the same name, Saint Doimus/Dujam/Duje. Legends of their lives have been intertwined for centuries in the historiography of the archdiocese of Split. Painter Ferrari painted scenes from their lives in the heat of the Venetian army battle for the town of Sinj at the time of the Morean War. The client who gave the painter a commission for the cycle was the Archbishop Stefano Cosmi. The paper analyses the way Cosmi used motives from their lives taken from the historiography of Salona and Split to express his own religious and political views. The second part deals with the iconography of the cycle of theme-based paintings from Zadar legends of the relics of St Simeon, which was commissioned by Vicko Zmajević, Archbishop of Zadar, for the choral area of the church of St Simeon. Only one large canvas has remained in the church. Thanks to the descriptions in the literature of 19th and early 20th centuries and old, black-and-white photographs, we know the original layout of the cycle in the chapel. Pitteri’s cycle of paintings was based on Zadar legends about the authenticity of Zadar Saint Simeon's body and its miraculous powers. The author in her paper deals with three motives of Zadar legends of St Simeon that unknown painter depicted in his cycle: the Angevins donation of a magnificent shrine ; the story of how the Queen of Hungary and Croatia, wife of King Louis I Anjou, Elizabeth of Bosnia, stole the finger of the present-day Zadar patron saint and the story of the nobleman possessed by a demon healed by the saint. The paintings painted for the church of St Simeon are a reflection of the wish of the then archdiocese in Zadar led by Archbishop Zmajević to prove the authenticity of Zadar legend of the Zadar relics of St Simeon.
Vrsta sudjelovanja: Pozvano
Vrsta prezentacije u zborniku: Nije objavljen
Vrsta recenzije: Domaća recenzija
Projekt / tema: HRZZ-IP-2013-11-6827
Izvorni jezik: ENG
Kategorija: Znanstveni
Znanstvena područja:
Povijest umjetnosti
Upisao u CROSBI: Ivana Prijatelj-Pavičić (prijatelj@ffst.hr), 27. Sij. 2018. u 19:16 sati



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