Acta Historiae Artis Slovenica

&#x0D; &#x0D; &#x0D; Članek obravnava najobsežnejši ohranjeni sklop upodobitev dobrotnikov iz slovenskih samostanov, tj. portrete dobrotnikov in deželnih knezov iz cistercijanskega samostana Stična. Osredotoča se na tipologijo, pomen in slogovne značilnosti z ozirom na sorodne ohranjene cikle iz (notranje)avstrijskih samostanov in z ozirom na njihove likovne in pisne vire. Celopostavni portretni upodobitvi vojvode Leopolda III. in njegove soproge Viride (Narodna galerija, Slovenija), doslej pripisani Ferdinandu Stainerju, razkrivata izrazite sorodnosti s serijo šestih celopostavnih upodobitev dobrotnikov cistercijanskega samostana Vetrinj Ferdinanda Fromillerja. Atribucijo Fromillerju omogoča tudi Fromillerjeva risba dobrotnika, identičnega Leopoldu III., v Koroškem deželnem arhivu. Tudi primerjalna analiza desetih ovalnih portretov stiških dobrotnikov in deželnih knezov omogoča tezo, da so dela nastala v Fromillerjevi delavnici. Portreti so nastali v naslonu na ilustracije v knjigah portretov, kot vir napisov na spodnjem delu ovalov pa je bila identificirana leta 1719 dokončana Idiographia Pavla Puclja.&#x0D; &#x0D; &#x0D;

Tina Košak

Acta historiae artis Slovenica

Med uniformnim in edinstvenim

医疗的统一与独特性

&#x0D; &#x0D; &#x0D; Grofje Celjski so bili nedvomno najpomembnejša ple- miška rodbina z izvorom na današnjem slovenskem ozemlju. Njihov meteorski vzpon je dosegel zenit s povišanjem v državne kneze leta 1436, vendar so že leta 1456 izumrli. Na višku moči so posedovali okrog 125 gradov, kar je bil rezultat več kot stoletja dolge načrtne grajske politike. Eden od načinov izražanja moči in prestiža so bile tudi reprezentativne zgradbe, obenem oblika dinastične propagande. Članek prikazuje nekatere prestižne zgradbe Celjskih: mestni grad v Celju, njihovo glavno rezidenco, dva strateška gradova na dostopih iz Italije (Vipava, Postojna), tri nove, ki so jih grofje zgradili v 15. stoletju (Bela Peč, Fridrihštajn, Mokrice), dva na prestižnih lokacijah na Koroškem (Landskron) oziroma pri Dunaju (Liechtenstein) in njihove mestne rezidence na Dunaju, v Zagrebu, Budimu in Beogradu.&#x0D; &#x0D; &#x0D;

Miha Kosi

Reprezentativne zgradbe grofov Celjskih – izraz dinastične propagande

塞利斯基伯爵的代表性建筑——王朝宣传的体现

&#x0D; &#x0D; &#x0D; Mavzolej v Gradcu so gradili od leta 1614 dalje po načrtih Giovannija Pietra de Pomisa, njegov naročnik pa je bil nadvojvoda Ferdinand (od leta 1619 cesar Ferdinand II.). Prvotna zasnova fasade je nastala pod vplivom cerkvenih pročelij Andrea Palladia. Po letu 1621 je bila fasada povišana z nadstropjem atike, ki poteka okoli celotne zgradbe, in zaključena s trikotnim čelom, nad katerim se pne mogočen segmentni lok. Ta motiv, ki ga je prvi uporabil Michelangelo, najdemo tudi nad portali stolnice v Reggiu Emilii in cerkve Il Gesu v Rimu. Tudi arhitekturna členitev zunanjščine sega vse do Michelangelovega osnutka zunanjščine bazilike sv. Petra. Bogate dekorativne oblike imajo milanski ali lombardski značaj. Posrednik rimskih arhitekturnih oblik je bil jezuit Wilhelm Lamormaini, ki je v Gradcu deloval kot svetovalec in spovednik nadvojvode Ferdinanda in njegove družine in je verjetno imel odločilno vlogo pri preoblikovanju mavzoleja v spomenik protireformacije.&#x0D; &#x0D; &#x0D;

Edgar Lein

Gradec in Rim – bazilika sv. Petra kot vzor za cerkev sv. Katarine in mavzolej

里姆的格拉德茨 - 圣彼得大教堂作为圣凯瑟琳教堂和陵墓的典范

&#x0D; &#x0D; &#x0D; Prispevek z vidika cenzure in propagande obravnava pogoje za umetniško produkcijo v času vojnega absolutizma na Kranjskem, kjer je generacija slovenske moderne in impresionistov šele vzpostavljala pogoje za institucionalni razvoj slovenske umetnosti in s tem posledično tudi za uspešno propagando. Številni umetniki zato v vojni propagandi niso našli le možnosti za preživetje, temveč so v povečanem obtoku in pomenu vizualnih sporočil hkrati prepoznali tudi priložnost za uveljavitev tako osebnih kot narodnih idealov. Kljub prevladujočim avstrijsko-germanskim vzorcem so skozi likovno tradicijo narodne pokrajine, ljudsko umetnost in slovensko poezijo našli načine za spodbujanje slovenske nacionalne zavesti.&#x0D; &#x0D; &#x0D;

Vesna Krmelj

Narodi gredo svojo silno pot

人民走上了自己的强大道路

&#x0D; &#x0D; &#x0D; V prispevku je analiziranih dvanajst portretov uglednih mariborskih meščanov, ki so bili ob koncu 19. in v začetku 20. stoletja naslikani za mariborski rotovž, občinsko hranilnico in prostore gledališko-kazinskega društva. Avtorica je analizirala upodobljene rekvizite glede na funkcijo portretirancev, ugotovila prvotno nahajališče portretov in na podlagi sočasnih časopisnih člankov in jubilejnih besedil navedla nagibe naročnikov ter portrete prvič predstavila v okviru sorodnih portretnih serij v prestolnicah (Dunaj, Gradec, Ljubljana, Zagreb) in bližnjih štajerskih mestih (Ptuj, Radgona). S portretnimi serijami županov, predstojnikov direkcije občinske hranilnice in gledališko-kazinskega društva so člani mariborske lokalnopolitične in finančne elite vizualizirali izjemne dosežke upodobljencev, da bi jim zagotovili trajen spomin in spodbujali bodoče kandidate. V kontekstu primerljivih srednjeevropskih portretnih galerij je pri mariborskih serijah manj pomembno kontinuirano upodabljanje nosilcev funkcije, poudarjena je propagandna vloga portreta kot nagrade za posameznikove izjemne dosežke.&#x0D; &#x0D; &#x0D;

Polona Vidmar

Portreti kot vizualizirani spomin na dosežke zaslužnih mariborskih meščanov

肖像作为对马里博尔杰出市民成就的视觉记忆

In the wider phenomenon of the reception and readaptation of aristocratic architectural heritage in post-revolutionary Europe, the repurposing of former aristocratic palaces in Venice after the Fall of the Serenissima in 1797 constitutes a preeminent example. The paper takes as a case study Ca’ Rezzonico, one of the most splendid palaces along the Grand Canal, which has housed, since 1936, the illustrious Museum of 18th-century Venice (Museo del Settecento veneziano). After the Rezzonico family died out in 1810, the palace was gradually stripped of its art historical treasures and has served the most diverse purposes. From being the seat of the Austrian Tobacco Administration to housing dealers’ galleries, from hosting the ateliers of stage designers and international painters to being the home of renowned intellectuals and aesthetes, Ca’ Rezzonico’s rooms and walls have witnessed the profound changes in art, taste, and culture that rang through Europe during the long 19th century. The paper offers a comprehensive recon struction of the palace’s 19th-century history, drawing from both published and unpublished sources.

Valeria Paruzzo

Ca’ Rezzonico in the 19th Century: The Dispersal of its Collections and the New Uses of the Palace

19世纪的雷佐尼科宫：藏品的分散与宫殿的新用途

&#x0D; &#x0D; &#x0D; Starting from the cross-analysis of printed texts, manuscripts and works of art preserved in the city’s museums, the essay reflects on the impact that the political, social and cultural upheavals triggered by the fall of the Serenissima had on the taste of the conservative Venetian nobility. In particular, it examines the case of Girolamo Ascanio Molin (1736–1814), a politician, scholar and writer who, between the late 18th and early 19th century, built an extensive collection, whose physiognomy evolved according to the historical context, the frequentations of the senator, the opportunities provided by art markets and the self-representation strategies adopted by the patriciate in response to the New Regime.&#x0D; &#x0D; &#x0D;

Arianna Candeago

The Molin Collection Between the Old and New Regime

旧制度与新制度之间的莫林收藏

&#x0D; &#x0D; &#x0D; In a number of European countries, entrusting the care of the extensive sets of collections owned by aristocrats to a special employee or employees had been customary since the Renaissance. The focus of this study is the period from the beginning of the 19th century to the end of the Second World War. Selected individuals who together represent approximately one hundred and fifty years of care for collections located in aristocratic residences are presented. The academy-trained painter František Horčička, the former town executioner Carl Huss and the husband-and-wife team Wilhelmina and Karl Vincenz Auersperg devoted themselves to collections in the 19th century, while professor Josef Schmoranz and lawyer Josef Polák did so in the first half of the 20th century.&#x0D; &#x0D; &#x0D;

Šárka Radostová

Kristina Uhlíková

The Role and Activities of Custodians of Aristocratic Collections in Bohemia in the 19th Century and First Half of the 20th Century: Selected Examples

19世纪和20世纪上半叶波希米亚贵族收藏保管者的角色与活动：选例研究

&#x0D; &#x0D; &#x0D; The article aims to investigate aristocratic collecting practices in the former Polish-Lithuanian Commonwealth in the 19th century, focusing on three points. First, we highlight the specific situation of the Polish aristocracy compared to most European countries and note the weakness of collecting culture in the Polish-Lithuanian Commonwealth in the early modern period, followed by its slow emergence at the end of the 18th century. Then, we investigate the most important phenomena of 19th-century aristocratic collecting and distinguish two major trends within it: collecting art and collecting national memorabilia. We also highlight the importance of aristocratic collections for a stateless nation. Finally, to illustrate the overview, using a specific example to underline the key issues, we discuss the collections of Princes Czartoryski. In this essay, we summarize our previous research on the collections of Polish aristocracy and provide, for the first time, a comprehensive and systematic panorama of this phenomenon.&#x0D; &#x0D; &#x0D;

Kamila Kłudkiewicz

Michał Mencfel

The Stateless Nation’s Elite: Artistic Collections of Polish Aristocracy, 1795–1918

无国之国的精英：波兰贵族的艺术收藏，1795-1918

&#x0D; &#x0D; &#x0D; In the Modern Age, most fortified manor houses in Portugal fell into ruin, due to the lack of dignified living conditions, the obsolescence of defensive structures, and the decline decay of aristocratic families. However, between 1933 and 1974, many ruined fortified manor houses were restored by the Portuguese dictatorial regime. The nationalist dictatorship of Estado Novo used heritage as an ideological instrument of propaganda. This proposal aims to analyse the context of the ideological restoration of medieval fortified manor houses by the dictatorial regime, addressing symbolisms, restoration actions, and the contextualisation of fortified manor houses in Portugal by focusing on particular case studies.&#x0D; &#x0D; &#x0D;

Publication Information	Publisher: ZRC SAZU, Zalozba ZRC，Publishing cycle: ，Journal Type: journal，Open Access Journals: Yes
Basic data	Year of publication: 2013，Proportion of original research papers: 0.00%，Self Citation Rate:N.A.， Gold OA Rate: 0.00%
Average review cycle	36 weeks

Acta Historiae Artis Slovenica

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