ICCHS bilten/bulletin 2024 LINDA BOREAN IN ZBIRATELJSTVO V ZGODNJEM NOVEM VEKU LINDA BOREAN AND COLLECTING IN THE EARLY MODERN PERIOD ← Jacopo Palma mlajši, Portret Antonia Alienseja (?), Birmingham, Birmingham Museum & Art Gallery/ Jacopo Palma il Giovane, Portrait of Antonio Aliense (?), Birmingham, Birmingham Museum & Art Gallery ICCHS BILTEN 2024/ICCHS BULLETIN 2024 LINDA BOREAN IN ZBIRATELJSTVO V ZGODNJEM © Univerza v Ljubljani, Filozofska fakulteta, 2024 NOVEM VEKU/ Vse pravice pridržane. LINDA BOREAN AND COLLECTING IN THE EARLY MODERN PERIOD Ljubljana, 2024 Prva izdaja/First Edition Uredili/Editors: Ana Jenko Kovačič, Dušan Mlacović, Renata Novak Klemenčič, Tisk/Printed by: Birografika Bori Matej Klemenčič Naklada/Print run: Slika na naslovnici/Cover photo: 150 izvodov Jacopo Palma mlajši, Portret Antonia Alienseja (?), Birmingham, Birmingham Museum & Art Gallery Publikacija je brezplačna./ Publication is free of charge. Fotografija Linde Borean in naslovnice monografij/ Photo of Linda Borean and book covers: Prva e-izdaja. Publikacija je v digitalni obliki prosto dostopna na:/ spletna stran Univerze v Vidmu/University of Udine webpage First e-edition. Digital copy of the book is available on: https://www.ff.uni-lj.si/raziskovanje/raziskovalni-centri/ Lektoriranje/Proofreading: icchs-mednarodno-sredisce-za-primerjalne-zgodovinske-razis- Aleksandra Repe kave DOI Prevod besedil v angleščino/Translation into English: 10.4312/9789612974206 Josh Rocchio Kataložna zapisa o publikaciji (CIP) pripravili Založila/Published by: v Narodni in univerzitetni knjižnici v Ljubljani Založba Univerze v Ljubljani (University of Ljubljana Press) Tiskana knjiga COBISS.SI-ID= 211047939 Izdal/Issued by: ISBN 978-961-297-414-5 Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana Press, Faculty of Arts); ICCHS – E-knjiga COBISS.SI-ID 211110659 Mednarodno središče za primerjalne zgodovinske raziskave ISBN 978-961-297-420-6 (PDF) Za založbo/For the publisher: Gregor Majdič, rektor Univerze v Ljubljani/ rector of the University of Ljubljana Za izdajatelja/For the issuer: Mojca Schlamberger Brezar, dekanja Filozofske fakultete/ Dean of the Faculty of Arts, University of Ljubljana Uvodnik Introduction Uvodno ICCHS predavanje je vsakoletni dogodek International Centre for Comparative Historical Mednarodnega središča za primerjalne zgodo-Studies (ICCHS) traditional y holds an opening vinske raziskave na začetku akademskega leta. V lecture to kick off each academic year. The 3-day okviru tridnevnega dogodka Filozofsko fakulteto event sees renowned scholars of history and art obiščejo uveljavljeni znanstveniki s področja zgo-history visit the Faculty of Arts, University of Lju-dovine ali umetnostne zgodovine. Med 19. in 21. bljana. Between 19 and 21 October 2023, we host-oktobrom 2023 smo gostili dr. Eikeja Schmidta, ed Dr. Eike Schmidt, an expert on sculpture from tedaj direktorja florentinske Galerije Uffizi, ene-the early modern period and the director of the ga največjih svetovnih muzejev, ter poznavalca Uffizi Galleries, one of the world’s greatest muse-zgodnjenovoveškega kiparstva. Na svojem preda- ums. His lecture presented Leonhard Kern, one of vanju je predstavil Leonharda Kerna, enega naj-the most important sculptors from the first half of pomembnejših kiparjev prve polovice 17. stoletja. the 17th century. Letošnja gostja Uvodnega ICCHS predavanja je This year’s keynote speaker is professor Linda redna profesorica dr. Linda Borean z Univerze v Borean of the University of Udine. One of her Vidmu. Glavna tema njenih raziskav je zbiratelj- research interests is collecting practice in Venice stvo v Benetkah v zgodnjem novem veku. Z gosto- during the early modern period. By hosting Dr. vanjem dr. Borean, ki bo potekalo med 17. in 19. Borean from 17 to 19 October 2024, we would oktobrom 2024, želimo opozoriti na pomembnost like to shine a light on her research and its rip-njenih raziskav za prostor med Alpami, Panonsko pling influence in the region between the Alps, nižino in Jadranskim morjem. Ta prostor je bil the Adriatic and the Pannonian Plain, which namreč v gospodarskem, kulturnem in umetno-equal y in economic, cultural, and artistic senses stnem pogledu tesno povezan z Benetkami. Pre-was inextricably linked to Venice. davanje ne bo posvečeno zbirateljstvu, pač pa poklicu slikarja v Benetkah v 17. stoletju. Collecting in the early modern period is also the central topic of this year’s Bulletin. We invited Zbirateljstvo v zgodnjem novem veku pa je osred-Slovenian experts to give their views on a set of nja tema letošnjega biltena. K sodelovanju smo questions about the role Dr. Linda Borean’s re-povabili tri slovenske raziskovalce, ki so odgovo-search plays in the study of collecting practices rili na nekaj vprašanj o vlogi raziskav dr. Linde and in how we understand the image of the artist Borean, proučevanju zbirateljstva ter o podobi in the early modern period. umetnika v zgodnjem novem veku. Program Uvodnega ICCHS predavanja – akademsko leto 2024/25 The programme of the Opening ICCHS lecture – Academic Year 2024/25 Četrtek, 17. oktober 2024 / Petek, 18. oktober 2024/ Thursday, 17 October 2024 Friday, 18 October 2024 18.00 9.30–11.00 Univerza v Ljubljani, Filozofska fakulteta Univerza v Ljubljani, Filozofska fakulteta (Aškerčeva ulica 2, Ljubljana), predavalnica 34/ (Aškerčeva ulica 2, Ljubljana), predavalnica 343/ University of Ljubljana, Faculty of Arts University of Ljubljana, Faculty of Arts (Aškerčeva ulica 2, Ljubljana), lecture hall 34 (Aškerčeva ulica 2, Ljubljana), lecture hall 343 UVODNO ICCHS PREDAVANJE: Pogovor Linde Borean s študenti, moderira Linda Borean, Poklic slikarja v Benetkah Neža Lukančič (pogovor je odprt za javnost)/ med Tizianom in Tiepolom/ Discussion with students, moderated by OPENING ICCHS LECTURE: Neža Lukančič (open for public) Linda Borean, The profession of the painter in Venice between Titian and Tiepolo 11.30–13.00 Italijanski inštitut za kulturo v Sloveniji Predavanje bo v angleškem jeziku./ (Breg 12, Ljubljana)/ The lecture will be given in English. Italian Cultural Institute in Slovenia (Breg 12, Ljubljana) Srečanje Linde Borean z novinarji/Press conference Sobota, 19. oktober 2024/ Saturday, 19 October 2024 Interna ekskurzija članov ICCHS z gostjo/ Excursion for ICCHS members and our guest ← Giovanni Battista Tiepolo, Apel slika Kampaspe, Montreal Museum of Fine Arts/ Giovanni Battista Tiepolo, Apel es Painting the Portrait of Campaspe, Montreal Museum of Fine Arts Linda Borean je redna profesorica umetnostne zgodovine in → Linda Borean is a full professor of Art History predstojnica Oddelka za humanistiko in kulturno and head of the Department of Humanities and dediščino na Univerzi v Vidmu. Študirala je na Cultural Heritage at the University of Udine. She univerzah v Vidmu in Bruslju ter delovala v tujini studied in Udine and Bruxelles, and later spent kot štipendistka pomembnih ustanov (Getty Rese-several research periods abroad, with fellowships arch Institute and Getty Museum v Los Angelesu and grants, including time at the Getty Research in Metropolitan Museum of Art v New Yorku). Institute and the Getty Museum in Los Angeles, as Sodelovala je pri pripravi nekaterih odmevnih well as the Metropolitan Museum of Art in New razstav: Pietra dipinta (Milano, Palazzo Reale York. Borean has also worked on staging sever-2000), Tintoretto (Madrid, Museo del Prado 2007), al renowned exhibitions, namely Pietra Dipinta Cagnacci (Forlì 2008), I colori del a seduzione. (Milano, Palazzo Reale 2000), Tintoretto (Madrid, Giambattista Tiepolo e Paolo Veronese (Videm, Museo del Prado 2007), Cagnacci (Forlì 2008), Galleria d’Arte Antica 2012), ter Rencontres à I colori del a seduzione: Giambattista Tiepolo e Venise. Étrangers et Vénitiens dans l’art du XVIIe Paolo Veronese (Udine, Galleria d’Arte Antica siècle (Ajaccio, Palais Fesch- Musée des Beaux-2012), and Rencontres à Venise: Étrangers et Véni- -Arts 2019). tiens dans l’art du XVIIe siècle (Ajaccio, Palais Fesch – Musée des Beaux-Arts 2019). Na Univerzi v Vidmu, kjer dela od leta 2001, predava na dodiplomskih in podiplomskih pro- At the University of Udine, where she has been gramih kulturne dediščine in umetnostne zgo- working since 2001, Borean teaches both un- dovine, v okviru doktorskega programa umet- dergraduate and graduate courses in Cultural nostne zgodovine, poučuje pa tudi na programu Heritage and Art History, as well as classes at the specializacije iz spomeniškega varstva. Aktivno Post-Graduate School in Artistic and Historical sodeluje z muzeji v Furlaniji, vključno z Musei Civici Heritage, the Scuola Superiore, and within the di Udine, in deluje kot članica znanstvenega odbo-Ph.D. program in Art History. Moreover, Linda ra Gallerie del ’Accademia di Venezia. Borean col aborates actively with the museums of Friuli, including the Musei Civici di Udine, and Njeno raziskovanje je osredotočeno na umetno-serves as a member of the Scientific Committee of stno kulturo Benetk in Veneta vse od renesanse do the Gallerie del ’Accademia di Venezia. neoklasicizma. Pri svojem delu se posebej posveča odnosom med slikarji in naročniki ter povezavam Her research is focused on the artistic culture of med zgodovinskimi okoliščinami, trgom umetnin Venice and Veneto, spanning from the Renaissance in zbiralci. to Neoclassicism. Her work particularly explores the relationships between artists and patrons, as wel Med letoma 2002 in 2009 je Linda Borean sode-as the dynamics between collectors, the art mar-lovala pri vodenju projekta z naslovom Il Collezi-ket, and historiography. Between 2002 and 2009, onismo d’arte a Venezia dal e origini al ’Ottocento. Linda Borean co-coordinated a project funded by the Fondazione di Venezia titled Il Collezionismo d’arte a Venezia dalle origini al ’Ottocento. Izbrana bibliografija Linde Borean Selected bibliography La Galleria Manfrin a Rencontres à Venise. Étrangers et Vénitiens Venezia. L'ultima collezione dans l'art du XVIIe siècle (edd. Linda Borean, d'arte della Serenissima, Stefania Mason), Ciniselo Balsamo: Silvana Udine: Forum, 2018. Editoriale; Ajaccio: Palais Fesch-Musée des Beaux-Arts, 2018. Il collezionismo d'arte a Il collezionismo d'arte a Lettere artistiche del Venezia: Il Settecento (edd. Venezia. Il Seicento (edd. Setteceneto veneziano 2 Linda Borean, Stefania Mason), Linda Borean, Stefania Mason), (ed. Linda Borean), Venezia: Marsilio: Fondazione Venezia: Marsilio: Fondazione Verona: Cierre Edizioni 2004 di Venezia, 2009). di Venezia, 2007). (Fonti e documenti per la storia dell'arte veneta). Poklic slikarja v Benetkah med Tizianom in Tiepolom The profession of the painter in Venice between Titian and Tiepolo V 17. stoletju je bil poklic beneškega slikarja pod- → During the seventeenth century, the Venetian vržen transformacijam, ki so bile povezane z več painter’s profession underwent several transfor-dejavniki: postopnim izginjanjem velikih delavnic mations linked to multiple factors: the gradual renesančne tradicije (delavnice Tiziana, Tinto-disappearance of the great workshops of the Re- retta in Veroneseja), usmeritve javnih naročnikov, naissance tradition (those of Titian, Tintoretto, epidemije kuge leta 1630, vse večje prisotnosti and Veronese), the orientation of public patron-tujih umetnikov v mestu, širitve umetnostnega age, the plague epidemic of 1630, the increasing trga na mednarodno raven, ustanovitve Kolegija presence of foreign artists staying in the city, the slikarjev leta 1682, pojava zasebnih akademij tako expansion of an art market of international di-v rezidencah umetnikov kot v palačah plemstva. mensions, the foundation of the Collegio dei Pit-V domačih akademijah so se vaje v slikanju po tori in 1682, and the appearance of private acad-naravi izmenjevale s teoretičnimi predavanji in emies, both in the artist’s residence and in the pogovori o literaturi, zgodovini, antični umetno-palaces of the nobility. At domestic academies, sti in glasbi. Kako sta se poklic in kariera slikarja exercises in depicting natural life alternated with razvijala znotraj takega okvira? Prispevek bo ob theoretical lectures and conversations on litera-upoštevanju nedavno objavljenih arhivskih doku- ture, history, antiquity, and music. Within such a mentov, reinterpretaciji znanih virov in z analizo framework, how did the profession and the career nekaterih posamičnih študij primerov osvetlil ta of the painter evolve? Through recently published neverjetno zanimiv vidik obdobja baroka v Be-archival documents, a reinterpretation of known netkah. sources, and the analysis of a few case studies, this paper will explore this fascinating aspect of the Baroque age in Venice. ← David Teniers ml., Theatrum pictorium... (1660)/ David Teniers the Younger, Theatrum pictorium... (1660) Giovanni Francesco Barbieri, imenovan Guercino, Avtoportret pred sliko “Amor Fedele” , Washington, National Gallery of Art/ Giovanni Francesco Barbieri, called Guercino, Self-Portrait before a Painting of “Amor Fedele” , Washington, National Gallery of Art Zbirateljstvo v zgodnjem novem veku Col ecting in the early modern period Dr. Linda Borean je med letoma 2002 in 2009 sku- Podatki, pridobljeni iz teh virov, so bili nato paj z dr. Stefanio Mason vodila projekt Il Col ezio- navzkrižno primerjani s sočasnimi besedili o nismo d’arte a Venezia dal e origini al ’Ottocento. umetnosti. Ta niso neposredno obravnavala zbi-Raziskava se je osredotočala na beneško zbira-telj- rateljstva, temveč so avtorji v okviru predstavitve stvo od njegovih začetkov v 16. stoletju do 19. sto-del posameznih umetnikov izpostavili pomen letja. dobrega okusa s tem, ko so na primer navedli, kateri posamezniki oziroma pripadniki določenega Raziskava je temeljila na širokem razponu doku- družbenega sloja posebej pogosto posegajo po de-mentov v beneških in drugih arhivih ter knjižnilih nekega umetnika. cah. Gradivo je obsegalo inventarje, oporoke ter korespondenco. Predvsem inventarji in oporoke Nabor virov in njihova drugačna interpretacija sta so osvetlili formiranje umetnostnega kanona, omogočila proučevanje več posameznih prime-povpraševanje po umetninah ter interes zbira- rov ter obravnavo raziskovalnih problemov, kot teljev za originalna dela na eni strani ter kopije so vpliv okusa zbirateljev na trende v umetnostni in slike, narejene v slogu velikih mojstrov. Poleg produkciji na beneškem območju, razvojne dina-zgolj navedb del in njihovih avtorjev, ki so našla mike zbirk v lasti najrazličnejših družbenih slo-mesto v beneških zbirkah, so inventarji in opo- jev, tržne mehanizme in prodajne tipologije ter roke nudili tudi vpogled v odnos zbirateljev do izmenjave umetnostnih del, figuro in vlogo zbira-lastne zbirke. Tako so na primer v tistih inven-telja umetnin ter antropološki vidiki razstavljanja tarjih, kjer so slikarska dela večinoma anonimna, del ter nenazadnje vpliva na snovanje bivanjskih z imenom izpostavljeni zgolj najpomembnejši prostorov različnih družbenih slojev. Rezultati umetniki, kot je npr. Tizian. Podobno je z opo-predstavljajo prikaz zgodovinske rekonstrukcije rokami; lastniki pomembnejših del so jih imeli za zbirateljstva v zgodnjem novem veku. družinsko dediščino. → From 2002 to 2009, together with Dr. Stefan-The information gleaned from these sources ia Mason, Dr. Linda Borean headed the project are then cross-referenced against contemporary Il Col ezionismo d’arte a Venezia dal e origini texts on art. These did not necessarily dis-al ’Ottocento. The project was concerned with cuss collection directly, but as part of presen-Venetian collecting practices from the begin- ting individual artists, the texts highlight the ning of the 16th century until the 19th. importance of good taste by emphasizing, e.g., which artists were coveted by particular mem- The research was based on a broad range of bers of various social classes. documents in archives and libraries from Ven- ice and abroad, including inventories, wil s, The range of sources and their various inter-and other correspondence. Wil s and estate in- pretations facilitated the study of many spe-ventories especial y shed light on the forma- cific examples and the treatment of research tion of the artistic canon, demand for artwork, questions such as the influence of collectors’ and collectors’ interest on one hand in origi- tastes on the trends of artistic production nals and on the other in copies and paintings in and around Venice, how collections deve-al a maniera di. Not only do they list artworks loped in the possession of wildly different and their authors that found homes in Vene-social classes, market behavior and mecha- tian collections, wil s and inventories also shed nisms, the dynamics of sales and exchanges light on collectors’ relationships with the piec-of artwork, the figure and role of the collector, es they owned. For instance, there are invento-the anthropological aspects of exhibiting, and ries of collections featuring mostly anonymous even how collecting informed the design of authors, but the most important artists are homes for various social classes. The results help nonetheless listed, such as Titian. Wil s are the us sketch a reconstruction of collecting prac-same, showing that owners of important works tices in the early modern period. considered them family heritage. • dr. Katra Meke Kako ocenjujete pomen raziskav zbirateljstva Linde Borean? Raziskave Linde Borean imajo velik pomen za proučevanje zbirateljstva v splošnem, po drugi trani pa nam pravzaprav pokažejo, kako se je doktorirala leta 2018 na Filozofski fakulteti stvari lotevati metodološko, saj lahko ta vzorec Univerze v Ljubljani z doktorsko disertacijo prenesemo tudi k nam. Obenem predstavljajo z naslovom Beneško baročno slikarstvo na tudi kontekst, s katerim lahko primerjamo svo-Kranjskem in Štajerskem: Naročniki in zbiralci, je raziskave. v kateri je obravnavala prisotnost beneškega sli-karstva na Kranjskem in Štajerskem v 17. in 18. Ta kontekst ni nepomemben, ker se pravza- stoletju. Zaposlena je kot kustosinja v Narodni prav pogovarjamo o beneškem okolju, ki je galeriji; za svojo študijo in razstavo Fortunat za naš prostor izjemnega pomena; Benetke so Bergant (1721–1769) je leta 2023 prejela pri- nam najbližji umetnostni center in tja stremijo znanje Izidorja Cankarja. Redno objavlja znan- naši naročniki, naše lokalno plemstvo. V tem stvene prispevke in predstavlja svoje razisko-pogledu so pravzaprav ključne njene raziskave valno delo, ki zadeva predvsem barok na Slo- zbirateljstva starih beneških mojstrov, kajti ta venskem, na znanstvenih srečanjih. pojav lahko opazujemo tudi pri nas. Na podla- gi zapuščinskih inventarjev vemo, da so pri nas imeli tudi v zbirkah dela Tiziana, Tintoretta, celo Bellinija. Redki so primeri, kjer so ta dela → Dr. Katra Meke received her doctorate from označena kot original, veliko več pa je bilo ko-the University of Ljubljana’s Faculty of Arts, de-pij po teh beneških mojstrih; to nam pove tudi, fending her thesis Venetian Baroque Painting in da so bili ti mojstri priljubljeni, vendar se jih v Carniola and Styria: Patrons and Col ectors, fo-originalu v tistem času ni več dalo dobiti. So cusing on collections in the 17th and 18th cen- bile pa kopije po Tizianu, Tintorettu, Verone- turies. Currently employed as a curator at the seju enako zaželene kot originali. Pomembne Slovenian National Gallery, she won an Ivan so tudi raziskave posameznih zbiralcev, kajti Cankar Award in 2023 for her exhibit on For-marsikaterega smo lahko povezali tudi z na- tunat Bergant (1721–1769). She regularly pub- šim okoljem; proučevala je na primer zbirke lishes her articles and presents at conferences trgovcev, s katerimi pa je imelo stike tudi naše her research endeavors, which primarily focus lokalno plemstvo, na primer Jakob Schell von on Baroque-era Slovenia. Schellenburg, tako da smo na podlagi tega tudi njega lahko postavili v ta širši metodološki kontekst. Kako se vi kot kustosinja v Narodni galeriji srečujete z raziskovanjem zbirateljstva? Ko enkrat predmet pride v neko institucijo, bodisi je to muzej ali galerija, je predmet iz- trgan iz svojega izvornega konteksta. Kako je ta predmet nastal, pa je bistveni del prove- nience tega predmeta in to je nekaj, s čimer se seveda kustosi oziroma raziskovalci v teh in-longer be attained at the time. Nonetheless, cop-stitucijah ukvarjamo. Tega problema, se pravi ies of Titian, Tintoretto, and Veronese were just raziskav provenience, se lahko lotevamo na dva as coveted as the originals. načina. Po navadi gremo od predmeta nazaj, se pravi, ko predmet pride v muzej, v galerijo, nas Studies on specific collectors are also important, zanima, od kod smo ga odkupili, kako je prišel as many of them can be tied to our surround- k zadnjemu lastniku in tako naprej, potem pa ings; for instance, she studied the collections se zadeva na določenem mestu navadno ustavi of merchants with ties to our local nobility, e.g. in nastane neka vrzel. Na drugi strani so prav Jakob Schell von Schellenburg, so on that ba-raziskave zbirateljstva oziroma naročništva, s sis we could place him too within the broader tem se je tudi ukvarjala Linda Borean, bistve-methodological context. nega pomena zato, ker pa pravzaprav potekajo z druge strani in včasih se zgodi, da se ta dva How does your work as a curator at the konca srečata, lahko ju zvežemo skupaj in tak- National Gallery put you in contact with rat dobimo celotno zgodbo nekega predmeta, research on collecting? kar je za nas pomembno, ker samo tako lahko Once a piece arrives at an institution, whether potem predmet primerno predstavimo javnosti. museum or gallery, that object is removed from its original context. How that object came to be is an essential part of its provenance, and that → How do you rate the importance is precisely something with which we curators of Linda Borean’s research on collecting? and researchers at such institutions concern Linda Borean’s research is hugely important for ourselves. This problem, namely research on studying collecting practices in general, and at provenance, can be approached from two an-the same time serves as a roadmap for applying gles: usual y, we start with the object and work methodology, as we can integrate that example backwards, so when the piece arrives at a muse- here, too. Further, her studies provide impor- um or gallery, we’re curious as to where it was tant context against which we can compare our purchased, how it ended up in its final owners’ own research. This context is not insignificant, hands, and so on, and at some point the process as the area around Venice is hugely relevant for comes to a halt and a hole in our understanding the region between the Alps, the Adriatic and arises. On the other hand, the studies on col-the Pannonian Plain: Venice was the closest lections or commissions themselves, including true artistic hub, and so regional clients, our the work done by Linda Borean, are of crucial local nobility, looked eagerly upon the city. importance precisely because they start workIn this sense, Borean’s studies on collections ing from the other side, and sometimes the two of the old Venetian masters are crucial, as a ends collide, we can connect them, and thus similar trend can be seen in the region. Estate glean the entire story behind an object, which inventories attest that some collections in the is important for us, because only armed with the region even included works of Titian, Tintoret-whole background can we present a piece to the to, and even Bellini. There are few examples public properly. where such works are listed as originals, with far more copies of Venetian masterpieces; this speaks to how popular those masters were, as well as to the fact that their originals could no dr. Tina Košak je znanstvena sodelavka na Umetnostno- → Dr. Tina Košak is a research associate at the zgodovinskem inštitutu Franceta Steleta ZRC Slovenian Academy of Sciences and Arts’s SAZU ter docentka na Oddelku za umetnostno France Stele Institute of Art History and an zgodovino Filozofske fakultete Univerze v Mari- assistant professor at the Department of Art boru. Med letoma 2019 in 2022 je vodila pro- History, Faculty of Arts, University of Maribor. jekt Umetnost v času zatona plemstva: transfor- From 2019 to 2022, she headed the project Art macije, translokacije in reinterpretacije. Projekt and the Nobility in Times of Decline: Transfor-se je osredotočal na vlogo plemstva v umet- mations, Translocations, and Reinterpretations, nosti na Slovenskem od 18. stoletja naprej ter na which focused on the nobility’s role in in art recepcijo in reinterpretacijo plemiške dedišči- on the territory of nowadays Slovenia from ne v 19. in prvi polovici 20. stoletja. Njegov cilj the 18th century onward, and on the reception je bil raziskati, kako so družbenopolitične oko-and reinterpretation of the nobility’s heritage liščine, ki so spremljale plemstvo v tem času, in the 19th and 20th centuries. Its objective vplivale na njegovo umetnostno naročništvo was to study how sociopolitical circumstances in transformacije umetnosti v slovenskem pro-surrounding the nobility of the time influenced storu. how it commissioned artwork and affected the transformations of artwork in Slovenian cultural Pomembna rezultata projekta sta znanstvena space. monografija Umetnostna dediščina plemstva v času njegovega zatona. Transformacije, prenosi, Important results of the project include a mono-reinterpretacije (ur. Tina Košak, Ljubljana: Za-graph on the artistic heritage of the nobility ložba ZRC, 2023) ter spletni portal Plemiška in the times of its decline, as well as the web por-dediščina na Slovenskem. tal Plemiška dediščina na Slovenskem (Heritage of the Nobility in Slovenia). Kaj je značilno za zbirateljstvo na Slovenskem kot tristo slik. Med ohranjenimi mojstrovi- v zgodnjem novem veku oziroma nami so danes tudi delo delavnice Jana Fyta v 17. in 18. stoletju? Ptičji koncert ter zanimiv motiv z lovskim Zbirali so predvsem predstavniki družbenih psom in volovsko glavo delavnice Fransa Sny-elit, torej pri nas zlasti plemstvo ter cerkvena dersa, dveh Rubensovih učencev, obe deli pa elita; škofovske zbirke so bile najbolj impozan-lahko občudujete v Pokrajinskem muzeju Ma- tne. Slikarske zbirke so nastajala šele od sredine ribor. 17. stoletja naprej; podatke o njih lahko iščemo v zapuščinskih inventarjih, ki pa so na žalost Katere raziskovalne metode in vire glede navajanja slik pogosto zelo skopi. Na uporabljate pri proučevanju zbirateljstva? kratko nam povedo, kakšna je bila vsebina sli- Uporabljamo tako klasično metodo pregledo- ke, recimo motiv, povedo nam včasih, zlasti od vanja arhivskih virov in čisto kvalitativni pri-18. stoletja naprej, koliko je bila slika vredna, stop, torej študije primerov, v zadnjih petdese-in povedo nam, kdo je bil avtor, pa še to zelo tih letih so pa zelo v veljavi tudi kvantitativne redko. Zlasti na Kranjskem in Štajerskem ima- študije večjega števila raziskovalnih podatkov, mo takih atribucij posebej malo. ki jih navadno črpamo iz zapuščinskih inven- tarjev. Plemstvo na Slovenskem se je zgledovalo zlas- ti po plemstvu v večjih središčih Svetorimsko Kvantitativne analize umetnin, popisanih nemškega cesarstva, Dunaj je bil najbolj vplivno v zapuščinskih inventarjih, nam dajo vpogled središče. Vemo, da je po sredini 17. stoletja v splošne trende, medtem ko študije prime-nadvojvoda Leopold Viljem iz Bruslja na Du- rov v vzgibe posameznih zbirateljev oziroma naj ob upokojitvi prenesel svojo zbirko slik, jo naročilih posameznih umetnin. Za Kranjsko dal tudi grafično reproducirati. Izdal je album, in Štajersko, pa tudi za slovensko Primorje, so za katerega vemo, da so ga imeli v lasti tudi najbolj dostopni podatki v zapuščinskih inven-nekateri zbiratelji iz naših dežel, konkretno tarjih. Za kakšne večje zbirke, ki so bile izven recimo Ignac Maria grof Attems, ki je bil eden naših dežel, svetovno priznane zbirke, vemo, najvidnejših štajerskih zbirateljev. da so obstajali tudi posebni inventarji zbirk. Za naše zbirke, ki niso bile tako zelo impozantne, Katere so bile pomembnejše družine na so navadno obstajali samo popisi v zapuščin- Slovenskem, ki so se ukvarjale skih inventarjih, ki so osnovni vir za zgodnje- z zbirateljstvom? novoveško zbirateljstvo. Za zbirateljstvo v 19. Attemse smo že omenili, poleg Ignaca Marie so in 20. stoletju velja, da so bili značilni številni zbirali tudi njegovi dediči, med drugim je premiki, transferji, ki so bili zabeleženi. Do-bila na Kranjskem znana zbirka škofa Ernesta gajale so se tudi zaplembe, recimo po drugi Amadeja grofa Attemsa, Ignacovega sina, ki svetovni vojni so te zaplembe najbolj znane, je imel v zbirki na gradu Goričane med dru- čeprav so se dogajale tudi že prej. Vemo, da so gim tudi menda, tako je zabeleženo v nje- štajerski plemiči plenili že v 17. stoletju, na pri-govem zapuščinskem inventarju, Tizianov mer grof Leslie, kranjski plemiči pa tudi v 18. original. Na Spodnjem Štajerskem je bil s sli- stoletju; recimo Germanik grof Petazzi je pri- kami najbolje opremljen grad Hrastovec pri dobil določene slike v času vpada v Genovo, ko Lenartu, kjer je Erazem Friderik grof Her-je bil tam vojak. Tako da zaplembe so obstajale berstein malo po sredini 17. stoletja zbral več že prej, že vse od antike dalje. → What is indicative of collecting in the w(nowadays in Slovenia), the castle with the southern Habsburg crownlands in the most lavish collections of paintings was Hras- early modern period, i.e. the 17th and 18th tovec pri Lenartu, where a bit after 1650 Eras- centuries? mus Friedrich Count Herberstein gathered Collectors at the time as a rule belonged to the over 300 paintings. The preserved masterpiec-highest social classes, so in the region mostly es today include work from the il ustrious Jan the nobility and the elite members of the clergy; Flyt’s workshop, including the Concert of Birds, the episcopal collections were the most impres-and an interesting motif with a hunting hound sive. Collections of paintings took shape only and an ox head from the workshop of Frans starting in the mid-1700s; we find information Snyders; both were students of Rubens’s and on them in estate inventories, which sadly tend you can admire both works at the Maribor Re-to be short on information about paintings. In gional Museum. brief, they tell us what the painting was about, for instance, its motif, and they sometimes tel What research methods and resources us, mostly starting in the 18th century, how do you use to study collecting? much it was worth, and they tell us who the We use the traditional method of archive re-painter was, but only very rarely. In Carniola search and a purely qualitative approach, i.e. and Styria, especial y, there are very few such studying the examples, but over the past 50 lists of attributes. years there have emerged quantitative studies of a large amount of research data, which we Regional nobility looked primarily to the nobil-usual y extract from estate inventories. Quan- ity in larger urban hubs within the Holy Roman titative analysis of the artworks listed in es-Empire, with Vienna its most influential city. tate inventories gives us insight into general We know that, after his retirement in the mid-trends, while studying actual works affords us dle of the 17th century, Archduke Leopold Wil- hints as to the personal motivations behind helm brought his collections of paintings back individual collectors, or the commissions of to Vienna with him from Brussels, and had the particular works. For Carniola and Styria, as works graphical y reproduced. He published an well as the Littoral region, the most accessible album that we know some collectors from our data are found in estate inventories. As regards lands to have owned, for instance specifical y bigger collections from abroad, world-re-Ignatius Maria Count Attems, who was one nowned collections, we know that there are of the most prominent collectors in Styria. indeed also collection inventories, but the ones found here, much less imposing by compar- Who were the most important families ison, tended to be recorded in estate invento- in the territory of nowadays Slovenia ries, our fundamental source for collecting in who dabbled in collecting? the early modern period. The 19th and 20th We’ve already mentioned the Attems family; centuries are marked by transfers and move-in addition to Ignatius Maria, we can also sin- ments of artworks, which we have recorded. gle out in Carniola the collection of Bishop There were also confiscations; for instance, Ernest Amadeus Count Attems, Ignatius’s son, after World War II such confiscations are the whose collection was held at the castle in Go- best known, but they were a regular occur-ričane. His estate inventory even apparently rence beforehand, too. We know that Styrian mentions an original by Titian. In Lower Styria nobles were fond of confiscation back in the 17th century, for instance, Count Leslie, and the Carniolan nobles did the same in the 18th century, Count Petazzi is a good example, who acquired certain paintings during the Siege of Genoa, where he was fighting as a soldier. So confiscations have always been a thing, from the antique period onwards. dr. Matej Klemenčič je redni profesor na Oddelku za umetno- → Dr. Matej Klemenčič is a full professor with-stno zgodovino Filozofske fakultete Univerze in the Department of Art History at the Faculty v Ljubljani ter član Mednarodnega središča of Arts, University of Ljubljana and a founding za primerjalne zgodovinske raziskave. Osrednje member of the International Centre for Com-področje njegovega raziskovanja je beneško parative Historical Studies. His research focu-baročno kiparstvo, ukvarja pa se tudi z drugimi ses on Venetian Baroque sculpture, with signi-temami poznega srednjega in zgodnjega no- ficant overlaps into other topics of the late mid-vega veka, z migracijami umetnikov in naro- dle and early modern period, including migra- čniškimi povezavami med jadranskim prosto- tions of various artists and the connections lin-rom in Srednjo Evropo. Je vodja projekta Obli- king commissions between areas surrounding kovanje regionalnega umetnostnega središča v the Adriatic and Central Europe. He heads the zgodnjem novem veku: primer Ljubljane. Eden project Formation of an Early Modern Regio- izmed ciljev projekta je tudi primerjalno analinal Artistic Centre: the Case of Ljubljana. One zirati naročništvo in zbirateljske prakse v Lju-of this project’s primary objectives is to elabo-bljani in zunaj nje, s posebnim poudarkom na rate a comparative analysis of commissioning geografskem ter demografskem in socialnem and collecting practices in and around Ljublja-kontekstu. na, with special emphasis on the geographic and demographic or social context. Podoba umetnika v zgodnjem novem veku sih samo skriti v večje kompozicije, na primer za slikarje Almanacha, Giulia Quaglia, Janeza Ko govorimo o podobi umetnikov, imamo lah- Mihaela Reinwaldta, Franca Jelovška, Franca ko v mislih preprosto njihove portrete in avto- Mihaela Straussa ali celo za kamnoseka in arhi- portrete, poleg tega pa tudi, kako jih je videla tekta Francesca Bombasija. Tako je tudi s pisni-družba in kako so sami videli sebe in svoje mes-mi viri, ki jih je seveda manj kot v umetnostnih to v družbi. Pri tem je izredno pomembno, da središčih, manj raznoliki so, pa še pozneje smo imamo na voljo dovolj pisnega gradiva, pred-jih začeli obravnavati in analizirati. vsem arhivskega, pa tudi besedil o umetnosti in umetnikih. Iz tega je najbrž jasno, da je o podo-Tako Almanachu, ki je največkrat omenjeni bi umetnikov lažje razpravljati v kontekstu več- umetnik v Valvasorjevi Slavi vojvodine Kranj- jih umetnostnih središč. Tam je tako likovnega ske, do pred kakšnim letom nismo poznali niti kot pisnega gradiva praviloma več kot dovolj, imena, sedaj pa po zaslugi Uroša Lubeja vemo, nekoliko težje pa je povsod drugje. Ampak tudi da mu je bilo ime Joannes, torej Janez, priimek v tako imenovanih perifernih okoljih lahko na pa je bil v originalu najbrž Almenak. Za podlagi izjemnih arhivskih podatkov in ohra-Francesca Robbo imamo po zaslugi pionirskih njenih likovnih del včasih dobimo gradivo za študij Antona Vodnika in kasnejših raziskav odlične mikrozgodovinske študije. Te nam po-Blaža Resmana na voljo cel kup arhivskih po- magajo razumeti takratno lokalno dogajanje, datkov, ki nam pomagajo razbirati tako zna-ki ga potem prek analogij poskušamo povezati čajske lastnosti – ne vedno najbolj poztivne, kot tudi z dogajanjem v velikih središčih. tudi njegovo vpetost v tedanjo kranjsko druž- bo. Za slednjo vemo, da se je zavedala pomena Če se zdaj omejimo na gradivo, povezano z umetnikov in občasno tudi finančno podpirala ozemljem današnje Slovenije, bi bilo najlaž- posameznike, na primer študij slikarja Franči- je obravnavati umetnike, ki so svojo kariero ška Karla Remba v Rimu. Prav slednje – torej nadaljevali v katerem od velikih središč. Tak študij v tujini, mobilnost umetnikov tistega primer je bil recimo Francesco Trevisani, ki je časa, pa tudi potovanja in študij njihovih na-bil rojen v Kopru, kasneje pa se je uveljavil v ročnikov – so seveda dokazi za to, da ob vseh Rimu in danes velja za enega najpomembnejših specifikah manjših umetnostnih središč in pe- rimskih slikarjev prve polovice 18. stoletja. Ali riferije ne smemo pozabiti, da je bil svet tudi v pa Franc Andrej Šega, rojen v Novem mestu, ki zgodnjem novem veku tesno povezan in da je je večino življenja preživel v Münchnu in tam tisto, kar velja o umetnikovi podobi v velikih postal eden najpomembnejših evropskih me-umetnostnih središčih, v marsičem povezano daljerjev in graverjev. Ali pa, že ob koncu baro-tudi z njihovo podobo drugje. ka, na prehodu v 19. stoletje, slikarji, ki so svoje izjemne kariere naredili na Dunaju, kot na pri-Potem je pa tu še zadnje vprašanje: kako mi vi- mer Goričan Franc Kavčič in Gorenjec Lovrenc dimo umetnike tistega časa? Ta podoba se skozi Janša. Nekoliko težje je z umetniki, ki so delo- čas močno spreminja, tudi če govorimo samo o vali bolj »lokalno«, torej na primer v Ljubljani zadnjih desetletjih. Odvisna je od pomena, ki in tudi Mariboru, celo Gradcu, če pogledamo ga dajemo posameznim umetnostnim zvrstem, tedanje štajersko politično in umetnostno sre-posameznim umetnostnim obdobjem, ali pa dišče, ali pa v Gorici, Kopru. Redko imamo na primer kakovosti ali motiviki umetnostnih ohranjene avtoportrete ali portrete. Ti so vča-del, osebnostnim značilnostim umetnikov, nji- hovemu izvoru, družbenemu položaju ter tudi for himself in Rome, and now he is considered spolu. Lahko rečem, da je tudi za prostor Slove-one of Rome’s most important painters from nije naš pogled na umetnike zgodnjega novega the first half of the 18th century. Or take Franc veka trenutno veliko bolj širok, inkluziven kot Andrej Šega, who was born in Novo Mesto nekoč. Na podlagi temeljitih arhivskih študij but spent most of his life in Munich, becom-vemo o njih in njihovih naročnikih, o njihovih ing one of Europe’s most important medalists umetnostnih delih v lokalnih zbirkah bistveno and engravers. Another example, from the end več kot pred desetletji. In seveda upam, da bomo of the Baroque, at the turn of the 19th centu-s tovrstnimi raziskavami še nadaljevali. ry, is found in the painters who made Vienna their home, like Franc Kavčič from Gorizia or Lovrenc Janša from Carniola. It is a bit more → The image of the artist in the early difficult with artists who worked more “local y”, modern period therefore in Ljubljana, Maribor, even Graz, which was the political and artistic capital of Understanding the image of an artist is an am-Styria at the time, or in Gorizia or Koper. We biguous undertaking, as we can simply have have very few surviving portraits or self-por-in mind a portrait of them or a self-portrait, traits. Sometimes you can catch a portrait with-or we can imagine the term metaphorical y in a larger composition, for instance of Alma-as how society saw them or how they viewed nach, Giulio Quaglio, Janez Mihael Reinwaldt, themselves and their place or role within such Franc Jelovšek, Franc Mihael Strauss, and even society. It is extremely important here that we of stonemason and architect Francesco Bom-have a sufficient amount of written records, basi. A similar case is found with written sourc-especial y archival, as well as texts on art and es, which we obviously have far fewer of than artists. As such, it is likely clear that it is easier in larger artistic hubs, and there is less diversity to construct the image of artists within the con-among the material, and to boot we also began text of large artistic centers, where there tends their analysis and treatment later. to be more than enough material to work with, both artistic and written, and it’s a bit more For instance, take Almanach, the most oft-men-challenging elsewhere. But even in such let’s tioned artist in Valvasor’s The Glory of the say peripheral settings, given archival data of Duchy of Carniola, whose first name we didn’t excellent quality and preserved artworks, we even know until about a year ago, and, thanks sometimes have enough material for outstand-to Uroš Lubej, we now know him to have been ing microhistorical studies. These aid our un- Joannes, therefore Janez, and his surname was derstanding of local affairs at the time, which likely Almenak in its original form. Thanks to then through analogy we attempt to link with pioneering studies by Anton Vodnik, and later what was taking place in larger hubs. by Blaž Resman, we have a whole heap of archi- val data on Francesco Robba, which shed light If we were to limit ourselves to material re- on certain aspects of his personality – and not lated to the territory of modern Slovenia, it always positive ones – as well as his connec-would be easiest to discuss artists who went tions to Carniolan society at the time. We know on to one of those larger hubs to further their that Carniola realized the importance of artists careers. Francesco Trevisani was one such ex-and even occasional y financial y sponsored ample, born in Koper but then making a name individuals, for instance, the painter Frančišek Karel Remb’s studies in Rome. Exactly this – namely studying abroad, artists’ mobility at the time, and also their travels to meet with and study their clients – all point to the fact that, given all the particulars of smaller-scale artistic centers and the periphery, we should not forget that even in the early modern period the world was tightly interconnected, and what holds true for the image of artists in large artistic hubs is in many respects related to their image elsewhere. This leads to our final question: how do we today view artists of the time? This image has changed drastical y over time, even if we limit our discussion to the past few decades. It de-pends on the significance we attribute to indi- vidual artistic genres, individual artistic periods, or for instance to the quality or the motifs depicted in works of art, artists’ personal char-acteristics, their provenance, social status, and even their gender. I can say that our view of artists from the early modern period, including in Slovenia, is now considerably broader and more inclusive than it was in the past. Archi- val studies have taught us much, much more about them, about their patrons, and about their works in local collections than we knew decades ago. And, natural y, I hope we continue with such studies in the future. Uvodno ICCHS predavanje in ICCHS bilten 2024 sta nastala v okviru dejavnosti Mednarodnega središča za primerjalne zgodovinske raziskave (ICCHS) in projektov Oblikovanje regionalnega umetnostnega središča v zgodnjem novem veku: primer Ljubljane (J6-50205), Urbana morfologija Kopra v poznem srednjem veku (J6-50188) ter raziskovalnih programov Slovenska umetnost in umetnost srednje Evrope in Jadrana (P6-0199) in Slovenska zgodovina (P6-0235) (projekta in raziskovalna programa financira ARIS – Javna agencija za znanstvenoraziskovalno in inovacijsko dejavnost Republike Slovenije) ob podpori Filozofske fakultete Univerze v Ljubljani. https://www.ff.uni-lj.si/ https://www.youtube.com/ https://www.facebook.com/ raziskovanje/raziskovalni-centri/ @ICCHSLjubljana ICCHSLjubljana/ icchs-mednarodno-sredisce-za- primerjalne-zgodovinske-raziskave