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Galerije Antuna Augustin^I]A Original U Skulpturi 28–29 ANALI ANALI GALERIJE ANTUNA AUGUSTIN^I]A GOD. XXVIII–XXIX (2008.–2009.) • BR. 28–29 • STR. 1–472 • KLANJEC 2010. Simpozij ORIGINAL U SKULPTURI Klanjec, 4. – 6. lipnja 2008. ZBORNIK RADOVA 28 29 ISSN-0352-1826 UDK 71/77(058) ANALI GALERIJE ANTUNA AUGUSTIN^I]A GOD. XXVIII–XXIX (2008.–2009.) • BR. 28–29 • STR. 1–472 • Klanjec 2010. ISSN-0352-1826 UDK 71/77(058) CONTENTS SADR@AJ Editor’s Word Riječ urednika 5 5 LAVINIA BELUŠIĆ LAVINIA BELUŠIĆ The Concept of Originality in Pojam izvornosti u traktatima Rennaisance Italy Treatises (1435–1568) renesansne Italije (1435.–1568.) 35 9 IGOR FISKOVIĆ IGOR FISKOVIĆ The Case of the Renaissance Sculpture Slučaj renesansnog kipa Sv. Petra u of St. Peter in Vrboska Vrboskoj 51 37 VEDRANA GJUKIĆ-BENDER VEDRANA GJUKIĆ-BENDER Sculptor Innocenzo Spinazzi, Creator Innocenzo Spinazzi – kipar stvaratelj and Copyist i kopist 64 53 VESNA LOVRIĆ PLANTIĆ VESNA LOVRIĆ PLANTIĆ »The Montgolfier Brothers’ Balloon« »Balon braće Montgolfier« Luxurious Clock-Sculpture: Problems of Raskošan sat-skulptura: problemi Attribution and Dating atribucije i datacije 84 67 DR. JOSIP KOROŠEC JOSIP KOROŠEC The Role of Sculpture and the Uloga skulpture i značaj njezine Importance of Its Originality izvornosti 96 85 CONTENTS SADR@AJ MARTINA OŽANIĆ MARTINA OŽANIĆ Sculptural Group of The Holy Family – Skulpturalna grupa Svete Obitelji – Sharing Ideas and Authorship in pitanje udjela autorske invencije u Studies and Prints odnosu na grafički predložak 113 97 ANICA RIBIČIĆ-ŽUPANIĆ ANICA RIBIČIĆ-ŽUPANIĆ Francisco Pallas y Puig Francisco Pallas y Puig Pseudo-Gothic Triptych with the Image Pseudogotički triptih s prikazom of Virgin Mary on the Throne Holding Bogorodice na prijestolju s malim Infant Jesus in Her Lap, from the Isusom u krilu iz Muzeja Mimara Museum Mimara 126 115 VJEKOSLAVA SOKOL VJEKOSLAVA SOKOL Wax Statues of Child Jesus Kipovi Malih Isusa u vosku 140 127 DANKA RADIĆ DANKA RADIĆ Romanticist Restorations and Notions Romantične restauracije i domišljanja Copies and Falsifications in the Kopije i falsifikati u trogirskoj Heraldry of Trogir heraldici 173 141 DRAGAN DAMJANOVIĆ DRAGAN DAMJANOVIĆ Attitude to Models in the Works of Odnos prema predlošcima u djelima Vatroslav Donegani and Ivan Rendić Vatroslava Doneganija i Ivana Rendića Made for Đakovo Cathedral za đakovačku katedralu 193 175 IRENA KRAŠEVAC IRENA KRAŠEVAC Legal Copies Legalne kopije Collections of Casts of Classical Zbirke odljeva antičke Antiquity Sculptures skulpture 208 195 MARO GRBIĆ MARO GRBIĆ Grading Originality in Sculpture Stupnjevanje izvornosti u kiparstvu Evaluation of Statues in Processes of Vrednovanje kipova u postupcima Casting and Preservation of odlijevanja i Plaster Casts očuvanja gipseva 216 209 DALIBOR PRANČEVIĆ DALIBOR PRANČEVIĆ Ivan Meštrović – A Decade After His Ivan Meštrović – desetljeće nakon Deed of Donation Darovnice Fragments of Reflections on the Fragmentirana razmišljanja Status of Sculpture o statusu kiparskog djela 228 219 2 ANALI GAA • XXVIII–XXIX (2008.–2009.) • 28–29 CONTENTS SADR@AJ DAINA GLAVOČIĆ DAINA GLAVOČIĆ Cloning of the Sculpture »Forza della Kloniranje skulpture »Forza della volontà« by Romolo Venucci volontà« Romola Venuccija 237 229 VESNA MEŠTRIĆ VESNA MEŠTRIĆ Idea – Realization: Vjenceslav Richter, Ideja – izvedba: Vjenceslav Richter, »Hope« – Zagreb, 1957–1999 »Nada« – Zagreb, 1957.–1999. 247 239 LOVORKA MAGAŠ LOVORKA MAGAŠ Vjenceslav Richter’s »Reliefmeter« – Reljefometar Vjenceslava Richtera – the Original and a Variant odnos originala i varijante An Idea of a Transformable Object and Ideja transformabilnog objekta i njezine Its Consequences posljedice 270 249 BORIS ČUČKOVIĆ BORIS ČUČKOVIĆ On Digitally Created Sculpture: Razmatranje skulpture ostvarene The Problem of Original, Model, and digitalnom tehnologijom: problem Unique Pieces originala, modela i unikata 288 271 FRANO DULIBIĆ FRANO DULIBIĆ Sculpture – The Problem of Perception Skulptura – problem percepcije of the Original originala 294 289 LJUBICA DUJMOVIĆ KOSOVAC LJUBICA DUJMOVIĆ KOSOVAC Original as a Motive Original kao povod 305 295 ANTONIJA MLIKOTA ANTONIJA MLIKOTA Between Architecture and Sculpture: Na razmeđu arhitekture i skulpture: »Sea Organ« and »Greeting to the Sun« »Morske orgulje« i »Pozdrav Suncu« 321 307 VLADIMIR RISMONDO VLADIMIR RISMONDO Contribution to Differentiation of Prilog razlikovanju originala i kopije u Original and Copy in Sculpture in skulpturi u svjetlu prirodnih jezika, te the Context of Natural Languages njima posredovanih kulturnih and Cultural Patterns – The Case of uzoraka – Primjer naknadne obrade Subsequent Intervention on the Door of vratnica za crkvu Gospe Lurdske u the Church of Our Lady of Lourdes in Bijelom Viru autorice ak. kip. Dijane Bijeli Vir by Author Dijana Iva Sesartić Ive Sesartić 332 323 MARIJA BUZOV MARIJA BUZOV The Concept of Original in Archaeology Pojam originala u arheologiji 352 333 ANALI GAA • XXVIII–XXIX (2008.–2009.) • 28–29 3 CONTENTS SADR@AJ VLASTA BEGOVIĆ DVORŽAK VLASTA BEGOVIĆ DVORŽAK IVANČICA DVORŽAK SCHRUNK IVANČICA DVORŽAK SCHRUNK Antiquity Sculptures in Seaside Antičke skulpture u prostorima Villa in Verige Bay, maritimne vile u uvali Verige na Brijuni Brijunima 369 355 IVO DONELLI IVO DONELLI A Replica Or a Flawed Original Replika ili izvornik s greškom 377 371 STANKO PIPLOVIĆ STANKO PIPLOVIĆ Sphynxes in Diocletian’s Palace in Split Sfinge u Dioklecijanovoj palači u Splitu A Unique Phenomenon in Roman Jedinstvena pojava u rimskoj Sculpture of the Province of Illyricum skulpturi Ilirika 392 379 LANA GOLUB-PUTRIĆ LANA GOLUB-PUTRIĆ The Legal Aspect of Authorship in Pravni vid autorstva u likovnoj Visual Arts umjetnosti 420 395 MLADEN VUKMIR MLADEN VUKMIR A Multitude of Sources – The True Obilje izvora – prava značenja termina Meanings of »Copy« and »Original«; »kopija« i »original«; kratki osvrt A Brief Account of the Changes na promjene značenja umjetničke in Meaning of Art and Copyright i autorskopravne terminologije u Terminology in the Digital Environment digitalnom okruženju 459 421 APPENDIX PRILOG General Information and Osnovni podaci i program Programme of the Symposium simpozija 461 461 Index of Authors Kazalo autora 471 471 4 ANALI GAA • XXVIII–XXIX (2008.–2009.) • 28–29 Riječ urednika Ovaj dvobroj Anala Galerije Antuna Augustinčića donosi svih 27 prispje- lih integralnih radova od 39 izlaganja sa simpozija Original u skulpturi, održanog u organizaciji i prostoru Galerije Antuna Augustinčića u Klanj- cu od 4. do 6. svibnja 2008. godine – sve s ciljem pridonošenja utvrđi- vanju sadržaja, opsega i dosega pojma originala u skulpturi i njegovih korelata (unikata, multipla, replike, verzije, varijante, kopije, falsifikata, plagijata, imitata, reprodukcije ...) na osnovi likovnoteoretskih, povije- snoumjetničkih, lingvističkih i jurističkih istraživanja i promišljanja – a kao podsjetnik na sam skup, na kraju sveska su priloženi osnovni podaci o njemu te program njegova održavanja. Želim ovom prigodom još jednom zahvaliti organizacijskom odboru simpozija Original u skulpturi, uredništvu našeg časopisa i recenzen- tima te – u njihovo i svoje ime – svim sudionicima, autorima tekstova, suradnicima i podupirateljima, uistinu svima koji su na ma kakav način pridonijeli što skupu, što ovom izdanju. Božidar Pejković Original u skulpturi 7.01.021.026(04)“1435/1568“(450) Pojam izvornosti u traktatima renesansne Italije (1435.–1568.) LAVINIA BELUŠIĆ Filozofski fakultet u Rijeci Izvorni znanstveni rad Rad istražuje, klasificira i tumači osnovne načine poimanja izvornosti u re- nesansnim traktatima, prvenstveno kroz korištenje i oblikovanje izraza koji se vežu uz pojam izvornosti. U radu se utvrđuje da se u traktatima koji nastaju od 1430-ih do 1560-ih, od Albertija do Vasarija, formira pojam izvornosti kakav je karakterističan za novovjeko razdoblje, kroz estetsko i moralno normiranje vrijednosti izvornosti u odnosu na ponavljanje ili oponašanje. KLJUČNE RIJEČI: renesansa, traktat, izvornik, kopija, oponašanje, Alberti, Le- onardo, Vasari UVOD Jedno od temeljnih pitanja koje umjetnost i znanost o umjetnosti nešto intenzivnije propituju u posljednjih nekoliko desetljeća pojam je izvornosti (originalnosti) i uz njega usko vezan pojam autorstva i umjetničkog genija. Propitivanje tih pojmova u umjetnosti može se, primjerice, prepoznati u djelima umjetnika koji prisvajaju djela drugih umjetnika.1 Takvo propitivanje neki teoretičari tumače kao ponovno buđenje zanimanja za alegorijsko u umjetnosti, koje pak određuju kao jednu od osnovnih karakteristika postmo- derne umjetnosti.2 Kod propitivanja pojmova izvornosti i autorstva znanost o umjetnosti u posljednjih je nekoliko desetljeća većim dijelom usmjerena na istraživanje početaka modernističkog poimanja tih pojmova. U ovom 1 U umjetnosti, primjerice, autori R. Magritte, A. Warhol, S. Levine, R. Longo (appropriation art), a u znanosti o umjetnosti ti se pojmovi propituju najčešće u kontekstu propitivanja pojma autora, autorstva, referencijalnosti, citatnosti i sl. te njihovih različitih diskurzivnih praksi i funkcija, pri čemu je najčešće zaključak da je temeljna odrednica autorstva i umjetnosti izvornost (usp. Preziosi, 1998.). 2 Primjerice, Owens, Craig. The Allegorical Impulse: Toward a Theory of Postmodernism (1980.). ANALI GAA • XXVIII–XXIX (2008.–2009.) • 28–29 • 9–36 9 LAVINIA BELUŠIĆ POJAM IZVORNOSTI U TRAKTATIMA RENESANSNE ITALIJE (1435.–1568.) će se radu tumačiti poimanje i korištenje pojma izvornosti u tekstovima renesansnih traktata s područja likovnih umjetnosti i arhitekture, kao i iz bi- ografija koje nastaju tijekom prve
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