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La Furia Dalmatina: Andrea Schiavone U Veneciji Splendori Del Rinascimento a Venezia

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La Furia Dalmatina: Andrea Schiavone U Veneciji Splendori Del Rinascimento a Venezia 51 izložbe Tanja Trška La furia Dalmatina: Andrea Schiavone u Veneciji Splendori del Rinascimento a Venezia. Andrea Schiavone tra Parmigianino, Tintoretto e Tiziano Venecija, Museo Correr 28. studeni 2015. – 10. travanj 2016. autori izložbe Enrico Maria Dal Pozzolo, Lionello Puppi Prva monografska izložba posvećena Andrei Schiavoneu (Zadar, oko 1510. – Venecija, 1563.), održana u veneci- / janskom Museo Correr od kraja stude- nog 2015. do početka travnja 2016. godine, doista je osvijetlila lik i prvenstveno djelo umjetnika kojeg su i hrvatska i talijanska historiografija shvaćale kao “svojeg”.1 Izlož- ba iza koje stoji ozbiljan istraživački pro- jekt Sveučilišta u Veroni (Problemi del mani- erismo lagunare: da Andrea Schiavone a El Greco, od 2014., voditelj Enrico Maria Dal Pozzo- lo) okupila je niz istraživača koji su obradi- li najvažnije aspekte života i umjetničkog djelovanja slikara dalmatinskoga podrijetla čija je pojava u Veneciji 16. stoljeća izazva- la oprečne reakcije među suvremenicima. Premda povremeno prisutan u stručnoj li- teraturi i nakon monografije Francisa Ri- chardsona objavljene sada već davne 1980. godine,2 Schiavoneovo je vrijeme, čini se, tek došlo. Već sama količina izloženih dje- la – više od 140, od kojih preko 80 samoga Schiavonea – govori o iznimnom istraživač- kom i organizacijskom naporu zahvaljujući 1 Ovaj prikaz nastao je u okviru projekta Visualizing ↗ Nationhood: the Schiavoni/Illyrian Confraternities and Andrea Meldola zvan Schiavone, Judita, pero, Colleges in Italy and the Artistic Exchange with South East smeđa tinta, kreda i olovka i sepija na smeđem Europe (15th – 18th c.) Hrvatske zaklade za znanost (hrzz papiru, 249 x 192 mm. London, British Museum. ip-2014-09-2305). La furia Dalmatina je izraz koji je za © The Trustees of the British Museum Andreu Schiavonea upotrijebio Marco Boschini u djelu La carta del navegar pittoresco (1660.). 2 Francis Lee Richardson, Andrea Schiavone, Oxford: Clarendon Press, 1980. kv_1_2_2016_(19)_8_priprema2_1_K_1.indd 51 16/09/16 13:39 52 kojem ovu izložbu ne bi bilo presmjelo naz- dala bitno nove rezultate. No sigurno je – i na vati središnjim događajem godine. tome autorica inzistira – da je Meldolla kao Djela okupljena u spomenutom broju često rabljena inačica slikareva prezimena podijeljena su u čak petnaest sekcija, posve neutemeljena, kao i davno pobijena a šesnaestu, kao nužan dodatak monograf- hrvatska verzija Medulić, na koju smo se toli- ski koncipiranoj izložbi, čine Schiavoneova ko navikli i za koju je (prema osobnom isku- venecijanska djela smještena izvan muzeja. stvu) potreban dodatan napor da pri pisanju Usitnjavanje izložbe u prilično velik niz te- o Schiavoneu ne zaluta u koju rečenicu. Ti- matskih cjelina opravdano je kronološkim skani izvori, pak, svjedoče o oprečnim stavo- slijedom koji su autori izložbe odlučili prati- vima slikarevih suvremenika, od pohvala Pie- ti, pa su tako, nakon uvodnih dijelova po- tra Aretina i kroz njegove riječi Tiziana, do svećenih biografiji i recepciji umjetnikova osude Paola Pina i površnoga, dijelom nega- djela, crteži i grafički listovi podijeljeni u po tivnoga stava Giorgia Vasarija izrečenoga u dvije cjeline najprije ranih, a zatim kasnih, drugom izdanju Vita (1568.), unatoč činjenici odnosno zrelih radova, između kojih su uz da je sâm posjedovao Schiavoneove crteže te dinamičnu izmjenu umjetničkih vrsta smje- da je od njega oko 1540. godine naručio djelo štene sekcije posvećene komparativnim pri- koje je namjeravao pokloniti Ottavianu de’ mjerima i većinom ikonografski i “namjen- Medici. Vasarijev je sud, popraćen atribucija- ski” grupiranim Schiavoneovim djelima. ma djela koja ne pripadaju opusu Andree Upravo namjenom velikog broja svojih djela Schiavonea, dijelom odredio percepciju i Schiavone se ističe među svojim suvremeni- recepciju slikarevih djela izvan Venecije, gdje cima: kao slikar dekorativnih kompozicija su međutim pohvale nastavili nizati pisci 17. mitološke ili alegorijske tematike, zidnih stoljeća, Giulio Cesare Gigli (1615.), Carlo oslika pročelja palača i kapela u venecijan- Ridolfi (1648.) i Marco Boschini (1660., 1674.). skim crkvama, autor predložaka za tapiseri- Vrijednu i zanimljivu iznimku predstavljaju je te niza figuralnih frizova i oslikanih škri- bilješke Annibale Carraccija i El Greca u nji- nja (cassona) koje spominju njegovi biografi u hovim vlastitim primjercima Vasarijevih domovima venecijanske gospode, danas Vita, od kojih je Carraccijev, danas u bolonj- rastavljenih i razasutih po svjetskim muzeji- skoj Biblioteca dell’Archi ginnasio, bio uklju- ma. Izložbu otvaraju svjedočanstva o Andrei čen u postav izložbe. Bolonjski se slikar u svo- Schiavoneu za života, koja su u pratećem jim bilješkama na marginama Vasarijeva katalogu (neznatno izmijenjena naslova3) teksta obrušio na pisca nazivajući ga neznali- detaljno analizirana u tekstu Silvije Miscel- com te hvaleći Schiavonea, kojeg je smatrao laneo (Verifiche e novità archivistiche per Andrea slikarem punim duha i profinjenosti, puno Schiavone: genealogia, cronologia e fonti documenta- boljim od mnogih firentinskih slikara koje je rie), popraćenom prijepisima arhivskih do- Vasari uzdiže do nebesa (“spiritoso e gratioso kumenata. Pisana svjedočanstva o životu i pittore, e così spedito e facile che avanzò di djelu Andree Schiavonea mogu se pobrojati u gran longa molti pittori fiorentini i quali samo desetak dokumenata koji nude sigurne Vasari essalta fin al cielo”). Na izvore ovoga podatke o njegovom životnom putu i malo- tipa, u smislu smjernica za (re)konstrukciju brojnim dokumentiranim djelima, a čak ni kritičke povijesti Schiavoneova djela, u kata- opsežna arhivska istraživanja provedena u logu izložbe se pozivaju mnogi autori pojedi- okviru pripreme izložbenog projekta nisu načnih tekstova (Linda Borean, Enrico Maria Dal Pozzolo, Chiara Callegari), pa je šteta da 3 Splendori del Rinascimento a Venezia. Schiavone tra El Grecov pozitivan stav o Schiavoneu nije Parmigianino, Tintoretto e Tiziano, (ur.) Enrico Maria prenesen barem u bilješci, nego je ostao ogra- Dal Pozzolo, Lionello Puppi, Milano: 24 ore cultura; ničen na uputu na literaturu u Dal Pozzolovu Venezia: muve, 2015. tekstu. U rekonstrukciji korpusa Schiavoneo- kvartal XI II -1 | 2-2016 kv_1_2_2016_(19)_8_priprema2_1_K_1.indd 52 16/09/16 13:39 53 izložbe vih slikarskih djela ključnu je ulogu među ru; te konačno prvak venecijanskoga Cinque- starijim piscima imao spomenuti Carlo Ri- centa Tizian koji je Schiavoneov talent prepo- dolfi, od kojega Enrico Maria Dal Pozzolo znao pri izboru slikara koji će sudjelovati na započinje svoju reviziju slikareva opusa i projektu uređenja Biblioteke Marciane. I njegove kritičke recepcije od 16. stoljeća do upravo su djela tih velikana talijanske rene- suvremenoga doba. Uz malobrojna, dijelom sanse uključena u izložbu ponudila dostojan izgubljena djela zabilježena u javnim prosto- kontekst za sagledavanje njegova umjetničk- rima (Biblioteca Marciana, crkve og puta – od Parmigianinove Bogorodice s Djete- Sant’Aponal, San Sebastiano, Santa Maria tom, sv. Ivanom Krstiteljem, Marijom Magdalenom i del Carmine i Crociferi) te fresko oslike ne- sv. Zaharijom iz Uffizija i Tizianove Madonne koć na fasadama palača u Veneciji i okolici, Aldobrandini iz londonske National Gallery kao Ridolfi navodi cijeli niz djela u privatnim izvora inspiracije, do djela mladoga Tinto- prostorima, za koje Dal Pozzolo znakovito retta obilježenih manirističkim leksikom naglašava da je riječ o pokretnim djelima emilijanskoga podrijetla posredovanog Schi- koja su prije ili kasnije morala napustiti avoneovim kistom. Osim neizostavnog Tizi- Veneciju, zaključujući da niti jedno s Ridol- ana, u okviru dvije odvojene cjeline nazvane fijeva popisa nije ostalo u Veneciji. Ridolfije- Venecijanski dijalozi ili Dijalozi u laguni (Dialoghi va je pak biografija Andree Schiavonea, sma- lagunari) predstavljena su djela Lamberta tra se, dijelom oblikovana u spoju s ličnošću Sustrisa i Parisa Bordonea te Polidora da njegova imenjaka Andree de Nicolò da Cur- Lanciana (Sveta Obitelj sa sv. Ivanom Krstiteljem i zola, “slikara bez slika” također podrijetlom anđelom iz Strossmayerove galerije starih s istočne obale Jadrana, koji se u venecijan- majstora hazu) i Jacopa Bassana, u kojima skoj Fraglia dei pittori bez preciznije datacije se očituju ne samo Schiavoneovi utjecaji, spominje od 1530. godine. Unatoč širokom nego doista “razgovori”, razmjene umjetnič- prostoru za literarne konstrukcije, podatci kih iskustava između jasno definiranih sli- koje nude tiskani izvori 16. i 17. stoljeća ot- karskih ličnosti. U postavu izložbe jedno od krivaju umjetničke, intelektualne i naruči- djela koje isprva izaziva dvojbe o razlozima teljske krugove u kojima se Schiavone kretao njegova odabira u kontekstu Schiavoneove – od spomenutog Pietra Aretina, Francesca slikarske produkcije jest Kušnje sv. Jeronima Sansovina i Tommasa Rangonea do velikana Giorgia Vasarija iz firentinske Gallerie Pala- venecijanskoga Cinquecenta Tiziana, Tintoret- tine, toliko različitoga od slikarskoga izraza ta i Veronesea, s kojima je pred sam kraj bilo Venecijanaca toga razdoblja, bilo samo- života bio u komisiji koja je imala provjeriti ga Schiavonea. Razloge odabira objašnjava rad Francesca i Valerija Zuccata na mozaici- tekst u katalogu izložbe: upravo zato što je ma u Sv. Marku. Velika imena supostavljena toliko različit od Schiavonea, radi njihovih Schiavoneu u nazivu izložbe u ovom slučaju “nepomirljivih stilskih pozicija”. Kušnje sv. doista nisu mamac koji bi privukao publiku Jeronima jedna je
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