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Giovanni Lanfranco Na Lastovu

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Giovanni Lanfranco Na Lastovu Radoslav Tomi} Giovanni Lanfranco na Lastovu Rijetko je koja slika u Hrvatskoj tako iscrpno dokumentira- 14. travnja 1632. godine isplatio je 50 dukata »Gospodin na kao poliptih na glavnom oltaru @upne crkve sv. Kuzme i Anton Bogdanovi} gospodinu vitezu Giovanniju Lanfran- Damjana na otoku Lastovu. Usprkos tomu on nije bio pred- cu« (Sig) Caure Gio Lanfranco) za nekoliko slika koje radi metom posebne studije, iako je ~etiri slike izradio Giovanni za crkvu u Lastovu (alcuni quadri che fa per la Comunita, e Lanfranco (Parma, 1582.-Rim, 1647.), i ubrajaju se u naj- Chiesa di Lagosta) vrjednije umjetnine koje su naru~ene u 17. stolje}u na po- 21. travnja 1632. godine ispla}eno je 15 dukata slikaru dru~ju nekada{nje Dubrova~ke Republike. Giovanniju Scrivelliju za ra~un slika koje treba napraviti Na kamenom oltaru nalazi se {est slika. Na sredini je pala s 21. srpnja 1632. godine ispla}eno je 50 dukata vitezu Gi- prikazom za{titnika Lastova, svetih Kuzme i Damjana (250 ovanniju Lanfrancu (Cauare Gio Lanfranco) za jednu sliku x 148 cm). Iznad njih je prikazan an|eo s cvjetnim vijenci- koju radi za crkvu u Lastovu ma i palmom mu~eni{tva, a u sredini, na morskoj pu~ini, 6. kolovoza 1632. godine ispla}eno je 10 dukata vitezu otok Lastovo. Umjetnik se potpisao na hrptu knjige u sve~e- Giovanniju Lanfrancu za slike (al dto Cauare Lanfranco per vim rukama: EQ Ios LANNRANCVS.1 U atici oltara nasli- Pitture) kan je Bog Otac (148 x 70 cm), a sa strana sredi{nje pale ~e- tiri manje slike s prikazima sv. Petra, sv. Pavla, sv. Jerolima 27. kolovoza ukupne tro{kove za dvije slike za `upnu cr- i sv. Josipa (veli~ina svake pojedine slike: 95 x 50 cm). kvu u Lastovu slikaru Giovanniju Scrivelliju (a Gio Scriuel- li Pittore (...) per resto, et intiero pagamento di due Quadri Arhivske dokumente o kupnji slika objavio je Nrano Radi} per la Chiesa di Lagosta). 1895. godine. Iz njih doznajemo da je 1. srpnja 1631. godi- ne Lastovac don Anton Bogdanovi} (Deodatus, Deodat, Di- Prema tome, Giovanni Lanfranco je dobio 110, a Giovanni odati),2 zastupaju}i odsutnoga `upnika, prikupio u `upi 121 Scrivelli 25 dukata. Ukoliko se usporedno ~itaju dokumenti dukat koji nije `elio predati dubrova~kom nadbiskupu za po- i sa~uvane slike, mo`e se zaklju~iti da je Lanfranco najprije pravak nadbiskupske pala~e, ve} je predlagao op}ini da no- ispla}en za izradu triju manjih slika koje u to vrijeme, 14. vac upotrijebi za gradnju i opremu glavnog oltara u `upnoj travnja 1632. godine, upravo radi (alcuni quadri che fa). To crkvi. Lastovska je skup{tina jednoglasno prihvatila njegov su slike koje prikazuju Boga Oca, sv. Jerolima i sv. Josipa. prijedlog, iako on nije prihvatio njihovu ponudu da im bude Potom je 21. srpnja 1632. godine ispla}en za jednu sliku, `upnik jer se vra}ao u Rim gdje je `ivio od 1626. godine.3 koja se mo`e protuma~iti kao sredi{nja pala s prikazom sv. Skup{tina je 2. studenog 1631. godine u prisutnosti lastov- Kuzme i Damjana. Slikar Scrivelli ispla}en je u dva navrata skoga kneza, dubrova~koga plemi}a Nikole Palmoti}a, pri- za dvije manje slike koje prikazuju sv. Petra i sv. Pavla. hvatila da se novac za kupnju slika na glavnom oltaru povje- Oslanjaju}i se na same umjetnine i dokumente, danas se ri don Antonu Bogdanovi}-Deodatiju »da dade naslikati u mogu jasnije sagledati lastovske umjetnine. Kada su lokalni Rimu kod kojeg vrijednog ~ovjeka. Ukoliko mu ne bude do- pisci u 19. stolje}u pisali o njima kao o Tizianovim djelima, voljno stotinu dvadeset i jedan dukat, neka utro{i vi{e, samo imali su, dakako, krivo, ali su na taj na~in, ne znaju}i pravo- da se nabavi lijepa stvar.« (facia fare la pittua à Roma di ga majstora, vrednovali slike kao istinska remek djela.4 No, qualche valent huomo con commissione, non bastando detti istovremeno se mo`e razlu~iti udio dvojice slikara. Nasuprot ducati 121 che spenda, e piu accioche si habbia cosa fina). mi{ljenju dosada{njih pisaca da je Lanfranco izradio samo Knez Andrija Basegli potvrdio je 28. velja~e 1633. godine sredi{nju palu s prikazom sv. Kuzme i Damjana,5 dokumen- da je don Anton Bogdanovi}-Deodato na Lastovo poslao ti i stilska analiza nedvojbeno potvr|uju da se njegov udio {est slika te da su postavljene na glavni oltar u `upnoj crkvi. mora pro{iriti i na tri slike s prikazima Boga Oca, sv. Jeroli- Iz zapisa 1. o`ujka 1633. godine doznajemo va`ne podatke ma i sv. Josipa. Na`alost, lik sv. Jerolima u molitvi smiono o nastanku slika, njihovim autorima te o isplatama koje je okrenut le|ima promatra~u znatno je o{te}en pa se njegova don Anton Bogdanovi}-Deodato ispla}ivao slikarima preko ljepota mo`e tek djelomi~no prepoznati. No, sve slike poka- rimskih bankara Camilla i Guida del Pelagio. zuju jedinstvenu poetiku kakva je Lanfrancu bila svojstvena 227 Kiparstvo slikarstvo u ~etvrtom desetlje}u, pred odlazak u Napulj u prolje}e zrnasta tekstura bez zavr{noga sloja boje ne bi se smjela tu- 1634. godine. Iza sebe je imao velik opus i ugled u papin- ma~iti isklju~ivo umjetnikovim stvarala~kim postupkom skom Rimu, gdje je na tradiciji Correggiove i Carraccijeve (formalnim nemarom ili nedostatkom discipline, {to se ina- umjetnosti slikao oltarne pale, fresko dekoracije i djela s mi- ~e sre}e u toj »neovenecijanskoj« fazi slikareve karijere), tolo{kim temama. Za lastovske slike dobio je narud`bu na- ve} njezinom nedovr{eno{}u. To se u jednakoj mjeri mo`e kon {to je oslikao kupolu SantAndrae della Valle prema na- primijetiti i za donju zonu neba, morsku povr{inu i kopno na rud`bi kardinala Alessandra Perettija Montalta (1625.- kojemu sveci stoje, te na otok Lastovo u sredini, izme|u 1628.), palu La Navicella u Crkvi sv. Petra (1627.-1628.), dvaju svetaca koji ga za{ti}uju. Horizontalni, {iroko nanese- nakon ~ega je bio od pape Urbana VIII. progla{en Cavalie- ni slojevi sive boje, tamno more i gustim mrljama oblikova- re di Cristo 11. listopada 1628.,6 te oslik kapele Santissimo no kopno, podsje}aju dodu{e na »meteorolo{ka« zagasito Crocifisso u Crkvi sv. Petra prema narud`bi kardinala Nran- mra~na i duboka neba Ludovica Carraccija, ali je kontrast cesca Barberinija. Na stvarala~kom vrhuncu radio je oltarne izme|u porculanski modeliranih sveta~kih lica koja miluje pale ne samo za crkve u Rimu, Peruggi i Spoletu, nego i za blijedo svjetlo i hrapave draperije prenagla{en i ne sre}e se, prekoalpske gradove Augsburg i Lucern. Sliku Uznesenje u tom obliku, na njegovim drugim djelima. Nije, dakle, rije~ Bla`ene Djevice Marije za Augsburg (sada München, isklju~ivo o kontrastu kojim se posti`e dramatika, ve} o pali Nymphenburg) naru~ili su 1631. godine Wilhelm i Carl Nug- koju je Lanfranco, pred skori odlazak u Napulj, zatrpan broj- ger, dok je lucernsku sliku Molitva na gori naru~io 1633. go- nim obvezama, ostavio nedovr{enu. Tome u prilog govori i dine Orazio Scotti. Njezin okvir ispla}en je 8. srpnja 1634. izgled gornjega dijela pale na kojoj an|eo modeliran svije- godine kada se Lanfranco s obitelji ve} preselio u Napulj. To tloru`i~astim tonovima nosi palmu i dva cvjetna vijenca, je, prema dosada{njim istra`ivanjima, posljednja narud`ba probijaju}i se iz visina prema paperjastim, nabujalim obla~i- prije umjetnikova preseljenja iz Rima u Napulj. Tih je godi- }ima koji ga uokviruju kao u »tunelu svjetlosti«9 (I. Toesca). na Lanfranco anga`iran i na izradi fresaka u pala~ama u U pojedinostima (cvjetni vijenci, an|eo i rubovi oblaka), Rimu te vilama u okolici grada. Pi{u}i o freskama u vili Ar- pred nama je »nje`no« slikarstvo u kojem su potezi kista la- rigoni-Varesi-Muti (Nrascati) pretpostavio je Erich Schleier gani, svje`i i te~ni. U tom je dijelu slike boja prozirna, {to se da su ra|ene 1630. godine u suradnji s pomo}nikom. Nagla- posti`e sitnim dodirima svjetla (npr. krila i rubovi oblaka). {avaju}i iznimnost takve prakse, jer je Lanfranco za vrijeme Ni tri manje slike s prikazima Boga Oca, sv. Jerolima i sv. djelovanje u Rimu radio gotovo isklju~ivo samostalno, autor Josipa ne pokazuju znakove nedovr{enosti. U tom je smislu je upozorio da se o njegovim u~enicima i suradnicima, koje najva`niji lik sv. Josipa. Vitalnost njegova lica, hrapavost spominju stariji pisci, ne zna gotovo ni{ta.7 Sve su to va`ne tkanine u koju je zaogrnut, pokrenutost ruku, plasti~nost pr- ~injenice kada se pi{e o lastovskim slikama. One su jedine stiju na rukama i nogama, pokazuju podjednako dramatiku i prekomorske narud`be kod »najmodernijega slikara toga eleganciju Lanfrancova slikarstva. Taj se slikarski postupak trenutka u Rimu«, naru~ene istovremeno kada i slike za cr- mo`e definirati kao naturalizam pro`et elegancijom i graci- kve u Njema~koj i [vicarskoj. Na izradi poliptiha nije bio ozno{}u. I ovdje je o~i{te slike postavljeno izrazito nisko anga`iran tek veliki slikar, ve} i njegov suvremenik (i surad- svetac stoji na tlu koje se spu{ta, kao na vrh brijega. Drapi- nik?) Giovanni Scrivelli, slikar prosje~nih mogu}nosti, koje- ranje odje}e i njezino rasprostiranje opravdava sintagmu o mu su ime i rad potvr|eni u arhivskim dokumentima. Lanfrancu kao »Berniniju ante litteram«. U pripremnim radovima za fresku La Navicella u Crkvi sv. Prikaz Boga Oca izrazito je dramati~an i robustan.
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