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Djela Radionice Santa Croce Na Istočnoj Obali Jadrana

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Djela Radionice Santa Croce Na Istočnoj Obali Jadrana SVEUČILIŠTE U ZAGREBU FILOZOFSKI FAKULTET ODSJEK ZA POVIJEST UMJETNOSTI Ivana Lučića 3 Ivana Čapeta Rakić DJELA RADIONICE SANTA CROCE NA ISTOČNOJ OBALI JADRANA DOKTORSKI RAD Zagreb, 2011. - 1 - UNIVERSITY OF ZAGREB FACULTY OF PHILOSOPHY DEPARTMENT OF ART HISTORY Ivana Lučića 3 Ivana Čapeta Rakić WORKS OF THE SANTA CROCE WORKSHOP ON THE EASTERN ADRIATIC COAST DOCTORAL THESIS Zagreb, 2011. - 1 - - 2 - SVEUČILIŠTE U ZAGREBU FILOZOFSKI FAKULTET ODSJEK ZA POVIJEST UMJETNOSTI Ivana Lučića 3 Ivana Čapeta Rakić DJELA RADIONICE SANTA CROCE NA ISTOČNOJ OBALI JADRANA DOKTORSKI RAD Mentor: Dr. sc. Ivana Prijatelj Pavičić Zagreb, 2011. - 2 - - 3 - SAŽETAK Tema ovoga rada vezana je većinom uz djelatnost jedne grane venecijanske slikarske obitelji Santa Croce i to one Girolama, Francesca i Pietra Paola da Santa Croce. Druga slikarska obitelj istoga prezimena zastupljena je na istočnoj obali Jadrana sa samo dva djela Francesca Rizza da Santa Croce. Naslovom rada sugerira se geografsko područje obuhvaćeno istraživanjem. Određeno je lokalitetima na kojima se nalaze djela radionice Santa Croce; od Kopra na sjeveru do Boke kotorske na jugu istočnojadranske obale. Opus obitelji Santa Croce na istočnoj obali Jadrana do sada nije bio obuhvaćen cjelovitim, iscrpnim pregledom koji bi sadržavao povijesnoumjetnička, ikonografska i konzervatorsko-restauratorska istraživanja, a nedovoljna pozornost bila je posvećena i drvorezbarenim okvirima njihovih slikanih djela. Razmatraju se pitanja o tipologiji i oblikovnim značajkama tih okvira te o ishodištima njihovih stilskih rješenja. Hipoteza o slikarima Santa Croce kao autorima cjelovitih oltarnih cjelina počiva primarno na proučavanju njihovih slikarskih djela i crteža na kojima vidimo prikazanu arhitekturu. Iz njih je razvidno da su dobro poznavali arhitekturu svoga vremena pa su mogli biti idejni autori cjelovitih projekata. Crteži su služili kao modeli koji su bili predočeni naručiteljima prilikom sklapanja ugovora za izvedbu umjetničkog djela a takvi, detaljno razrađeni crteži mogli su dalje služiti i kao predložak drvorezbarima za njihovu izvedbu. Detaljno se analizira ikonografija slikarskih djela radionice Santa Croce, a posebno se obrađuju dva marijanska ciklusa: na Košljunu i u Hvaru. Nadalje, obrađuje se i vrlo zanimljiva tema vezana uz proučavanje tekstilnih predložaka na slikanim djelima Santa Croceovih kao što su ornamentika misnih ruha i tipologija orijentalnih sagova. Važan segment rada čini rasprava o odnosu recepcije opusa Santa Croceovih u okviru slikarstva Venecije u odnosu na istočnojadransku obalu. Istraživanjima je utvrđeno da su u Veneciji i bližoj okolici njihova djela naručivali naručitelji iz različitih slojeva društva dok je na istočnoj obali Jadrana dominantan broj narudžaba vezan uz franjevačke, opservantske crkve provincije sv. Jeronima te dijecezanske crkve. Posebno je poglavlje posvećeno slikarskoj tehnologiji radionice Santa Croce i metodama građenja njihovih djela. Istraživanja su pokazala da su se, osim slikarskim stilom i ikonografijom djela, i u tehnološkom smislu naslanjali na - 3 - - 4 - venecijanske slikarske radionice druge polovice quattrocenta i prvih dvaju desetljeća cinquecenta, a poglavito onu Giovannija Bellinija. KLJUČNE RIJEČI Girolamo da Santa Croce, Francesco da Santa Croce, Pietro Paolo da Santa Croce, Francesco Rizzo da Santa Croce, Venecija, XVI. stoljeće, franjevci, slikarstvo, ikonografija, oltari, crteži - 4 - - 5 - RIASSUNTO L'argomento principale di questa relazione sarà l'attività artistica di un ramo della famiglia veneziana dei Santa Croce, le cui opere sono presenti nella parte orientale dell'Adriatico da molto tempo. Un'omonima famiglia, lo stesso conosciuta in ambito artistico, è presente nella stessa zona con sole due opere di Francesco Rizzo da Santa Croce. Le tele sono di dimensioni più piccole e appartengono alla proprietà privata. Al centro delle indagni sarà bottega fondata da Girolamo da Santa Croce (Santa Croce, Val Brembana, provincia di Bergamo, 1480-1485 – Venezia, 1556), la quale passa in eredità prima al figlio Francesco (Venezia, 1516 -1584), e poi al nipote Pietro Paolo da Santa Croce ( ? - Venezia, 1620). La bottega durante il XVI. secolo creava per i committenti dell'Adriatico orientale opere di tematica esclusivamente sacrale. Si tratta per lo più di opere create dalla commistione di più dipinti che facevano parte integrante dell'altare (polittico, trittico) e di altre costituite da un'unico dipinto. In tutto, si possono contare un centinaio di tavole. Nella zona orientale dell'Adriatico, da Kopar, sito nella zona settentrinale, fino a Kotor, verso sud, troviamo le opere della sopracitata bottega in circa sedici diverse località. Le datazioni risalgono al 1535 quando fu firmato e datato il polittico di Košljun, fino agli inizi del XVII. secolo. Lo stile della bottega rimase quasi del tutto invariato sin dai tempi della sua nascita, che collochiamo attorno all'anno 1516., fino al secondo decennio del XVII. secolo. Le tecniche artistiche adoperate si basano sull'opera delle celebri botteghe della seconda metà del quattrocento e dei primi decenni di cinquecento, tra cui la bottega Bellini, dove Girolamo iniziò il suo apprendistato. La bottega trae il suo stile anche dalle opere di Cima da Conegliano, di Bonifacio Veronese e altri. La ricezione della bottega sul mercato artistico veneziano fu minore rispetto alla sua presenza nelle altre città del Veneto come nell'Italia meridionale e nella Dalmazia. Troviamo numerose opere uscite dalle botteghe nelle chiese e nei conventi dl'ordine francescano, nella provincia di San Girolamo. Riteniamo che almeno due dei padri guardiani del convento nella provincia, ebbero merito nella committenza e nella scelta iconografica delle opere presenti nelle chiese del loro ordine. Nella complessa iconografia mariana spiccano due cicli: polittico dell'altare principale di Košljun (Cassione) e tre polittici nella chiesa francescana di Hvar (Lesina). I polittici, oltre - 5 - - 6 - all'influsso delle opere dei menzionati artisti veneziani, dimostrano l'uso di certe incisioni grafiche allora in voga. Il prezzo del polittico di Cassione, documentato in archivio, testimonia che si tratta di una somma abbastanza alta rispetto a quelle che all'epoca venivano pagate per certe opere del mercato veneziano, il che significa che nella scelta delle opere, il fattore decisivo era il gusto del committente piuttosto che il prezzo. Sui dipinti dei Santa Croce si nota un interessante repertorio dei paramenti liturgici e dell'iconografia che ritroviamo sui tappeti orientali che riflette la presenza dei tipi di tessuto allora di moda, i quali probabilmente erano presenti anche nella loro casa-bottega. Le pale d'altare, nate nella bottega dei Santa Croce, venivano spesso incorniciate con incisioni su legno dorato. A differenza dei dipiniti della parte occidentale dell'Adriatico, quelli presenti nell'altra area, conservano le cornici incise originali, ciò permette di analizzare la loro tipologia, la morfologia, l'origine e le possibili influenze che determinavano la scelta delle loro forme. I polittici incorniciati con le incisioni appaiono anche sui dipinti custoditi nelle diverse biblioteche e musei europei. Questi dipinti sono serviti come attributo per le ipotesi formulate sugli autori dei disegni delle pale d'altare, è considerevole inoltre la loro funzione nella bottega dei Santa Croce. È confermato l'uso di alcuni dei dipinti come modelli, i quali venivano presentati ai committenti durante la conclusione del contratto di commissione dell'opera. Un capitolo è dedicato alla tecnica pittorica della bottega Santa Croce e i metodi di lavorazione delle loro opere. Si tratta di conoscenze alle quali si è arrivato grazie alle indagini di restauro e conservazione delle loro produzioni. Le indagini includono anche le analisi microchimiche dei materiali usati. La seconda parte di questa relazione è composta da un catalogo delle opere della bottega presenti nella parte orientale dell'Adriatico. Il catalogo in ordine alfabetico elenca le località dove si trovano le opere. Ho aggiunto anche il catalogo delle opere dall'attribuzione incerta con i dipinti evidenziati fin'ora nella bibliografia come opere di Girolamo e Francesco Santa Croce, le quali però, secondo il mio parere non appartengono alla loro opera. PAROLE CHIAVE Girolamo da Santa Croce, Francesco da Santa Croce, Pietro Paolo da Santa Croce, Francesco Rizzo da Santa Croce, Venezia, XVI. secolo, francescani, pittura, iconografia, altari, disegni - 6 - - 7 - SADRŽAJ: 1. UVOD .......................................................................................................................8 1.1. Cilj i metoda istraživanja ................................................................................10 2. PREGLED DOSADAŠNJEG ISTRAŽIVANJA SLIKARSTVA RADIONICE SANTA CROCE......................................................................................................13 3. POČETAK SAMOSTALNE DJELATNOSTI RADIONICE SANTA CROCE..........19 4. KRATAK PRESJEK DJELATNOSTI I ŽIVOTA GIROLAMA, FRANCESCA I PIETRA PAOLA DA SANTA CROCE UTEMELJEN NA ARHIVSKIM PODATCIMA .........................................................................................................26 5. KRATAK OSVRT NA KULTURNO-UMJETNIČKE I POVIJESNE PRILIKE VREMENA .............................................................................................................30 6. ODREDNICE SLIKARSKOG STILA RADIONICE SANTA CROCE ....................33 7. DJELA RADIONICE SANTA CROCE NA ISTOČNOJ OBALI
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