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Sakralno baročno slikarstvo v Celju
Bračun, Tanja (Author), Klemenčič, Matej (Mentor) More about this mentor... This link opens in a new window

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Abstract
V magistrskem delu z naslovom Sakralno baročno slikarstvo v Celju so predstavljena baročna slikarska dela treh župnij, te so: Stolno-opatijska mestna župnija Celje – sv. Danijel, Župnija Celje – sv. Cecilija in Župnija Celje – sv. Jožef. Vsebina temelji na preučevanju starejše strokovne literature, sodobnih dognanj strokovnjakov 䀀 umetnostnih zgodovinarjev in na terenu preverjenih podatkih. Slikarska dela so predstavljena v obliki kataloga. V magistrskem delu so predstavljene slike iz osmih cerkva in kapucinskega samostana, nastale od 17. do začetka 19. stoletja. Dodane so tudi slike, med njimi dve Metzingerjevi, ki se motivno in vsebinsko navezujejo na celjske sakralne prostore, nahajajo pa se v Pokrajinskem muzeju Celje. Muzej jih je pridobil iz okrajnega zbirnega centra, nastalega leta 1945, v katerem se je mnogim slikam sled za provenienco izgubila. V raziskavi, predstavljeni v magistrskem delu, pa je ugotovljeno, da je slika v Pokrajinskem muzeju Celje predhodno že bila opisana v cerkvi Marijinega vnebovzetja v Celju. S slikovnim gradivom je predstavljenih sedeminštirideset slikarskih del in ena grafika, od teh jih je le štiriindvajset mogoče videti v cerkvah in samostanu. Župnije namreč številne slike hranijo v prostorih, ki niso dostopni javnosti. V delu so iz starejše literature navedene tudi baročne sakralne slike v Celju, ki jih danes ni mogoče najti niti na reprodukcijah. Ugotovljeno je, da nekatere slike v cerkvah in samostanu niso več na svojih prvotnih mestih, dve Raunacherjevi sliki sta v oltarjih cerkve Marijinega vnebovzetja postavljeni v drugačni kombinaciji, kot je bilo zapisano v šestdesetih letih prejšnjega stoletja. V cerkvi sv. Miklavža je slika z motivom Kristusa v stiskalnici v oltarju na mestu, kjer je v starejši literaturi dokumentirana slika sv. Trojice. Slika sv. Maksimiljana Celjskega in verjetno tudi slika sv. Florijana, ki sta bili nekoč v cerkvi sv. Maksimiljana Celjskega, pa sta danes v cerkvi sv. Danijela. V tej cerkvi je na ogled tudi baročna slika, ki so jo v cerkev prinesli leta 1995 in v literaturi ni omenjena. Umetnostni zgodovinarji, ki so preučevali barok na Celjskem, so našteli sedemindvajset slikarjev, ugotovitve, predstavljene v delu, pa ponazarjajo, da je v sakralnem slikarstvu potrjenih le osem slikarjev, večji del slik je namreč nesigniranih. V 17. stoletju, v uvodu v baročno dogajanje, sta za cerkev sv. Cecilije pod okriljem škofa Tomaža Hrena slikala Matija Plainer in Krištof Weissmann. V cerkvi Marijinega vnebovzetja in cerkvi sv. Danijela sta ustvarjala kranjska slikarja Franc Jelovšek in Valentin Metzinger. Graški slikarji, ki so slikali za ti dve cerkvi v 18. stoletju, pa so: Johann Baptist Anton Raunacher, Anton Jantl in Johann Franz Petumfill. Baročni slog se je v sakralni slikarski umetnosti v Celju ohranjal tudi v začetku 19. stoletja, to dokazuje freska v cerkvi Marijinega vnebovzetja, ki jo je leta 1813 naslikal štajerski slikar Matija Schiffer. V delu potrjeno datirane slike so še: Weissmannova sv. Cecilija iz leta 1627, Jelovškova freska sv. Danijela v levji jami, Metzingerjeva slika sv. Družina iz leta 1742, Jantlova slika smrt sv. Barbare iz leta 1770 in Petumfillova slika sv. Ana z Marijo in Joahimom iz leta 1772. Ugotovljeno je, da so slikarji pogosto slikali po grafičnih ali slikovnih predlogah. Celjske slike je mogoče primerjati s predlogami Johanna Sadelerja, Georga Philippa Rugendasa, Guida Renija in Daniela Grana. Medtem ko je zaradi razpršenih podatkov težko določiti naročnike slik, je v magistrskem delu zapisana verjetnost povezave grofov Gaisruckov z naročilom slike slikarju Petumfillu. Na koncu magistrskega dela je v prilogi predstavljen pogovor z akademskim konservatorjem specialistom Viktorjem Povšetom, ki je celjske baročne slike konzerviral in po eksploziji leta 1979 pred uničenjem rešil danes edino ohranjeno baročno fresko v Celju.

Language:Slovenian
Keywords:Celje, župnije, barok, 17.–19. stoletje, sakralno slikarstvo.
Work type:Master's thesis/paper (mb22)
Organization:FF - Faculty of Arts
Year:2020
Views:160
Downloads:89
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Secondary language

Language:English
Title:Sacral Baroque Painting in Celje
Abstract:
Master’s thesis titled Sacral Baroque Painting in Celje presents baroque works from three parishes in Celje, namely: the Celje capital-abbey city parish - St. Daniel, the Celje parish - St. Cecilia and the Celje parish - St. Joseph. The content is based on studying older professional literature, modern findings by experts 䀀 art historians and data that was checked in the field. The works are presented in the form of a catalogue. The master’s thesis presents paintings from eight churches and the Franciscan monastery made in the period from the 17th to the start of the 19th century. Also added are painting, among them two Metzinger’s paintings which in terms of motives and content relate to the Celje sacral premises and reside in the Celje Regional Museum. The museum acquired them from the district collection centre, established in 1945, where the provenance trail for many paintings gets lost. The research presented in the master’s thesis finds that one painting in the Celje Regional Museum has previously already been described in the Church of St. Mary’s Assumption in Celje. The illustrations present 47 paintings and one printed graphic work, of which only 24 can be seen in churches and the monastery. Parishes namely keep numerous paintings on premises not accessible to the public. The thesis also describes sacral baroque painting in Celje that today cannot be found even on reproductions. It was found that certain paintings in churches and the monastery are no longer in its original place, two Rannacher paintings are placed in the altars of the Church of St. Mary’s Assumption placed in a combination that differs from what was written in the 1960s. The Church of St. Nicholas has the painting with the motif of Christ in a press in the altar where the painting of the St. Trinity is documented as being in older literature. The painting of St. Maximillian of Celje and probably also the painting of St. Florian that were once in the Church of St. Maximillian of Celje are now in the church of St. Daniel. This church also has the baroque painting brought to the church in 1995 and is not mentioned in any literature. Art historians that have studies the baroque period in the Celje region have counted 27 painters and the findings presented in the thesis show that only eight painters are confirmed for sacral painting, the majority of the paintings are namely unsigned. In the 17th century, at the beginning of the baroque period, the painters Matija Plainer and Krištof Weissmann painted for the Church of St. Cecilia under the auspices of the bishop Tomaž Hren. Two painter from Kranj, Franc Jelovšek and Valentin Metzinger, created their works for the Church of St. Mary’s Assumption and the Church of St. Daniel. And the painters from Graz who painted for these two churches in the 18th century are: Johann Baptist Anton Raunacher, Anton Jantl and Johann Franz Petumfill. The baroque style was also used in the sacral art of painting in Celje at the beginning of the 19th century. This is evident from the fresco in the Church of St. Mary’s Assumption that was painted in 1813 by the Styrian painter Matija Schiffer. Paintings with confirmed dated that are included in the thesis are: Weissmann’s St. Cecilia from 1627, Jelovšek’s fresco of St. Daniel in the Lion’s Den and Metzinger’s painting of St. Family from 1742, Jantl’s painting of the death of St. Barbara from 1770 and Petumfill’s painting of St. Anna with Mary and Joachim from 1772. It was found that the painters often painted based on graphic or painting templates. The paintings from Celje can be compared to templates by Johann Sadeler, George Philipp Rugendas, Guido Reni and Daniel Gran. While due to the data being scattered, it is difficult to pinpoint the sponsors of the paintings, the master’s thesis discusses the possibility of a link between the counts of Gaisruck with the order of Petumfill’s painting. The attachment at the end of the master’s thesis contains an interview with the academic conservator specialist Viktor Povše who conserved the baroque paintings from Celje and who, after the explosion in 1979, saved the only remaining preserved baroque fresco in Celje before destruction.

Keywords:Celje, parishes, baroque, 17th - 19th century, sacral painting.

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