Jasenka Gudelj
Jasenka Gudelj obtained a PhD in History of Architecture (School for Advanced Studies Venice – Ca’ Foscari&IUAV) in 2008. She has done research and taught at the University of Zagreb (2000-2020), University of Pittsburgh (2009) and the Bibliotheca Hertziana - Max-Planck Institute for Art History (2012).
From 2020 Gudelj is PI of ERC Consolidator project “AdriArchCult - Architectural Culture of the Early Modern Eastern Adriatic”, which examines political, religious, cognitive and practical sphere of the architectural culture of the Eastern Adriatic Coast between 15th and 18th c..
Between 2015 and 2018, she was PI of the research project “Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe” funded by Croatian Scientific Foundation. She participated in several international research projects, such as “Roma communis patria – chiese nazionali a Roma” (PI Susanne Kubersky-Piredda, Bibliotheca Hertziana, Rome) and “Portable antiquities” (PI Alina Payne, Harvard University), both funded by Max-Planck Foundation.
Her work focuses mainly on the history of architecture of the Adriatic region from a comparative perspective. Her book, "Europska renesansa antičke Pule (European Renaissance of the Ancient Pula)" (Zagreb, 2014), winner of the Croatian national scientific prize for 2014, explores the critical fortune of antiquities of Pula in the Renaissance. Her other publications include a co-authored volume on the Renaissance Cres/Cherso, four edited volumes and numerous articles on the circulation of architectural knowledge, its media and networks.
From 2020 Gudelj is PI of ERC Consolidator project “AdriArchCult - Architectural Culture of the Early Modern Eastern Adriatic”, which examines political, religious, cognitive and practical sphere of the architectural culture of the Eastern Adriatic Coast between 15th and 18th c..
Between 2015 and 2018, she was PI of the research project “Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe” funded by Croatian Scientific Foundation. She participated in several international research projects, such as “Roma communis patria – chiese nazionali a Roma” (PI Susanne Kubersky-Piredda, Bibliotheca Hertziana, Rome) and “Portable antiquities” (PI Alina Payne, Harvard University), both funded by Max-Planck Foundation.
Her work focuses mainly on the history of architecture of the Adriatic region from a comparative perspective. Her book, "Europska renesansa antičke Pule (European Renaissance of the Ancient Pula)" (Zagreb, 2014), winner of the Croatian national scientific prize for 2014, explores the critical fortune of antiquities of Pula in the Renaissance. Her other publications include a co-authored volume on the Renaissance Cres/Cherso, four edited volumes and numerous articles on the circulation of architectural knowledge, its media and networks.
less
InterestsView All (27)
Uploads
Books by Jasenka Gudelj
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a vital role in the construction of the image of the whole immigrant community and its visibility and recognition in the cosmopolitan urban contexts such as Venice, Rome, Bologna or Ancona, as well as in smaller centers of the Marche region. Moreover, they represent important hubs of exchange of ideas and knowledge both in Italy and with places of origin.
The volume aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
Autori fotografija zastupljeni na izložbi (među kojima su Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli i brojni drugi) interpretiraju najvažnija Fonanina rimska djela, ilustrirajući njohov odnos prema gradu i prema sjeni povijesti. Stoga su ove slike Rima i arhitekture Carla Fontane novost i za one kojima su mjesta prikazana kroz objektiv fotoaparata dobro poznata.
Erede di una celebre dinastia di architetti ticinesi, Carlo Fontana (Rancate 1638-Roma 1714) fu il protagonista della scena architettonica romana ed europea al crepuscolo del barocco. Svincolati dalla soggezione dei committenti e dalle convenzioni morfologiche e tipologiche del suo tempo, i progetti di Carlo Fontana si dispiegano dai manufatti di uso domestico, agli interni, all’architettura civile, religiosa e militare, fino alle più impegnative infrastrutture urbane e territoriali.
I diversi autori delle fotografie in mostra (tra i quali Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli e tanti altri ancora) interpretano le maggiori opere romane di Fontana, illustrandone il loro rapporto intimo con la città e con l’ombra della storia. Per questo l’immagini di Roma e dell’architettura di Carlo Fontana sono nuove anche per chi ha familiarità con i luoghi riprodotti dall’obiettivo fotografico.
Articles by Jasenka Gudelj
Gvozdanović was published in 1998 by the Association of Croatian
Architects as a kind of historical demonstration of the existence of female
creativity in architecture, and even in the global context it remains a
rare attempt of such research in an exceptionally wide temporal and
geographical framework. The book had a very long gestation period, as
it is based on a series of texts published in the mid-1970s and 1980s
in a professional architectural journal, Čovjek i prostor, but also in
a magazine intended for an educated female audience, Žena - journal
for scientific, social and cultural issues of the place and role of women
and families in society, published by the Croatian Women’s Union.
Moreover, Sekulić-Gvozdanović’s work on the female side of the history
of architecture coincided with the peak of her academic career, as she
was one of the key educators in the history of architecture at the Faculty
of Architecture of the University of Zagreb from the early post-war years until the late 1980s, even becoming the first female dean. When
the book was finally published in 1998, it became part of a series of
books on the Croatian architectural canon of the second half of the
20th century.
Its long preparation and erudite style made the book, when it finally
appeared, a somewhat outdated undertaking, but at the same time it
should be recognised as pioneering for its subject and its transversal
approach to issues such as the lack of historical sources, women’s
participation in the design of space before the emergence of professional
(female) architects, research on female patrons and users of buildings,
as well as the diagnosis of contemporary and historical gender and
professional relations. Finally, the book and its author are part of
mapping of the Croatian architectural sphere in the context of socialist
Yugoslavia, given its impact on the historiographic narrative and
influence on the Croatian public and academic domains.
as the procurator and syndic of the Ravennate monastery of Sant’Apollinare in Classe. Based on these new data, the
hitherto known network of family relations of the Šibenik protomaster has been expanded, including his connections
with the Camaldolese in Venice, Istria, and Romagna. The author discusses the artist’s links with Ravenna’s pro-Venetian
humanists and suggests some possible Ravennate sources of certain aspects of the Šibenik cathedral.
vescovo di Cittanova Marino Bozzatini (1742-1754). L’articolo analizza le sue commissioni e mediazioni nel campo delle arti visive, che includono gli altari nella chiesa di Santa Maria della Misericordia a Buie, con le sculture della bottega dei Groppelli e la pala d’altare di Giovanni Battista Pittoni, ma anche la riconfigurazione del presbiterio della cattedrale di Cittanova e il nuovo Duomo di Buie, entrambe opere dell’altarista, scultore e architetto proveniente da Palmanova Carlo Picco. Questi rifacimenti estensivi degli spazi sacri più importanti della diocesi emoniense si spiegano particolarmente alla luce della politica cultuale e liturgica del vescovo, in dialogo con le forze locali e le autorità veneziane.
Between the end of the 18th century and the first decades of the 19th century, the eastern coast of the Adriatic experienced dramatic regime changes; after centuries of Venetian rule, Istria and Dalmatia became part of the French Illyrian Provinces, later becoming a dominion of the Habsburgs. Against the background of these political events, the essay explores the contribution of French architects and artists to the European circulation of knowledge on ancient and medieval buildings in the region, in other words, to the formulation of an orientalizing and peripheral image, seen as an intermediate zone between Greece and Italy.
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a vital role in the construction of the image of the whole immigrant community and its visibility and recognition in the cosmopolitan urban contexts such as Venice, Rome, Bologna or Ancona, as well as in smaller centers of the Marche region. Moreover, they represent important hubs of exchange of ideas and knowledge both in Italy and with places of origin.
The volume aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
Autori fotografija zastupljeni na izložbi (među kojima su Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli i brojni drugi) interpretiraju najvažnija Fonanina rimska djela, ilustrirajući njohov odnos prema gradu i prema sjeni povijesti. Stoga su ove slike Rima i arhitekture Carla Fontane novost i za one kojima su mjesta prikazana kroz objektiv fotoaparata dobro poznata.
Erede di una celebre dinastia di architetti ticinesi, Carlo Fontana (Rancate 1638-Roma 1714) fu il protagonista della scena architettonica romana ed europea al crepuscolo del barocco. Svincolati dalla soggezione dei committenti e dalle convenzioni morfologiche e tipologiche del suo tempo, i progetti di Carlo Fontana si dispiegano dai manufatti di uso domestico, agli interni, all’architettura civile, religiosa e militare, fino alle più impegnative infrastrutture urbane e territoriali.
I diversi autori delle fotografie in mostra (tra i quali Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli e tanti altri ancora) interpretano le maggiori opere romane di Fontana, illustrandone il loro rapporto intimo con la città e con l’ombra della storia. Per questo l’immagini di Roma e dell’architettura di Carlo Fontana sono nuove anche per chi ha familiarità con i luoghi riprodotti dall’obiettivo fotografico.
Gvozdanović was published in 1998 by the Association of Croatian
Architects as a kind of historical demonstration of the existence of female
creativity in architecture, and even in the global context it remains a
rare attempt of such research in an exceptionally wide temporal and
geographical framework. The book had a very long gestation period, as
it is based on a series of texts published in the mid-1970s and 1980s
in a professional architectural journal, Čovjek i prostor, but also in
a magazine intended for an educated female audience, Žena - journal
for scientific, social and cultural issues of the place and role of women
and families in society, published by the Croatian Women’s Union.
Moreover, Sekulić-Gvozdanović’s work on the female side of the history
of architecture coincided with the peak of her academic career, as she
was one of the key educators in the history of architecture at the Faculty
of Architecture of the University of Zagreb from the early post-war years until the late 1980s, even becoming the first female dean. When
the book was finally published in 1998, it became part of a series of
books on the Croatian architectural canon of the second half of the
20th century.
Its long preparation and erudite style made the book, when it finally
appeared, a somewhat outdated undertaking, but at the same time it
should be recognised as pioneering for its subject and its transversal
approach to issues such as the lack of historical sources, women’s
participation in the design of space before the emergence of professional
(female) architects, research on female patrons and users of buildings,
as well as the diagnosis of contemporary and historical gender and
professional relations. Finally, the book and its author are part of
mapping of the Croatian architectural sphere in the context of socialist
Yugoslavia, given its impact on the historiographic narrative and
influence on the Croatian public and academic domains.
as the procurator and syndic of the Ravennate monastery of Sant’Apollinare in Classe. Based on these new data, the
hitherto known network of family relations of the Šibenik protomaster has been expanded, including his connections
with the Camaldolese in Venice, Istria, and Romagna. The author discusses the artist’s links with Ravenna’s pro-Venetian
humanists and suggests some possible Ravennate sources of certain aspects of the Šibenik cathedral.
vescovo di Cittanova Marino Bozzatini (1742-1754). L’articolo analizza le sue commissioni e mediazioni nel campo delle arti visive, che includono gli altari nella chiesa di Santa Maria della Misericordia a Buie, con le sculture della bottega dei Groppelli e la pala d’altare di Giovanni Battista Pittoni, ma anche la riconfigurazione del presbiterio della cattedrale di Cittanova e il nuovo Duomo di Buie, entrambe opere dell’altarista, scultore e architetto proveniente da Palmanova Carlo Picco. Questi rifacimenti estensivi degli spazi sacri più importanti della diocesi emoniense si spiegano particolarmente alla luce della politica cultuale e liturgica del vescovo, in dialogo con le forze locali e le autorità veneziane.
Between the end of the 18th century and the first decades of the 19th century, the eastern coast of the Adriatic experienced dramatic regime changes; after centuries of Venetian rule, Istria and Dalmatia became part of the French Illyrian Provinces, later becoming a dominion of the Habsburgs. Against the background of these political events, the essay explores the contribution of French architects and artists to the European circulation of knowledge on ancient and medieval buildings in the region, in other words, to the formulation of an orientalizing and peripheral image, seen as an intermediate zone between Greece and Italy.
Il saggio individua i protagonisti comuni del rinnovamento materiale e stilistico della sede della Confraternita illirica a Roma e della chiesa arcivescovile di Dubrovnik: il dotto abate raguseo Stefano Gradi (guardiano della Biblioteca vaticana) e l’architetto, finora poco noto, Pier Andrea Bufalini da Urbino. In base ad un approfondito studio delle reti dei loro contatti personali, viene delineato il contesto sociale e artistico del committente e dell’architetto, individuabile nella cerchia della regina Cristina di Svezia e del suo consigliere artistico, Giovanni Pietro Bellori, nonché di monsignor Virgilio Spada, già consigliere papale nelle questioni architettoniche, e l’architetto padre Giuseppe Paglia.
Il progetto per il nuovo casamento “con qualche eleganza” per la comunità illirica a Roma, affacciato sul porto di Ripetta, prevedeva così di dare un nuovo volto alla nazione. Prendendo parte alla fervida attività edilizia che abbellì e rettificò il centro di Roma sotto Alessandro VII, gli Illirici proposero degli edifici intorno ai quali si modellò una nuova tipologia edilizia, quella del casamento d’affitto ad appartamenti, sviluppata nel corso del Seicento soprattutto dalle istituzioni pie e dalle confraternite. L’abate Gradi e l’architetto Bufalini nel corso dell’elaborazione del progetto contemplarono varie proposte per le procedure economiche ed edilizie, partecipando con il loro cantiere al processo di riqualificazione che interessò tutta l’area di Ripetta nel corso del Sei- e soprattutto del Settecento e giungendo a formare una nuova identità visiva della nazione.
Il programma architettonico della nuova cattedrale di Dubrovnik, stilato a Roma da Stefano Gradi e da Pier Andrea Bufalini, a seguito del terremoto del 1667, importò di fatto il valore simbolico dell’architettura “alla romana” in un paese al confine orientale dell’Europa cattolica. Bufalini sviluppò, insieme al suo committente, un sistema di lavoro a distanza, creando una rete che vedeva viaggiare modelli, piante, indicazioni e calcoli, preludendo una prassi che diverrà sistematica nello studio di Carlo Fontana. E’ grazie all’analisi dei documenti conservati presso l’Archivio di stato di Dubrovnik e all’analisi stilistica dell’edificio, che possiamo annoverare la cattedrale come un esempio importante, fuori da Roma, per i postulati belloriani in chiave architettonica.
L’analisi delle architetture, infine, ha consentito una ricostruzione dell’opera del loro autore, Pier Andrea Bufalini, mentre la ricostruzione dei suoi legami con Gradi e con gli Illirici nell’Urbe hanno permesso di esemplificare il ruolo di una comunità nazionale a Roma nella trasmigrazione verso altre sponde del “more romano”, inteso in termini identitari. Il caso qui analizzato, arricchisce il panorama degli scambi artistici tra Roma e l’Europa sudorientale, permettendo di individuare i meccanismi e le strategie usate, le quali rientrano a pieno titolo nella cosiddetta diplomazia artistica.
Ragusa (Dubrovnik) of pozzolana, a component of hydraulic cement, thus extending the area
where it was known to have been used in the Baroque era. The documents in the State
Archive in Dubrovnik reveal that this granulate was first sent to Dubrovnik – along with
projects and a master-builder from Rome – on the occasion of the rebuilding of the cathedral
after the great earthquake of 1667. The scepticism of Dubrovnik authorities towards the new
material is analogous to the almost contemporary French discussion relating to Bernini’s
Louvre. By contrast, the 18th century Ragusan documents express the necessity of pozzolana
for the hydraulic works commissioned from the Roman architect Pietro Passalacqua, in a
manner similar to those for contemporary projects in Ancona or Venice. These episodes
illustrate an otherwise poorly-documented process of changing building technology, and they
introduce the importance of pozzolana in the epistemology of architecture as one of the
materials which is not only resistant to water, but also is effective in resisting the actions of frequent earthquakes.
Adriatic coast. In parallel to its construction, Šibenik humanist Juraj Šižgorić in his seminal text De situ Illyriae et civitate Sibenici (1487) through the fabrication of a myth of ancient origin for the city and reading of the urban fabric in Vitruvian terms, emphasizes the communal prestige within the larger regional and proto-national narrative. It is possible to attribute to Šižgorić’s words an almost programmatic value for the sixteenth-century reconstruction of the main square, here understood as a Renaissance interpretation of a Roman
forum, with the new loggia (ca. 1532–1547), adorned by
all’antica poetic inscriptions that reflect notions developed by the humanist. The architectural concept of the loggia is here attributed to Giacomo di Bartolomeo da Mestre, proto-master of the cathedral in the period, while the sculptural decoration is considered the work of Dujam Rudičić, also active at the construction site of the Sanmichelian fortress of San Niccolò near Šibenik.
http://eu.wiley.com/WileyCDA/WileyTitle/productCd-111883271X.html
https://books.google.hr/books?id=c9neDQAAQBAJ&lpg=PP1&hl=it&pg=PP1#v=onepage&q&f=false
Wednesday, March 30, 2022 9 am - 12.30 pm
The Convention Centre Dublin - Liffey Meeting Room 5 - 1st Floor
Gli studi degli ultimi trent’anni sulla “fioritura tardogotica nelle Marche” (con le tre mostre di Urbino, Sanseverino Marche e Fermo), su Gentile da Fabriano e la sua eredità, sulla stagione varanesca di Camerino e sulla pittura di Ancona (condotti da gruppi di ricerca guidati da Andrea De Marchi), su specifiche “scuole” cittadine generate dalla presenza di artisti locali (come ad esempio Lorenzo d’Alessandro a Sanseverino e Luca di Paolo a Matelica), sulla scultura lignea nell’alto maceratese, sulla diffusa presenza di pittura veneta di importazione e sull’attività di artisti veneziani trasferitisi nelle Marche (come Carlo e Vittore Crivelli), sulla prima e sulla seconda stagione rinascimentale di Urbino, hanno definito cronologie e chiarito e in alcuni casi rivoluzionato l’attribuzione di corpora di opere, anche grazie a sistematiche ricerche d’archivio. A sua volta, la recente monografia di Christoph Luitpold Frommel (L’architettura del Santuario e del Palazzo Apostolico di Loreto da Paolo II a Paolo III, Loreto, Tecnostampa 2018) ha accostato il lento cantiere di Loreto, con le sue grandi imprese architettoniche della basilica e del palazzo apostolico, ad altri epicentri del Rinascimento marchigiano come Pesaro e Urbino. Nel frattempo, anche a seguito delle ripetute crisi sismiche, sono state promosse campagne di restauro che hanno interessato singole opere ed edifici e hanno permesso l’acquisizione di nuovi dati tecnici e materiali, tanto da modificare profondamente la conoscenza del patrimonio artistico e architettonico delle Marche.
Il convegno maceratese, che si sviluppa sulla base di questi fondamentali aggiornamenti scientifici, è frutto della collaborazione tra École Pratique des Hautes Études (Paris), Università di Macerata e Accademia di Belle Arti di Macerata – Istituto di Restauro delle Marche. Lo scopo è quello di riesaminare la produzione artistica del Quattrocento nel composito territorio che corrisponde all’attuale regione Marche, focalizzando l’attenzione su alcuni specifici punti-chiave: la verifica della validità (in sede storico-artistica e storiografica) dell’etichetta di “cultura adriatica”, introdotta da Federico Zeri e largamente seguita dagli studiosi; la fortuna dell’Antico tra le Marche e la Dalmazia in termini non solo stilistici, ma anche contenutistici; il rapporto tra singole opere e contesti architettonici; la circolazione e contaminazione di tipologie e modelli artistici e architettonici nell’Adriatico; la dialettica tra centri e periferie; le dinamiche della committenza e peculiari sperimentazioni iconografiche; il rapporto fra la tradizione architettonica delle Marche e quella di altri territori; le nuove sperimentazioni in ambito di ars militaris, che pongono le basi per le fortificazioni alla moderna; le ricerche e i metodi tecnici, diagnostici e filologici dedicati ai restauri artistici e architettonici; le problematiche di conservazione del patrimonio culturale ad alta vulnerabilità.
Queste due giornate aspirano a favorire il confronto tra diverse metodologie e prospettive scientifiche, al fine di generare un dibattito fecondo intorno all’eclettica identità del territorio marchigiano, dove le tradizioni locali e l’eredità gotica convivono con la riscoperta dell’Antichità; dove le influenze umbre, venete e adriatiche si intrecciano con le sollecitazioni, alimentate soprattutto dalla vicina Toscana, al rinnovamento dei linguaggi. Si approfondiranno dunque gli episodi di coesistenza, contaminazione e conflitto tra le molteplici culture artistiche e architettoniche, dedicando particolare attenzione ai fenomeni di scambio, dialogo e migrazione dei motivi iconografici, dei modelli tipologici e delle forme stilistiche. Il territorio marchigiano è pertanto un osservatorio privilegiato per lo studio di un interessante ed inedito scenario, frutto di una prolifica circolazione di idee in una difficile convivenza tra eredità medievale e Rinascimento dell’antico.
Using comparative methods, we would like to analyze the genesis and development of architectural history within the panorama of historiographical disciplines, especially in relation to art history, and alongside the social and political development of the particular country. Did architectural history contribute to the creation of national identities and stereotypes? On the other hand, a largely standardized history of European architectural styles emerged during the 19th century. Can we capture the interaction of different countries and their particular academic institutions and scholarly traditions?
This paper will examine instances of the usage of a specific ancient model, the Arch of Sergii family in Pula (Istria) in the festival processions of Habsburg and Valois royal entries. The focus on a single peripheral ancient model enables a close examination of its resemiotization, as it appears both as an emblem and as a part of a system of orders displayed throughout the city. This kind of analysis aims to shed new light on the circulation of ancient models and branching of their meaning, examining it as tools of political propaganda within different urban and social contexts.
This paper will look at instances of the usage of ancient models from Eastern Adriatic in the architectural culture of Early Modern Europe, inquiring on the reverberation of their meaning in a different urban and social contexts, such as Naples, London or Low Countries. Furthermore, it will examine how the study of these particular models has been used and abused within highly politicized historiographical narratives of different governmental powers present in the area, thus also scrutinizing the memory of Eastern Adriatic Antiquity as an art-historiographical problem.
L’inventio (ovvero la re-invenzione) del recipiente sacro per l’acqua sorretto dai putti, di chiara ispirazione classica, è stata attribuita dalla critica recente alla bottega dei maestri Filippo e Andrea da Carona, attivi a Venezia e in seguito anche in Lombardia, Liguria, Parma e Friuli negli anni ’30 e ’40 del Quattrocento, responsabili per i fonti di San Giovanni in Bragora a Venezia (probabilmente commissionata nel 1430) e il fonte battesimale per il dotto cardinale Branda Castiglione a Castiglione Olona (1435). L’elaborazione del motivo fu particolarmente fertile in Dalmazia, dove viene messo al centro d’attenzione nei primi anni Quaranta da Giorgio Dalmata, che intorno ad un fonte di alta qualità scultorea sviluppa lo spazio-gioiello gotico del battistero della cattedrale di Sebenico. Sussegue il fonte della cattedrale di Trau di Andrea Alessi e Niccolò di Giovanni Fiorentino, di nuovo inserito in un piccolo edificio battesimale, stavolta di ispirazione classica, mentre un eco tardo della soluzione si trova nella collegiata di Mola di Bari, in Puglia, dove a meta Cinquecento le maestranze dalmate realizzano una chiesa mescolando il linguaggio di tradizione romanica locale con quello del primo rinascimentale dalmata, inserendovi un fonte battesimale sorretto dai putti. Un secondo gruppo di tali suppellettili liturgiche si trova in Friuli, dove sono stati individuati una ventina di esempi che germogliano dalla soluzione della cattedrale di Spilimbergo (1466), ma vi sono anche chiari echi ticinesi e veneziani delle fonti sopramenzionate.
Questa appropriazione cristiana di un motivo antico, sia a livello dell’immagine infantile che l’intero tema del recipiente riportato dalle forme umane, elaborato per servire l’atto liturgico di primaria importanza, il battesimo, diventa un campo di fertile discussione sull’uso del corpo del putto. Ripartendo dai concetti di Dempsey, si prospetta un’analisi dal punto di vista estetico e liturgico, ma anche una riflessione sul valore emotivo di queste sculture lapidee in un’epoca di alto tasso di mortalità infantile. Inoltre, data la fortuna e la trasmigrazione critica della soluzione, che si evolve abbastanza circoscritta nello spazio dell’Alpe-Adria, si prospetta un suo possibile significato culturale intrinseco in una determinata zona geografica.
This interesting case of the appropriation and relaunching of the cult of the inter-confessional saints in Rome is to be analyzed together with the reverberation of the cult of St. Jerome, especially in terms of definition of scripture and language, of crucial importance for the Slavic group in question.
The conference aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
The conference is organized by the HRZZ research project Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th - 18th c.). The proceedings of the conference will be published as a special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage, University of Macerata peer-reviewed on line journal (WOS-ESCI; ERIH PLUS).
građevina jedno je od najaktivnijih čvorišta interpretacija i generiranja
povijesnih narativa koji su definirali nacionalnu bratovštinu čiji su članovi potjecali iz hrvatskih povijesnih zemalja i susjednih pokrajina. Već sam statut bratovštine, kao i niz kurijalnih dokumenata koji su regulirali njezino djelovanje, predstavljaju skup odrednica jedne od ranonovjovjekovnih ‘natio’ kozmopolitskog Rima postridentskog razdoblja. Analiza likovnih fenomena, odnosno aktera izgradnje crkve i programa zidnih slika izvedenih tijekom kampanje ukrašavanja svetišta i transepta pod vodstvom Giovannija Guerre, koje je financirao papa Siksto V Perreti, doprinijet će stoga poznavanju skjavonsko/ilirske nacionalne ranonovovjekovne vizije iz rimske perspektive.
The complex of the Roman church known today as San Girolamo dei Croati and its surrounding buildings is one of the most attractive nodes of interpretation and production of historical narratives that defined the
national fraternity whose members originated from Croatian historical lands and their neighbouring provinces. The statute of the fraternity, as well as a string of curial documents which regulated its functioning, already represented a set of markings typical for an early modern “natio” of the cosmopolitan Rome of the post-Tridentine era. Therefore, the analysis of artistic phenomena, as well as of the individuals who partook in the construction of the church and the execution of the set of wall paintings, created by the project of embellishing the chancel and the transept headed by Giovanni Guerra and financed by Pope Sixtus V Perreti, will contribute to our knowledge of the vision of the Early Modern Schiavone/Illyrian nation as it was seen from the Roman viewpoint.
Ferruccio Canali: Urban planning and interventions in the East Adriatic towns
Julija Lozzi Barković: Rijeka: plans, architectures, designers
Dražen Arbutina: Zadar: plans, architectures, designers
Sanja Cvetko Jerković: Planned towns: Raša
Organized by Giuseppe Bonaccorso (University of Camerino) and Jasenka Gudelj (University of Zagreb)
October-December 2016
After the treatise of Rapallo (1921), Istra, Rijeka, part of the Kvarner area and Zadar with its archipelago become parts of Italian kingdom. Moreover, between 1941 and 1943 Italian forces occupied territories of Split and Kotor forming the Governorate of Dalmatia. The Italian administration of parts of present-day Croatia coincided with the rise and fall of fascism and left visible traces in form of architectures, projects, texts and exhibitions, analyzed so far in piecemeal fashion by Croatian and Italian researchers. The conference series, which includes lectures by Croatian, Italian and Swiss researchers, aims to open a more articulate and comprehensive discussion on the subject, confronting the historiographies often separated by language barrier. The series covers different and evolving aspect of subject area: interpretations the historical heritage (27 October 2016); urban scale interventions and planning (24 November 2016) and analysis of important buildings in Croatia designed by protagonist of the Italian interwar architectural scene (8 December 2016).
The conference series will take place at House of architecture Oris, Kralja Držislava 3, Zagreb, Croatia.
The present paper will examine fresco paintings decorating the church, disentangling the politics of the two distinct painting campaigns. The first, by the team of the so-called Sistine painters led by Giovanni Guerra, was realized between 1590 and 1591 in the presbytery and transept of the church. The second campaign regards the mid-19th century paintings on the transept walls and the vault of the nave by Pietro Gagliardi. In both cases, the minute mechanisms of commissions of art and architecture related to ‘national’ churches will be analyzed, refining the approach to identity issues often understood as powered exclusively by ‘national’ forces. Through comparison of the compositions and the iconography of the two cycles it will be possible to shed more light on the very distinct moments in history of molding of the Croatian nationhood.
Between the 15th and 18th century the Eastern Adriatic, partitioned between Venetian and Dubrovnik Republics, the Kingdom of Hungary-Croatia and Habsburg and Ottoman Empires, was politically transformed into a vast archipelago, including mainland coastal towns divided from the hinterland. This process triggered the formation of a fluctuating and floating architectural market functioning within a multilingual and multiconfessional context.
The aim of the AdriArchCult project is an overall study of the architectural culture of the region, examining its political, religious, cognitive and practical sphere, and thus overcoming the divisions of historiographies in different languages and traditional approaches based on the national or center/periphery paradigm. The result will be an innovative and dynamic vision of the architectural production of a region that connects the various faces of European culture.
The architecture of buildings used by these institutions, as well as paintings and sculpture and other works of art commissioned by their members, played an important role in the construction of the cultural identity of these immigrant communities, unable to identify themselves with a particular centre or a political subject on the map of Early Modern Europe.
The aim of the project is to investigate the construction of intrinsic cultural identities that found their expression in the art and architecture of Schiavoni/Illyrian institutions from 15th to 18th centuries, through the exploration of historical narratives articulated in terms of visual arts. These art-historical phenomena are to be regarded in comparative perspective as well as in context of similar expressions found in “national” institutions of other foreign communities in Italy.
The project was financed by the Croatian Science Foundation (Hrvatska zaklada za znanost).
characterized by a certain distance from the capital, from which
they were separated by the Apennines while remaining open to
other realities both to the north and to the eastern Adriatic and
the Islamic world of the great Ottoman Empire. The lecture will
look at the specific features of the Renaissance in these territories,
partly connected with the rest of the Kingdom, but at the same
time subject to different and heterogeneous influences, which
determined its autonomous and alternative character.
A registration is required. Please reserve you seat at https://forms.gle/H3muZ6yumUR91LSG9
Guest hosted by the ERC GA n. 865863 ERC-AdriArchCult This project has received funding from the European Union's Horizon 2020 Research and Innovation Programme (GA n. 865863 ERC-AdriArchCult)
18 June 2021
h. 3 pm
The seminar will be held online
on Zoom. Please register at
https://unive.zoom.us/meeting/
register/tZIpc--urT4tHt2maUISsNRuL4l6leMLrzqM
For further information:
[email protected]
Guest hosted by the ERC GA n. 865863
ERC-AdriArchCult
Proposal deadline: June 5, 2024
Details and submission portal at: https://www.sah.org/2025/call-for-papers
The Adriatic region is notable for its early advances in the field of public health, with the implementation of first-ever quarantines in Dubrovnik and Venice, integrated with elaborate anti-epidemiological lazaretto complexes in the seaports and on the frontiers. Legislation on urban form emphasised ventilation and regulated complex water and food supply infrastructures. In addition, due to the highly militarised nature of the area and the constant occupational hazards faced by seafarers, military and naval hospitals, as well as asylums for the mentally ill, were common structures.
This session aims to explore the architectural culture of public health from around 1400 to 1800, focusing on the solutions found in the Adriatic in a comparative perspective, ranging from the regulation and form of the city to the large-scale lazaretto and hospital complexes. It will explore the material implications of public health measures, arguing that they already strongly impacted architectural practice and urban form in the late medieval and early modern periods. By exploring anti-epidemiological and other health-related structures, the session will also address questions of territory, boundary and accessibility. It seeks to explore parallels between urban systems and architectural implications of public health and welfare management in different early modern political realities in the region and beyond by shifting the scholarly gaze between Italy, the lands of the Austrian Crown, and the Balkans, as well as introducing comparisons in the larger Mediterranean area. Papers may, for example, discuss how political and religious implications shaped the architectural culture of health structures in the early modern period. Papers on actors, networks and gender issues related to architecture for health are also encouraged.
Session organiser:
Jasenka Gudelj, Ca’ Foscari University of Venice
Architectural Culture of the Early Modern Eastern Adriatic ERC-CoG n. 865863
Submission guidelines: Submissions through the SAH portal https://www.sah.org/2025/call-for-papers Abstracts must be under 300 words. The title cannot exceed 65 characters, including spaces and punctuation. Abstracts and titles must follow the Chicago Manual of Style. A maximum of three (3) authors per abstract will be accepted. Please attach a two-page CV in PDF format.
Historian of art and architecture, Jasenka Gudelj will lead an international research group investigating the impact of shifts within political, religious, cognitive and economic spheres in the borderland area of the Eastern Adriatic coast between 15th and 18th c., with focus on architecture as the most evident materialisation of a culture and its transformations.
We are currently looking for
three pre-doctoral fellows
with outstanding projects in one of the following research areas relevant to the ERC action:
• Early Modern Territoriality and Venetiatization: urban changes and public buildings in the Eastern Adriatic;
• Catholic revival and religious architecture of the eastern Adriatic: Valier’s visitation and its aftermath;
• Military architecture between theory and practice of the Early Modern Eastern Adriatic.
The successful candidates will enrol in a PhD program at the Department of Philosophy and Cultural Heritage, History of Art Curriculum.
A research proposal (of maximum 14,000 characters, including spaces, 1,5 spaced, languages: English, Italian) should be submitted including a survey of state of the art and a final bibliography (bibliography is excluded from the 14,000 characters). Preference will be given to candidates with basic knowledge of Croatian language.
Deadline: 21th April at 13:00 (Italian time)
Link:
For the details and the submission, please follow the instructions in the call on the University official website:
(English) http://www.unive.it/phd-degrees
(Italian) http://www.unive.it/dottorati
https://www.unive.it/pag/7738/
The submission should be sent following the procedure as indicated in the University website.
If you have questions, please contact us.
For enquiries relative to the call and the administrative procedures: [email protected] ,
or the Department of Philosophy and Cultural Heritage at: [email protected]
For questions on the ERC action, you can contact the Principal Investigator, Jasenka Gudelj: [email protected]