Izvorni znanstveni članak
https://doi.org/10.17018/portal.2015.2
An Unknown 14th–Century Painter’s Workshop and the De–Attribution of Matko Junčić and Ivan Ugrinović
Katarina Alamat Kusijanović
; Hrvatski restauratorski zavod, Restauratorski odjel Dubrovnik, Dubrovnik, Hrvatska
Sažetak
An Unknown 14th–Century Pa inter‘s Workshop and the De–Attribution of Matko Junčić and Ivan Ugrinović
Two polyptychs dated to the mid–14th century, one by Ugrinović from the island of Koločep from 1434 and another by Junčić from the island of Lopud from 1452, are described as a late echo of the Venetian Trecento, namely that of Paolo and Lorenzo Veneziano. Based on this, a theory is generated of the enduring Trecento tradition in the Dubrovnik painting, i.e. of the so–called belated form of artistic expression.
Research conducted in the course of recent conservation has challenged the existing attribution, giving rise to a thesis about the existence of a thus far unknown workshop in Dubrovnik in the second half of the 14th century. In addition to the specific manner of painting, carving of the frame, the type of gilding tools and the way they were utilized, the measuring system that was used was one typical of Venice rather than that of Dubrovnik. The latter came into use in the 15th century and was explicitly stated in the 1452 commission based on which the Lopud polyptych was attributed to Matko Junčić.
The conservation treatment was performed on portions of the Lopud polyptych, so the conclusions drawn from the material analyses refer to that particular piece. However, the inclusion of the Koločep altar in this thesis is based on more than just analogy. Relevant archival records combined with a meteorological analysis argue in favour of the de–attribution of this as well as the Lopud piece.
Ključne riječi
polyptych; Paolo Veneziano; Lopud; Koločep; Ivan Ugrinović; Matko Junčić; 14th century; painter’s workshop
Hrčak ID:
149919
URI
Datum izdavanja:
21.12.2015.
Posjeta: 1.904 *