Original scientific paper
Paulus Antonius Senser, Painter from Osijek
Svetlana Rakić
; Zavod za zaštitu spomenika kulturno-istorijskog i prirodnog nasljeđa BiH, Sarajevo
Abstract
The first signed painting of Paul Senser's, painted in Đakovo in 1753, was found in the Franciscan monastery in Visoko in 1988. Before that, the painter was mentioned only in the Osijek archives, which tell us that one »Paulus Antonius Senser Pictor« was in the town in 1740. His painting from Visoko represents »The Full Remission« that St. Francis received from Christ and Mary by praying in the Porciunkula churcb. By comparative stylistic analysis, another eight paintings, in possession of the Franciscan monasteries in Bosnia and Slavonija, and one from the Diocese Museum in Đakovo, have been assigned to the same artist.
The oldest dated painting, which is supposed to be Senser is the altar painting of «St. John of Nepomuk« from Osijek (1742). The next is Senser's signed painting from Visoko (1753), and the paintings from two altar pieces from Slavonski Brod; the altar of St. Francis (1761) and the altar of St. Ann (1767—1771). On the altar of St. Francis there is a central painting representing the saint in prayer, and a small painting of St. Clare above it. On the altar of St. Ann there is a central painting of little Mary, her parents and St. Joseph, and a smaller painting of »St. Blaise«, the bishop and martyr, above it.
Apart from these works, dated according to the monastery chronicles, another four paintings can be assigned to Senser as well. They show work of a mature and accomplished artist, which suggests that they were painted during the sixth or seventh decade ofthe 18th century. These are the paintings of »Maria de Victoria« from Kraljeva Sutjeska, »St. Walpurga« and »The Holy Fami!y» from Osijek, and of «St. Anthony of Padua with the Scenes of Miracles« from the Diocese Museum in Đakovo.
Some of the main characteristics of Senser's art can be observed in these paintings. Only when working on large canvas, and painting scenes unrestricted by strict iconographic rules, was Senser able to show his full ability in modeling rich draperies and large figures set in motion, as well as his delicate sense of colouristic harmonies of lighter shades. Senser painted rich, light draperies, combining blue and red, or ochre and blue colours, and skillfully including big red and white roses in his compositions, whenever the subject matter of the painting allowed it. He insisted on soft modeling of shapes and contours, sometimes stressing their shades of light. However, the characteristic expression and incarnadine of somewhat elongated faces of his figures, is the most recognizable feature of Senser's manner of painting. The light tan of his figures emphasizes even more the rounded, ruddy spots on their cheeks and their bright red full lips ending in dimples, which gives a characteristics smiling expression to their faces. The rosy little angels, light-coloured and plump, represent another important sign of Senser's autorship. Their wings are short and blue, less often white, and their hair usually disarranged, in mussed up locks. When painted in pairs, the figures in the forefront are usually lighter, while their background companions are darker and in shade. The space of Senser's painting is often made deeper by various openings or windows, or by distant contours of landscape. The landscape is emphasized by a line of darker, bluish-green hills, and sky of the same colour, which divide the pale, pink horizon. Small scenes in the background, referring to the life and miracles of the central figure, are executed in somewhat stronger strokes of brush, leaving thicker layers of paint.
Working in the Franciscan monasteries in Slavonija in the middle and the second half of the 18th century, Paul Senser left behind him some of the most beautiful paintings of the Austro-Hungarian Baroque in these parts.
Keywords
Hrčak ID:
139144
URI
Publication date:
15.12.1990.
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