APA 6th Edition Prijatelj, I. (1991). Dva nova priloga Lovri Dobričeviću. Peristil, 34 (1), 35-42. Retrieved from https://hrcak.srce.hr/139598
MLA 8th Edition Prijatelj, Ivana. "Dva nova priloga Lovri Dobričeviću." Peristil, vol. 34, no. 1, 1991, pp. 35-42. https://hrcak.srce.hr/139598. Accessed 18 Oct. 2021.
Chicago 17th Edition Prijatelj, Ivana. "Dva nova priloga Lovri Dobričeviću." Peristil 34, no. 1 (1991): 35-42. https://hrcak.srce.hr/139598
Harvard Prijatelj, I. (1991). 'Dva nova priloga Lovri Dobričeviću', Peristil, 34(1), pp. 35-42. Available at: https://hrcak.srce.hr/139598 (Accessed 18 October 2021)
Vancouver Prijatelj I. Dva nova priloga Lovri Dobričeviću. Peristil [Internet]. 1991 [cited 2021 October 18];34(1):35-42. Available from: https://hrcak.srce.hr/139598
IEEE I. Prijatelj, "Dva nova priloga Lovri Dobričeviću", Peristil, vol.34, no. 1, pp. 35-42, 1991. [Online]. Available: https://hrcak.srce.hr/139598. [Accessed: 18 October 2021]
Abstracts The paper puts forward two new suggestions tor the Lovro catalogue, thus enriching our knowledge of this prominent painter of Dubrovnik and
The Museo Civico in Padua has the painting of the Virgin with Child, whose iconographic scheme and ornaments are identical to those of the icon Virgin of Škrpjel from the island in front of Perast bearing the same name. The icon was attributed to Lovro by Lj. Karaman in 1933. The author states that the Work is one of the master's earlier variations of the same scheme and could be attributed to the master's Gothic period, whereas the painting from Boka Kotorska Bay must have been made somewhat later. The Padua painting shows less of the Byzantine component in the treatment of the theme. This example of Lovro's two paintings with the same iconographic scheme proves the phenonemon we know from the documents that Dalmatian painters got commissions to repeat and very their popular works.
On the basis of a detailed stylistic-comparative analysis, the painting Christ Resurrected with Donor, originally from the Franciscan monastery of Kraljeva Sutjeska and now in the Strossmayer Gallery in Zagreb, is also attributed to the same painter. The author believes that the preserved contract of May 19, 1460 refers to the aforementioned painting.
Cogent tradition believes that the figure of the donor represents the Bosnian King Stjepan who ruled Bosnia from 1444-1461. The painting is of special significance because it again proves the well-known ties between the Bosnian kingdom and the Republic of Ragusa.