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Lazanić's Replica of a Roman Portrait in Dubrovnik

Igor Fisković ; Filozofski fakultet Sveučilišta u Zagrebu

Puni tekst: hrvatski, pdf (22 MB) str. 55-61 preuzimanja: 125* citiraj
APA 6th Edition
Fisković, I. (1991). Lazanićeva replika rimskog portreta u Dubrovniku. Peristil, 34 (1), 55-61. Preuzeto s
MLA 8th Edition
Fisković, Igor. "Lazanićeva replika rimskog portreta u Dubrovniku." Peristil, vol. 34, br. 1, 1991, str. 55-61. Citirano 22.09.2021.
Chicago 17th Edition
Fisković, Igor. "Lazanićeva replika rimskog portreta u Dubrovniku." Peristil 34, br. 1 (1991): 55-61.
Fisković, I. (1991). 'Lazanićeva replika rimskog portreta u Dubrovniku', Peristil, 34(1), str. 55-61. Preuzeto s: (Datum pristupa: 22.09.2021.)
Fisković I. Lazanićeva replika rimskog portreta u Dubrovniku. Peristil [Internet]. 1991 [pristupljeno 22.09.2021.];34(1):55-61. Dostupno na:
I. Fisković, "Lazanićeva replika rimskog portreta u Dubrovniku", Peristil, vol.34, br. 1, str. 55-61, 1991. [Online]. Dostupno na: [Citirano: 22.09.2021.]

The great exhibition A Thousand Years of Croatian Sculpture, held in Zagreb in the spring of 1991, revalued the marble head of an old man from the Museum of the Dominican monastery in Dubrovnik. lt was then attributed to the Croatian sculptor Nikola Lazanić. He was born on the island of Brač, where his presence is corroborated by the signature on the relief altar of S. Peter's church at Nerežišća from 1578. For several years he was a member of the Illyrian confraternity ot S. Jerome in Rome, where he sculpted a number of works, including stone representations of this saint for the buildings owned by the confraternity. After 1589 his presence is recorded in Dubrovnik, where two of his signed sculptures representing S. Blaise and S. Jerome have been preserved. Both sculptures are characterized by an expressive Mannerist style. In this town the artist also taught painting. His pala in the church of Our Lady of Carmel in Bitonto on the italian side of the Adriatic sea is dated at 1593.
This study deals with the discovery of the ancient model for the aforementioned Dubrovnik head. lt is a portrait of an unknown Roman from the Ny Carls Glyptoteke in Copenhagen, and we know it had been copied on several occasions in the 16th century by the Roman sculptors of that period. It was undoubtedly appreciated by the masters of the High Renaissance. Due to its plastic expressiveness, the author believes it was made at the beginning of the third century AD and that it served as the model for the Dubrovnik head. He attempts to prove it by a detailed analysis and comparison with the other Dubrovnik sculptures which were quite certainly made by Nikola revealing in particular the Mannerist spirit of the sculptor's work and stating that Lazanić should be considered a follower of Jacopo Sansovino's Roman assistants. lt might actually be concluded that Lazanić, just like the other Dalmatian masters of the chisel, arrived in Italy via Venice, to then find temporary refuge in Rome attracted by its artistic rise. The results of these journeys are to be seen in his most mature Dubrovnik works, the head from the Dominican monastery included due to its morphologic characteristics. Besides, it may have belonged to the memorial of the rich donor and patron of the arts Vice Stijepović Skočibuha, who died in 1588.

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