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Additions to the Juvenlie Catalogue of Giovanni Bonazza at Capodistria, Venezia and Padua with notes for his sons Francesco and Antonia

Damir Tulić ; Deparment of Art History, University of Rijeka, Croatia

Puni tekst: hrvatski, pdf (2 MB) str. 141-162 preuzimanja: 790* citiraj
APA 6th Edition
Tulić, D. (2015). Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija. Ars Adriatica, (5), 141-162. Preuzeto s https://hrcak.srce.hr/149680
MLA 8th Edition
Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, vol. , br. 5, 2015, str. 141-162. https://hrcak.srce.hr/149680. Citirano 14.07.2020.
Chicago 17th Edition
Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica , br. 5 (2015): 141-162. https://hrcak.srce.hr/149680
Harvard
Tulić, D. (2015). 'Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija', Ars Adriatica, (5), str. 141-162. Preuzeto s: https://hrcak.srce.hr/149680 (Datum pristupa: 14.07.2020.)
Vancouver
Tulić D. Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija. Ars Adriatica [Internet]. 2015 [pristupljeno 14.07.2020.];(5):141-162. Dostupno na: https://hrcak.srce.hr/149680
IEEE
D. Tulić, "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija", Ars Adriatica, vol., br. 5, str. 141-162, 2015. [Online]. Dostupno na: https://hrcak.srce.hr/149680. [Citirano: 14.07.2020.]

Sažetak
Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when
attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian
sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which
are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom
the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which
has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest
phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece
sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought
to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be
recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several
similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the
library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the
collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to
a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of
Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified
as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini
chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high
altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695
– 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the
sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures
which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of
seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of
their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre
with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

Ključne riječi
Venetian sculpture; seventeenth and eighteenth century; marble; wood; Michele Fabris l’Ongaro; Giovanni Bonazza; Francesco Bonazza; Antonio Bonazza; Venice; Padua; Koper; Ugljan

Hrčak ID: 149680

URI
https://hrcak.srce.hr/149680

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