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The paintings of Giuseppe Angeli in Istria

Višnja Bralić ; Hrvatski restauratorski zavod

Puni tekst: hrvatski, pdf (19 MB) str. 97-105 preuzimanja: 94* citiraj
APA 6th Edition
Bralić, V. (1997). Slike Giuseppea Angelia u Istri. Peristil, 40 (1), 97-105. Preuzeto s
MLA 8th Edition
Bralić, Višnja. "Slike Giuseppea Angelia u Istri." Peristil, vol. 40, br. 1, 1997, str. 97-105. Citirano 20.01.2021.
Chicago 17th Edition
Bralić, Višnja. "Slike Giuseppea Angelia u Istri." Peristil 40, br. 1 (1997): 97-105.
Bralić, V. (1997). 'Slike Giuseppea Angelia u Istri', Peristil, 40(1), str. 97-105. Preuzeto s: (Datum pristupa: 20.01.2021.)
Bralić V. Slike Giuseppea Angelia u Istri. Peristil [Internet]. 1997 [pristupljeno 20.01.2021.];40(1):97-105. Dostupno na:
V. Bralić, "Slike Giuseppea Angelia u Istri", Peristil, vol.40, br. 1, str. 97-105, 1997. [Online]. Dostupno na: [Citirano: 20.01.2021.]

The paintings The Virgin and Child and St. Euphemia stood at side altars in the church of St. Barnabas in Vižinada. G. Gamulin has already attributed them to the workshop or a follower of G. Angeli, but it was only after their restoration that they could be attributed to this significant follower of Piazzetta with more certainty. Both show many similarities with the religious compositions of G. Angeli from the middle and second half of the 1750s, but because of the already noticeable classicist inf luences we have dated them as belonging to around 1760. In this period the painter goes back to a more prominent plasticity and corporeality in his figures, and to more accurate drawing. Surfaces are tense and smooth, and a growing tendency towards symmetry in composition is noticeable.
The painting The Ascent of Calvary in the church of Sv. Marija Magdalena in Zambratija near Umag has still not been recorded in literature. We have attributed it to G. Angeli because of its analogies with his painting style and conspicuous similarities in the physiognomies of the characters. It can be related to the 5th station on the Way of the Cross in the Church of Sta. Maria del Giglio in Venice dating from between 1752 and 1755. However, as with the above described paintings from Vižinada, the volumes are more solid, the figures are correctly proportioned and static, and the composition is balanced, with a lot of bright tones of pink, violet, yellow and green. We can assume that The Ascent of Calvary also dates from the end of the sixth and the beginning of the seventh decade of the 18th century, but because of the poor condition of the painting it is impossible to date it precisely by comparison before restoration.
In the later period of his work G. Angeli also painted portraits. His perhaps best portrait is kept in Istria, in the Town Hall of Vodnjan. It is mentioned in older literature, and we are presenting it here after its recent restoration. The portrait of Count G. B. Giovanelli was painted after his election for the oice of the procurator of St. Mark's in February 1779. It is characterised by a balanced composition and harmony of colours. The details of the table and the Count's white-gloved hands on the background of his scarlet stole are painted with remarkable skill. In its sharp and precise characterisation, without the usual idealisation of official portraits of Venetian aristocracy, it shows features of classicist realism.

Hrčak ID: 150760



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