APA 6th Edition Cvetnić, S. (2004). Iz opusa Federica Benkovića. Peristil, 47 (1), 67-82. Preuzeto s https://hrcak.srce.hr/151592
MLA 8th Edition Cvetnić, Sanja. "Iz opusa Federica Benkovića." Peristil, vol. 47, br. 1, 2004, str. 67-82. https://hrcak.srce.hr/151592. Citirano 20.10.2019.
Chicago 17th Edition Cvetnić, Sanja. "Iz opusa Federica Benkovića." Peristil 47, br. 1 (2004): 67-82. https://hrcak.srce.hr/151592
Harvard Cvetnić, S. (2004). 'Iz opusa Federica Benkovića', Peristil, 47(1), str. 67-82. Preuzeto s: https://hrcak.srce.hr/151592 (Datum pristupa: 20.10.2019.)
Vancouver Cvetnić S. Iz opusa Federica Benkovića. Peristil [Internet]. 2004 [pristupljeno 20.10.2019.];47(1):67-82. Dostupno na: https://hrcak.srce.hr/151592
IEEE S. Cvetnić, "Iz opusa Federica Benkovića", Peristil, vol.47, br. 1, str. 67-82, 2004. [Online]. Dostupno na: https://hrcak.srce.hr/151592. [Citirano: 20.10.2019.]
Sažetak Attributions by Peter Olaf Krückmann in his monograph on Federico Benković, 1677 — 1753 (1988) resulted in many critical reassessments immediately after the publication of the monograph and later. This study is concerned with three attributions made or changed for the first time in the monograph, and never discussed before. Analyzing the attribution of the painting of St. Cecilia in the Cistercian monastery of Stams near Innsbruck, the author concludes that the engraving by Andreas and loseph Schmutzer, was a model for the painting, and not, as Krückmann suggested, made after the painting. The oval painting of St Peter in the Cummer Gallery of Art in Jacksonville (Florida), attributed to Tiepolo by Antonio Morassi in 1958 (see the museum documentation), was placed by Krücmann within Benković's opus. The author of this study, however, agrees with a convincing attribution to one of the Gandolfis made by Egidio Martini in 1982. The attribution was accepted by Massimo Gemin and Filippo Pedrocco in their monograph on Giambattista Tiepolo. The pose and the ductus of St. Peter indicate closeness to the known works by Ubaldo Gandolfi. The miniature painting of St. Kajetan which together with a very rich frame makes a home altar, has been for centuries in the Benković family. Besides a reference to the saint whose name was used in naming family members, and a memory of Federico himself, the altar served its religious purpose as seen by typical damage from lighting candles as stated in the restoration report attached. In terms of attribution, St. Kajetan is reminiscent of St. Cecilia, as an engraving by Andreas and loseph Schnitzer was again used as a model. The author of this study believes that the altar as a whole represents an exceptional historical and cultural testimony, and it should be considered in any study on Federico Benković, as the owners of the work stern directly from the painter's brother, Leopoldo. As he moved to Milan, Federico left Leopoldo in charge of all his Dalmatian possessions, as seen from a transcript and translation (attached) of a document so far known only through a summary published by Vjttorjo Caprara (1980).