APA 6th Edition Grčević, N. (2003). Franz Thiard de Laforest (1838.-1911.) autor knjige "Die Bocche di Cattaro", 1898.. Peristil, 46 (1), 105-117. Preuzeto s https://hrcak.srce.hr/166738
MLA 8th Edition Grčević, Nada. "Franz Thiard de Laforest (1838.-1911.) autor knjige "Die Bocche di Cattaro", 1898.." Peristil, vol. 46, br. 1, 2003, str. 105-117. https://hrcak.srce.hr/166738. Citirano 30.03.2020.
Chicago 17th Edition Grčević, Nada. "Franz Thiard de Laforest (1838.-1911.) autor knjige "Die Bocche di Cattaro", 1898.." Peristil 46, br. 1 (2003): 105-117. https://hrcak.srce.hr/166738
Harvard Grčević, N. (2003). 'Franz Thiard de Laforest (1838.-1911.) autor knjige "Die Bocche di Cattaro", 1898.', Peristil, 46(1), str. 105-117. Preuzeto s: https://hrcak.srce.hr/166738 (Datum pristupa: 30.03.2020.)
Vancouver Grčević N. Franz Thiard de Laforest (1838.-1911.) autor knjige "Die Bocche di Cattaro", 1898.. Peristil [Internet]. 2003 [pristupljeno 30.03.2020.];46(1):105-117. Dostupno na: https://hrcak.srce.hr/166738
IEEE N. Grčević, "Franz Thiard de Laforest (1838.-1911.) autor knjige "Die Bocche di Cattaro", 1898.", Peristil, vol.46, br. 1, str. 105-117, 2003. [Online]. Dostupno na: https://hrcak.srce.hr/166738. [Citirano: 30.03.2020.]
Sažetak In this study the author returns to the interesting personality of the Viennese photographer Franz Thiard de Laforest (Vienna, 1838 — Kotor, 1911), about whom she wrote in the latest issue of the Peristil (45, 2002). Therein she described and analyzed his book Spalato und seine Alterthümer (1878), in which Laforest figured as the author of the text and the original photographs, and as publisher.
This study deals with another Laforest book, Die Bocche di Cattaro from 1898, in which he again appears both as the author and publisher. The author of the study first describes the travel related sections of the book, and then, in the chapter on the Madonna's Island she singles out a so far unknown texts by Laforests on Tripo Kokolja (Perast, 1661 — Korčula, 1713), a painter from Perast who, after studies in Venice, painted high quality paintings for the church of Our Lady of Škrpjel on an island in front of Perast.
In the analysis of the text (which is quoted in totality) she has discovered several original and daring evaluations of Kokolja's work, in particular on Venetian influences, as Laforest, in opposition to many other writers, denies any influence of great Renaissance artists. She concludes that Laforest's ideas came closest to those of contemporary scholars, e.g., Dr. Kruno Prijatelj as expressed in his capital work on Tripo Kokolja (1952).
Laforest's text has been overlooked by all experts and it does not appear in any bibliography on Kokolja, not even in that by Prijatelj; the author corrects this oversight and accords the Laforest text its deserved place as a missing piece on Kokolja oeuvre.
At the end of the book there is a long list of 190 photographs, Laforest had been taking along the Dalmatian coastland since the sixties. The list is accompanied by an album entitled "Album von Dalmatien — Photogtaphien aus der Anstalt von Franz Laforest in Cattaro." The album contains in the original format of 24 x 30 centimeters all the photographs listed.
The author has selected several reproduction from the book, and also a dozen photos from the large album on Dalmatia containing some of the earliest, and the best, photographs of Dalmatian cathedrals of Zadar, Šibenik, Split, Dubrovnik, and Kotor. The series of reproductions ends with a picture of the Old Bridge in Mostar, considered one of Laforest's masterpieces.