APA 6th Edition Macan Lukavečki, V. (2018). JULIJE KLOVIĆ, UMJETNIK IZ VINODOLA U EUROPSKOM HUMANIZMU. Riječki teološki časopis, 52 (2), 223-241. Preuzeto s https://hrcak.srce.hr/219164
MLA 8th Edition Macan Lukavečki, Valerija. "JULIJE KLOVIĆ, UMJETNIK IZ VINODOLA U EUROPSKOM HUMANIZMU." Riječki teološki časopis, vol. 52, br. 2, 2018, str. 223-241. https://hrcak.srce.hr/219164. Citirano 26.10.2021.
Chicago 17th Edition Macan Lukavečki, Valerija. "JULIJE KLOVIĆ, UMJETNIK IZ VINODOLA U EUROPSKOM HUMANIZMU." Riječki teološki časopis 52, br. 2 (2018): 223-241. https://hrcak.srce.hr/219164
Harvard Macan Lukavečki, V. (2018). 'JULIJE KLOVIĆ, UMJETNIK IZ VINODOLA U EUROPSKOM HUMANIZMU', Riječki teološki časopis, 52(2), str. 223-241. Preuzeto s: https://hrcak.srce.hr/219164 (Datum pristupa: 26.10.2021.)
Vancouver Macan Lukavečki V. JULIJE KLOVIĆ, UMJETNIK IZ VINODOLA U EUROPSKOM HUMANIZMU. Riječki teološki časopis [Internet]. 2018 [pristupljeno 26.10.2021.];52(2):223-241. Dostupno na: https://hrcak.srce.hr/219164
IEEE V. Macan Lukavečki, "JULIJE KLOVIĆ, UMJETNIK IZ VINODOLA U EUROPSKOM HUMANIZMU", Riječki teološki časopis, vol.52, br. 2, str. 223-241, 2018. [Online]. Dostupno na: https://hrcak.srce.hr/219164. [Citirano: 26.10.2021.]
Sažetak In the first part of the article the author offers a short overview of the life and work of Juraj Julije Klović, and in the second part points to the role the artist played in the history of miniature as illuminator of manuscript books, especially in view of the fact that he was active in a time when manuscript books were already extensively spread in the European continent. In the last part of the article the author points out to Klović’s production of single miniatures with sacral themes dominant in the second half of Klović’s life, and for whose appearance as a special branch of miniature art Klović is of crucial importance. The author presents the motives for the high demand of these miniature paintings that were ordered as personal or diplomatic gifts by the Farnese family members and the Florentine Medici family, and were sent to various European courts. The exceptional appreciation and demand for these small treasures had also influenced individual artists of that time, and thus the author points to which extent these works of art served as models to other artists, in particular to Giovanni Battista Castello and fray Andres de Leon who were active in the scriptorium of the El Escorial Monastery in Spain. The article, therefore, addresses also the presence of Klović’s illuminations in this monastery, in whose scriptorium Klović was personally invited, but declined the inviation because of advanced age.