Discovering Dalmatia: Book of Abstracts

2016

This paper deals with forming an idea of the old Dalmatian art and urban heritage within the new cultural paradigm that was created during the 1950s in Yugoslavia. It turns out that the period, marked in politics by the escalation of confl ict between Yugoslavia and Italy, due to the Free Territory of Trieste, was one of the most encouraging periods for the development of professional paradigm in Croatian art history. Cvito Fisković, Grgo Gamulin, Ivo Petricioli and Kruno Prijatelj by exploring the Dalmatian cultural heritage, ranging from artists so-called Schiavoni to urbanism, recognised artistic discontinuities and the composite character of Dalmatian culture. One of the main topics of their research was the role of ethnic mass in creating Dalmatian art and cultural landscape as a whole. In this * Translated from Croatian by IVANA PRIJATELI PAVICIĆ way, by shifting the focus and direction of research, their aim was to free Dalmatian art of theoretical approaches resulting from t...

Bulletin of the Society for Renaissance Studies XX (2003) 2: 6–14 [in English]

Heritage, 2023

Omiš is characterised by an exceptional layering of its natural environment and historical architecture, which is why its modern achievements have not been fully researched so far. The aim of this scientific paper is a more comprehensive study of the modern architecture of Omiš of the second half of the 20th century. Its architectural corpus has remained in the shadow of modern architectural realisations of the nearby city of Split, which belongs to the same prominent protagonists of modernity. Work methods in this paper have included the analysis of primary and secondary sources and research of the current situation in the field. This work, for the first time, gives a systematic presentation of the modern architecture of this picturesque town while the elements of the author's expression integrate features of modern architecture and reinterpret the tradition of life in the Mediterranean.

2018

DISCOVERING DALMATIA DALMATIA IN TRAVELOGUES, IMAGES, AND PHOTOGRAPHS, 2020

At the very end of the “long nineteenth century”, between the 22nd of March and the 1st of April 1910, the University of Vienna organized its first study trip and chose the eastern coast of the Adriatic as its destination, focusing on Dalmatia. The trip was organized on the initiative of the then rector of the University of Vienna - Heinrich Swoboda, and included 300 participants. The preparations for this trip consisted of an exhibition and public lectures on topics relating to the eastern Adriatic coast. It also prompted the publication of an edited volume in 1911, consisting of essays by key art historians (Max Dvořak and Josef Strzygowski) and other scholars active at the University of Vienna at the time. Although scholars have shown some interest in this trip, among the still-unpublished materials remains a large album of photographs taken during the trip, which is kept in the University of Vienna’s Archive. The photographs in this album represent a valuable record of the state of numerous monuments on the eastern Adriatic coast at the beginning of the twentieth century, but also to the interventions and restorations that were under way at the time. This paper focuses on the political aspect of the organization of the University of Vienna’s first study trip, its participants, as well as the subjects and authors of photographs in the album.

INTERNATIONAL CONFERENCE: Art history and discourse on the centre and periphery An homage to Ljubo Karaman 1886—1971At: Zagreb, 2022

The paper represents an effort to reexamine age old paradigm of Ljubo Karaman for classification and valorisation of the artistic production in Croatia, especially Dalmatia, and in general. Authors intention was to refresh and update the paradigm from a contemporary stand point. By contrasting the underlying logic of Karaman's paradigm about the artistic production, which was essentially in tune with "western" linear perception of fluctuation of artistic models, paper suggests that today a Byzantine contribution to the artistic production in the Late Antique and Early Medieval Croatia could and should be examined through more sophisticated approaches. Byzantine heritage on the Eastern Adriatic, much disputed and, more often than not, contested, was examined in the paper as a derivative of an sophisticated Romaian society and its culture whose mechanisms cannot be understood from the perspective of linear systems. It could be understood, on the other hand, from a perspective of complex systems, which was already noticed by various authors. However, the paper takes the examination of Romaian society and culture, in general, a notch up, introducing Cillier's post-structuralist connectivistic theory in deciphering how did "Byzantine" cultural, political, etc. network actually functioned. In that respect, the paper demonstrates that "western" idioms cannot be applied on "eastern" world, nor other way around. In effect, that means that Karaman's paradigm, as a product of a "westerner's" mind, could not in any way penetrate the depths of Romaian culture on Adriatic, nor can his categories be applied to the evidently rich Byzantine heretage in Dalmatia.

It is the work of art itself, not a history or sequence of works, which is seen as a piece of history.

Discovering Dalmatia X – Travel Narratives and the Fashioning of a Dalmatian Artistic Heritage in Modern Europe (c. 1675 – c. 1941), 2024

Architect and professor Gyula Sándy (1868–1953) documented his 1895 journey with the Association of Hungarian Engineers and Architects in a series of travel notes. Published in eight instalments in the Association’s Weekly Bulletin, these notes detail travels through Zagreb, Rijeka, Dalmatia, Dubrovnik, and Bosnia and Herzegovina. This research examines Sándy’s focus on Dalmatia, where he intricately links societal, cultural, architectural, and artistic elements. Special attention is given to Sándy’s contextualisation of his observations, analysed from two viewpoints: the literary aspect, highlighting the captivating landscape descriptions with characteristics of literary veduta, and the architectural and art historical context, emphasising specific buildings and structures that caught his attention, as well as the reflection of this journey’s overall influence on Sándy’s subsequent architectural work.

Diadora 33/34, 2019

Krajem 1923. godine, za vrijeme talijanske vlasti u Zadru, današnji Arheološki muzej Zadar prešao je pod nadležnost Soprintendenza alle Antichità delle Marche e degli Abruzzi (Uprava za starine regija Marche i Abruzzi) u Anconi. Kulturna integracija Zadra i Italije u to je vrijeme bila jedno od pitanja važnih za uspješno provođenje procesa talijanizacije. U tu svrhu, ali vezano i uz (gotovo paralelna) uređenja novih stalnih postava u zadarskom i ankonitanskom muzeju, dogodio se niz razmjena arheološke građe između zadarskog muzeja i njemu nadležnoga muzeja u Anconi. U više je navrata u razdoblju između 1925. godine i Drugog svjetskog rata u Anconu odnošena građa s istraživanja rimskih nekropola Zadra i Nina, a kao protuusluga zadarskom muzeju organizirano je prenošenje triju bogatih picenskih grobova iz nekropola Cupra Marittime i Belmonte Picena za potrebe ovdašnjeg novog postava. Prema raspoloživoj dokumentaciji, razmjenu je zatražio tadašnji direktor Uprave za starine Giuseppe Moretti, a odobrila ju je Opća uprava za starine i likovnu umjetnost u Rimu 27. veljače 1930. Nakon rasformiranja postava u Sv. Donatu i njegova prenošenja u zgradu današnjeg Sveučilišta u Zadru, grobovi više nisu izlagani, a njihov je sadržaj danas nepoznat. Ipak, u muzejskim se spremištima čuva nekoliko predmeta koje s više ili manje sigurnosti možemo pripisati trima picenskim grobnim cjelinama: brončana kaciga, masivni brončani kolut s nizom zadebljanja i cjeloviti apulski vrč, a moguće i ulomak ploče s urezanim figuralnim prikazom. U članku se u kratkim crtama donosi opis i osnovna interpretacija navedene građe te okolnosti pod kojima se razmjena dogodila. U slučaju potonjega, autorica se oslanja na arhivske podatke koje je nedavno objavila Nicoletta Frapiccini, ravnateljica Nacionalnog arheološkog muzeja regije Marche u Anconi. Međumuzejska razmjena, kojom su tri bogato opremljena picenska groba dospjela u Arheološki muzej, zanimljiva je bilješka iz povijesti Arheološkog muzeja Zadar koja pruža uvid u rad ove ustanove u jednom od težih razdoblja njezina djelovanja. At the end of 1923, during the Italian rule in Zadar, the present-day Archaeological Museum Zadar came under the jurisdiction of the Soprintendenza alle Antichità delle Marche e degli Abruzzi (Administration for Antiquities of the Marche and Abruzzi Regions) in Ancona. The cultural integration of Zadar and Italy at that time was one of the issues important for the successful implementation of the Italianization process. For this purpose, but also in connection with the (almost parallel) arrangement of the new permanent exhibitions in the Zadar and Ancona museums, there was a series of exchanges of archaeological material between the Archaeological Museum in Zadar and its competent museum in Ancona. On several occasions, between 1925 and World War II, materials from the Roman necropolises of Zadar and Nin were taken to Ancona. As a favour to the Archaeological Museum in Zadar, the transfer of three rich Picenian graves from the necropolises of Cupra Marittima and Belmonte Piceno was carried out for the purpose of a new exhibition here. According to available documentation, the exchange was requested by the then Director of the Antiquities Directorate, Giuseppe Moretti, and approved by the General Administration for Antiquities and Fine Arts in Rome on February 27, 1930. After the disbanding of the exhibition in St. Donatus and its transfer to the building of today’s University of Zadar, the graves are no longer exhibited and their contents are unknown today. However, there are several items stored in the museum’s repositories that can more or less be attributed to the three Picenian graves: a bronze helmet, a massive bronze ring with a series of knobs, and a complete Apulian jug, and possibly a fragment of a slab with a carved figural representation. The article provides a brief description and basic interpretation of the material in question and the circumstances under which the exchange took place. In the case of the latter, the author relies on archival data recently published by Nicoletta Frapiccini, director of the National Archaeological Museum of the Marche Region in Ancona. The inter-museum exchange, which brought three richly furnished Picenian graves to the Archaeological Museum Zadar, is an interesting note from its history, which provides insight into the work of this institution during one of its difficult periods.