| Popis: |
The uncertainty of the times we live in, witnessing the violent redrawing of the borders of internationally recognized states can remind us of the long history of geopolitical changes that are reflected in the segment of cultural heritage. When it comes to Croatia, baroque ceiling painting, as well as other art media of the early modern age, are seen in the context of regions that historically belonged to the Habsburg Monarchy or Venice, or had retained the continuity of the Croatian name and statehood, or were independent entities such as the Republic of Dubrovnik. Despite the important link of confessional affiliation, which in the Baroque period resulted in a programmatically unique narrative of post‐ Tridentine art, matters of style, typology, materials, commissioners, artists and workshops, mostly, and logically, led towards the segregation in research and interpretation. Therefore, the visual discourses of Franciscans and Jesuits in selected examples of baroque ceiling painting from the once separate territories will be discussed for the first time – to what extent the cults of their founders interfered with the mission of evangelization in the post‐Tridentine era, and how this is reflected in their iconographic programs. |
