Marija Gorica, church of the Visitation of Mary, pulpit by Franz Anton Straub, 1762, detail (HRZ Photo Archive, GT, 2017)

Marija Gorica, crkva Pohođenja Blažene Djevice Marije, propovjedaonica Franza Antona Strauba, 1762., detalj (Fototeka HRZ-a, GT, 2017)

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KSENIJA ŠKARIĆ

POLYCHROMY: THE STUDY OF THE TYPOLOGY, TECHNOLOGY, AND MASTERS OF THE CROATIAN CORPUS

TYPOLOGY

The brilliant works of the Straub family owe part of their impressive impact to polychromy, which was as a rule not executed by the sculptors but by the paint-ers they cooperated with. While the Straub brothers moved eastwards and southwards during the eight-eenth century looking for work, in the usual direc-tion of economic migration towards areas poorer in artists, the painters-polychromers followed the same routes to conquer new markets, bringing with them knowledge of techniques and forms of decoration as travel expenses that were to ensure their livelihood. Their names, mostly German, confirm their origins. On most of the wooden sculptures and altars by the Straub family, the original eighteenth-century poly-chromy cannot be seen because it was covered in later renovations or damaged by alterations and wear. How-ever, thanks to the large number of altars and pulpits that members of the Straub family created in Croatia, which have in recent years been restored or researched with restoration in view, we have come to know their appearance, special features, and technical charac-teristics.1 Particularly interesting for us are the works

1 The following altars have been restored or researched by restorers: Franz Anton Straub – high altar, altar of St George and altar of St Joseph, and the baptistery in Kloštar Ivanić (HRZ, heads of restoration work Vesna Šimičić and Iva Koci; Velislav Gobeljić); high altar in Velika Ludina (HRZ, heads Vesna Šimičić, and Snježana Hodak), high al-tar in Pakrac (HRZ, head Miroslav Pavličić), high altar in Karlovac-Banija (head Andrej Dokić), high altar in Prepol-no (HRZ, head Romana Jagić; Nenad Nef), pulpit in Marija

Pakrac, parish church of the Assumption of the Blessed Virgin Mary, high altar, 1760 (HRZ Photo Archive, LjG, 2013)Pakrac, župna crkva Uznesenja Blažene Djevice Marije, glavni oltar, 1760 (Fototeka HRZ-a, LjG, 2013)

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by Franz Anton Straub, as they were polychromed by naturalized masters. Comparing his restored altars in Pakrac (1760), Lužnica (1761), Kloštar Ivanić (1762), and Velika Ludina (1762) with the altars of his older

Gorica (HRZ, head Ksenija Škarić), sculptures in the Za-greb City Museum (HRZ, head Ksenija Škarić); J. Straub – high altar of the Franciscan and parish church in Čakovec (HRZ heads Snježana Hodak and Maja Postonjski; Velimir Ivezić), sculptures on the facade of the Ursuline Church in Varaždin (head Božo Martinčević); Ph. J. Straub – altar of the Holy Cross in Varaždin Cathedral (HRZ, head Da-nuta Misiuda), high altar in Trški Vrh (HRZ, heads Ksenija Škarić and Miroslav Pavličić).

136 ESSAYS

Pakrac, parish church of the Assumption of the Blessed Virgin Mary, high altar, 1760, detail (HRZ Photo Archive, LjG, 2013)Pakrac, župna crkva Uznesenja Blažene Djevice Marije, glavni oltar, 1760, detalj (Fototeka HRZ-a, LjG, 2013)

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brothers in Bavaria and Vienna, and even with those in Graz and Ptuj, we cannot shake off the impression that Franz Anton’s taste differed. Although the forms of decoration are related, it seems that the artist from the “outskirts” adapted them to the environment, which was by no means, as people often like to think, totally receptive. Fascination with the expensive materials characteristic of rococo polychromy, with refined and complicated techniques for faithfully imitating them, was in this case redesigned so as to open up space for imaginative colouring. On the altars we find fantas-tic multicoloured marbling in bright combinations of pale hues, more like the ripples of coloured water with many big and small air bubbles than breccia, marble, or semi-precious stone. Resistance to “novelty” is also evidenced by the complete absence of monochrome figures – white or completely gilded. In keeping with traditional wood carving, the figures are steadfastly multicoloured; they refuse to imitate statues in stone or metal. The colour of human skin and hair is mimetical-ly followed, depicting details such as eyes, lips, teeth, eyebrows, and rosy cheeks, and the figures are clothed in multicoloured fabrics (see figs. 1–4).

There are also several works by Philipp Jakob Straub in north Croatia, but their polychromy is the work of visiting painters from Graz and is therefore quite different. The marbling on the pulpit (1761) and the altar of the Holy Cross (1762–4) in Varaždin Cathe-dral, at that time the Jesuit Church, is more natural-looking and of a reduced, brownish-grey colour. The lack of colour contrasts is underlined by the fact that all the marbling was rendered by arranging the same few colours, without variations in tone and hue and with-out visible brushstrokes (see figs. 5 and 6). The result of this procedure is rigorous and elegant, and seems more like marble-stucco than painting. Even here the sculp-tures are not monochrome, but at least a large surface of their clothing is completely gilded, which culturally and spatially places this Styrian polychromy halfway between the monochromy of Bavarian and Viennese art commissioned by the more elegant patrons, and the many colours used in the provinces.

The use of vivid colours in the eighteenth century is not a special feature of Croatian regions; it is always present in rural settings. The special feature is that the works commissioned by highly-placed patrons, such as

137KSENIJA ŠKARIĆ: POLYCHROMY: THE STUDY OF TYPOLOGY, TECHNOLOGY AND MASTERS OF THE CROATIAN CORPUS

bishops Franjo Thauszy and Josip Antun Ćolnić, follow the same taste.

Business opportunities in Zagreb and Varaždin, the most important centres of northwest Croatia, differed from those in the major Central European art centres. The tasks were smaller and simpler, but more varied. This resulted in smaller workshops and a limited divi-sion of labour even in comparison with Graz, and es-pecially in comparison with Vienna or Munich. The sophisticated school of Rokokofassung could not sur-vive in the small workshops that performed the most diverse painting jobs, from painting woodwork to poly-chroming altars and executing easel and wall paint-ings, because its refined methods of surface decora-tion – polishing, punching, and engraving – presumed mastery forged in workshops with a highly-developed division of labour. These procedures were used more modestly in the small workshops, but true excellence could not be achieved without specialization. Individ-

Kloštar Ivanić, parish church of the Assumption of the Blessed Virgin Mary, altar of St George, 1762 (HRZ Photo Archive, GT, 2018)Kloštar Ivanić, župna crkva Uznesenja Blažene Djevice Marije, oltar sv. Jurja, 1762, detalj (Fototeka HRZ-a, GT, 2018)

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ual talent came to be expressed in painting the details of skin, hair, and faces, and workshop excellence at the level of gilding and fine and imaginative marbling.

TECHNOLOGY

The Croatian Conservation Institute carried out re-search into the technology and materials of a related group of “colouristic” altars by Franz Anton Straub – three altars in the parish church of the Blessed Virgin Mary in Kloštar Ivanić (1762), and the high altar in the parish church of the Assumption of the Blessed Virgin Mary in Pakrac (1760) have been restored, and the res-toration of the high altar in the parish church of St Mi-chael in Velika Ludina (1762) and the pulpit in the parish church of the Visitation of Mary in Marija Gorica (1762) is underway. Happily, the latter artwork – the pulpit in Marija Gorica – was never fully re-polychromed. The lower degree of contamination by materials from later interventions makes it easier to interpret the results of the analyses performed.

One of the peculiarities of the polychromy on this group of altars is the preferred and frequent use of blue glaze over the silvering on the lining of garments (see fig. 4). Traditionally, red and green glazes are contrasted in these places, which originated from seventeenth and early eighteenth-century polychromy, where these two complementary colours combine not only on clothing but also on ornamentation. On the altars by Franz An-ton Straub, blue glaze is combined with “bare” silvering and more extensive, always dominant, gilded surfaces. Red glaze is quite common, sometimes as a detail, but green is rarely found on clothing. The predominant colouring is therefore the calm, “luxurious” contrast of blue and gilt, which gives a different impression from the dynamic contrast of red and green.2 Pigments iden-tified in the blue glaze used for the garments of angels from the pulpit in Marija Gorica are Prussian blue, az-urite, and a small amount of ultramarine.3

On the other hand, the carved drapery on the can-opies over altars and tabernacles, which Franz Anton Straub showed often and gladly, always has silvering with green glaze. These draperies imitate green silk velvet adorned with gilded fringes, ropes, and tassels

2 Due to the structure of the human eye and the (psycho)physiology of eyesight, the relationship between green and red is the strongest contrast the eye can see.

3 Blue pigment was analysed by Patrick Dietemann at the Doerner Institute and Domagoj Mudronja at the Natural Science Laboratory of the Croatian Conservation Institute.

138 ESSAYS

(see fig. 7).4 Given the frequency of using red velvet for luxury furniture and canopies, and from comparative examples, one would expect the colour of the glaze to be red, but we do not find any red on the canopies by Franz Anton Straub. The pigment used for the green glaze on the altar in Pakrac is based on copper.5

On the frames of the altarpieces on the three altars in Kloštar Ivanić the silvering is marbled, a blue-green subvariant of imitation lapis lazuli. A contemporary description from 1765 noted this feature, consistently referring to the glazes as “bright colours”.6

The carving is in limewood,7 and the structural parts in evergreen wood, pine, or spruce. The larger sculptures are hollowed out on the backside, which is carelessly worked except in cases when it was assumed that the sculptures would be seen during processions circling around the altar (Velika Ludina). The use of a large number of pieces of wood of varying quality and the careless approach to the appearance of the back-side shows the speed of construction.

A comparative investigation into the pigments was made for the altars in Velika Ludina, Kloštar Ivanić, and Pakrac. The analysis was partly performed in situ with a mobile device for XRF spectroscopic analysis, and partly with XRF spectroscopy on samples at the Croatian Conservation Institute and PIXE spectros-copy at the Ruđer Bošković Institute. It was found that the red marbling was formed with red ochre and lead

4 Green glaze on the canopy is found on the altars by F. A. Straub in Pakrac and Velika Ludina, and on the tabernac-les in Velika Ludina and Kloštar Ivanić. The latter canopy was later removed from the tabernacle and reassigned. Škarić and Dumbović 2014, 169. The green glaze on the altar in Velika Ludina was reconstructed; on the altar in Pakrac it had been overpainted with a covering green paint (copper-based pigment + zinc white) which, due to the sensitivity of the glaze, was not removed. Thus, we give as an example a picture of the altar of the Adoration of the Magi in the parish church in Čazma (1765–7), probably modelled on Straub’s altars. According to the information I have kindly been given by the restorer Saša Dolinšek and the ZVKDS, the canopy on the high altar in Areh na Po-horju by J. Straub also has green glaze on a silver coating.

5 The result was obtained by XRF spectroscopy in the Natu-ral Science Laboratory of the Croatian Conservation Insti-tute. Analysis was carried out by Domagoj Mudronja.

6 NAZg, Canonical Visitations, Čazma Archdeaconate, pro-tocol 108/IV, 1765: “In medio est imago picta S. Georgi circa qua est circuferentia colore lucido ceruleo picta et in partibus inaurata” (transcription Irena Bratičević).

7 Margareta Klofutar microscopically analysed the wood at the Natural Science Laboratory of the Croatian Conserva-tion Institute.

Varaždin, Cathedral, altar of the Holy Cross, 1762–4, detail (HRZ Photo Archive, JK, 2017)Varaždin, katedrala, oltar sv. Križa, 1762. – 1764., detalj (Fototeka HRZ-a, JK, 2017)

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white, with vermillion used only in places. On the blue marbling (imitation of lapis lazuli), the base is Prus-sian blue with lead white, while chrome green (virid-ian), ultramarine, and umbra were used in places for the veins. Lead white and umbra were found in the grey marbling.8 The other frequently identified materials were calcite, magnesium sulphate, and gypsum, prob-ably as extender or filler in the colour and ground.

The painting on all the artworks is in tempera. On the pulpit in Marija Gorica a protein-based binding

8 HRZ, Natural Science Laboratory, Domagoj Mudronja, Ispitivanje pigmenata s oltara Franje Strauba iz crkava Uznesenja Blažene Djevice Marije u Kloštru Ivaniću te Pakracu i crkve sv. Mihovila Arkanđela u Velikoj Ludini (Pigment investigation on the altars by F. A. Straub in the churches of the Assumption of the Blessed Virgin Mary in Kloštar Ivanić and Pakrac, and the Church of St Michael the Archangel in Velika Ludina) 2008; Desnica, Škarić, Mudronja, Bošnjak, Fazinić, Pastuović 2008, 123.

139KSENIJA ŠKARIĆ: POLYCHROMY: THE STUDY OF TYPOLOGY, TECHNOLOGY AND MASTERS OF THE CROATIAN CORPUS

was identified, probably animal glue.9 We attributed the presence of natural terpene resin and oil to varnish which could not be separated from the layer of paint in the sample. Lead white, iron oxide, vermilion, tin-lead yellow, and calcium carbonate were found in the flesh colour (see fig. 8).10 Organic pigments were not analysed.

THE MASTERS

Archives confirm the names of only a few painters who polychromed the altars and pulpits by members of the Straub family in Croatia. The recognizable polychromy of Franz Anton Straub’s altars in Pakrac, Velika Ludina, Lužnica, and Kloštar Ivanić cannot for now be associ-

9 FTIR spectroscopy in the Natural Science Laboratory of the Croatian Conservation Institute was carried out by Margareta Klofutar in 2018.

10 XRF spectroscopy in the Natural Science Laboratory of the Croatian Conservation Institute was carried out by Doma-goj Mudronja in 2018.

Varaždin, Cathedral, altar of the Holy Cross, 1762–4, detail (HRZ Photo Archive, JK, 2017)

Varaždin, katedrala, oltar sv. Križa, 1762. – 1764., detalj (Fototeka HRZ-a, JK, 2017)

ated with the name of any painter. Indirectly, we con-clude that the work was done by a painting workshop with close business ties to Straub’s sculptural work-shop, at least in the period between 1760 and 1762. We may assume that the painting workshop, as well as the workshop of Franz Anton Straub, was at that time in Zagreb. Given that some of the older Straub brothers trained in painting alongside sculpture, one should not entirely dismiss that polychromy also took place in the obviously very large – and, in that short period of time, highly productive – workshop of Franz Anton Straub.11

Kindred in colour scheme but different in execution is the polychromy on the altar of the Magi in the church of the same name in Banija in Karlovac (1762). Since the altarpiece was made by Gabriel Taller,12 a painter-polychromer who at that time lived and worked in the nearby Pauline Monastery in Kamensko, perhaps the

11 I thank the Austrian researcher Julia Strobl for this infor-mation.

12 Cvitanović 1971, 6, 10–11; Cvitanović 1973, 19.

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140 ESSAYS

polychromy on the Karlovac altar may also be attrib-uted to him.

A completely different concept of polychromy is found on the somewhat later altar of Our Lady of Sev-en Sorrows in Prepolno (1764). This altar has not been restored (except for the sculptures), but restoration probes revealed marbling of a kind we are familiar with from several other altars with restored eighteenth-century polychromy; however, these altars were not made in the workshop of Franz Anton Straub. These are the altars in Tugonica (1767), Podgorje Bistričko (1766–71), and Vinski Vrh (Poljanica Bistrička, 1762–72), all by the same sculptor (Straub’s successor?), and all polychromed by the same painter, Jacob Reißer, who signed the Tugonica altar.13 Part of the marbling is matt, usually executed in two related tones, and part is glossy, painted in blue-green glaze on silvering and decorated with gold veins Not until the restoration of the Prepolno altar is finished will we be able to confirm

13 Škarić 2014, 182–3.

with certainty whether it, too, was polychromed by the same painter.

Altars in Franciscan churches were, as a rule, paint-ed by secular Franciscan painters. Thus the high altar by Franz Anton Straub in the Church of St Anthony of Padua in Hrvatska Kostajnica (destroyed in the war in 1991) was polychromed by the Franciscans Luca Aulei-dner and Lazar Zweck in 1764.

The altar of St John of Nepomuk in the Ursuline Church in Varaždin, from which the central statue by J. Straub has today been preserved, was polychromed in about 1745 by the Varaždin painter Johann Valentin Karcher, originally from Klagenfurt. In this case, as in some others, Karcher was the general contractor of the work with the client and the head of the works, and he hired the carpenter and sculptor as subcontractors.14

The polychromy on the high altar by Philipp Jakob Straub in the pilgrimage church of the St Mary of Jeru-salem at Trški Vrh (1759) was executed by a master from

14 Lentić 1968; Lentić 1971, 12.

Čazma, parish church of Mary Magdalene, altar of the Adoration of the Magi, 1765–7 (HRZ Photo Archive, NO, 2018)Čazma, župna crkva Marije Magdalene, oltar Poklonstva kraljeva, 1765. – 1767. (Fototeka HRZ-a, NO, 2018)

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Pigment analysis by means of XRF spectroscopy (HRZ Photo Archive, KŠ, 2019)Analiza pigmenata XRF-spektroskopijom (Fototeka HRZ-a, KŠ, 2019)

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Graz whose name is not given.15 The pulpit (1761) and the altar of the Holy Cross (1762–4) in the Jesuit Church, today Varaždin Cathedral, were painted by an artist from Graz Franz Karcher.16

CONCLUSION

Restoration, laboratory, and archival research, as well as the international cooperation realized through the project Tracing the Art of the Straub Family, all helped us understand the novelties brought to the Croatian territory by Central European artists in the mid-eight-eenth century. The international cooperation especial-ly helped to make us aware of the special local features developed in the workshop of Franz Anton Straub in Zagreb and the painting workshops of his collabora-tors. The international links renewed on the trail of old artistic currents have contributed, among other things, to reciprocity in the restoration profession – an activ-ity on the boundary of art and science – which, in its artistic aspect, remains interpretative and strongly linked to local culture and, on the other hand, in its scientific aspect is necessarily becoming increasingly internationalized.

15 From the parochial chronicle: “Eodem Anno 1759 major Ara Beatissimae V. Mariae Jeros. ex munificentia peril-lustris ac Generous Domini Josephi Jagussich ejusdem nobilis Dominae Conthoralis natae Pullay per sculptorem Graecensem Straub extructa et erecta Graecio, et posita fuit, ac per pictorem pariter Graecensem inaurata, et mar-morizata.” Baričević 1975, 22; 1992–3, 196.

16 See Catalogue Philipp Jakob Straub 57.

KSENIJA ŠKARIĆ

POLIKROMIJA: ISTRAŽIVANJE TIPOLOGIJE, TEHNOLOGIJE I MAJSTORA NA HRVATSKOM KORPUSU

TIPOLOGIJA

Blistava djela obitelji Straub dio svoje impresivnosti du-guju i polikromiji, koja u pravilu nije djelo kipara, nego slikara s kojima su surađivali. Dok su braća Straub ti-jekom 18. stoljeća u potrazi za poslom selila ka istoku i jugu, uobičajenim smjerom ekonomskih migracija prema umjetnicima siromašnijim prostorima, istom su trasom nova tržišta osvajali i slikari-polikromato-ri, donoseći sa sobom znanja o tehnikama i oblicima ukrašavanja kao popudbinu koja im je trebala osigurati egzistenciju. Imena im, mahom njemačka, potvrđuju porijeklo. Na većini drvenih skulptura i oltara obitelji Straub prvobitnu polikromiju iz 18. stoljeća nije mogu-će vidjeti jer je u kasnijim obnovama prekrivena, ili je oštećena preinakama i habanjem. Međutim, zahvalju-jući većem broju oltara i propovjedaonica obitelji Stra-ub u Hrvatskoj koji su posljednjih godina restaurirani ili restauratorski istraženi, upoznali smo se s njihovim izgledom, posebnostima i tehničkim značajkama.1

1 Restaurirani ili restauratorski istraženi su sljedeći oltari: F. A. Straub – glavni oltar, oltar sv. Jurja i oltar sv. Josipa te krstionica u Kloštar Ivaniću (HRZ, voditelji restaura-torskih radova Vesna Šimičić, Iva Koci i Velislav Gobeljić); glavni oltar u Velikoj Ludini (HRZ, voditelji Vesna Šimičić i Snježana Hodak), glavni oltar u Pakracu (HRZ, voditelj Miroslav Pavličić), glavni oltar u Karlovcu na Baniji (vodi-telj Andrej Dokić), glavni oltar u Prepolnom (HRZ, vodi-telj Romana Jagić; Nenad Nef), propovjedaonica u Mariji Gorici (HRZ, voditeljica Ksenija Škarić), skulpture iz Mu-zeja grada Zagreba (voditeljica Ksenija Škarić); J. Straub

– glavni oltar franjevačke i župne crkve u Čakovcu (HRZ, voditelji Snježana Hodak i Maja Postonjski; Velimir Ivezić),

142 ESSAYS

Osobito su nam zanimljiva djela Franza Antona Strau-ba, budući da su ih polikromirali udomaćeni majstori. Uspoređujući njegove restaurirane oltare u Pakracu (1760.), Lužnici (1761.), Kloštru Ivaniću (1762.) i Veli-koj Ludini (1762.), s oltarima starije braće u Bavarskoj i Beču, pa i s onima u Grazu i Ptuju, ne možemo se oteti dojmu da se radi o drugačijem ukusu. Premda su oblici ukrašavanja srodni, čini se da ih je umjetnik »periferi-je« prilagodio sredini, koja nikako nije bila, kako se po-često tvrdi, isključivo receptivna. Fascinacija skupim materijalima karakteristična za polikromiju rokokoa, s rafiniranim i kompliciranim tehnikama njihova vjer-nog podražavanja, tu je preoblikovana tako da otvori prostor kolorističkoj imaginaciji. Na oltarima nalazimo raznobojne fantastične marmorizacije u vedrim kom-binacijama svijetlih boja, više nalik uzbibanoj oboje-noj vodi s mnoštvom mjehura i mjehurića zraka nego kakvom kršniku, mramoru ili poludragom kamenu. Otpor »novotarijama« dokazuje i činjenica da figure nikada nisu monokromne – bijele ili posve pozlaćene. U skladu s tradicijom drvorezbarstva, one su ustrajno višebojne; odbijajući oponašati kamene ili metalne ki-pove. Mimetički se slijedi boja ljudske kože i kose, sli-kaju detalji poput očiju, usnica, zubi, obrva i rumenila, a figure se omataju višebojnim tkaninama (sl. 1–4).

Na području sjeverne Hrvatske nalazimo i nekoliko djela Philippa Jakoba Strauba, ali je njihova polikromi-ja rad gostujućih, gradačkih slikara, i zato posve druga-čija. Marmorizacije propovjedaonice (1761.) i oltara sv. Križa (1762. – 1764.) u varaždinskoj katedrali, tadašnjoj jezuitskoj crkvi, bliže su prirodi te reduciranog, smeđe-sivog kolorita. Odsustvo kolorističkih kontrasta pod-crtano je time što se sve upotrijebljene marmorizacije grade slaganjem istih nekoliko boja, bez tonskih i ko-lorističkih varijacija i bez vidljivih poteza kista (sl. 5, 6). Rezultat ovakvog postupka je strog i elegantan, te više nalik štukomramoru nego slikarstvu. Ni ovdje, doduše, skulpture nisu monokromne, ali je barem velika povr-šina njihove odjeće u potpunosti pozlaćena, što kul-turno i prostorno smješta ovu štajersku polikromiju na polovicu puta između monokromije bavarske i bečke umjetnosti otmjenijih naručitelja i šarenila provincije.

Kolorizam 18. stoljeća nije posebnost hrvatskih prostora; on je uvijek prisutan u ruralnim sredinama. Posebnost se sastoji u tome što i umjetnine visokih na-

skulpture s pročelja uršulinske crkve u Varaždinu (vodi-telj Božo Martinčević); Ph. J. Straub – oltar sv. Križa u va-raždinskoj katedrali (HRZ, voditeljica Danuta Misiuda), glavni oltar na Trškom Vrhu (HRZ, voditelji Ksenija Škarić i Miroslav Pavličić).

ručitelja, poput biskupa Franje Thauszyja i Josipa An-tuna Ćolnića, slijede isti ukus.

Poslovne prilike u Zagrebu i Varaždinu, najvažni-jim središtima sjeverozapadne Hrvatske, bile su dru-gačije nego u velikim srednjoeuropskim umjetničkim središtima. Poslovi su bili manjeg opsega, jednostav-niji, ali raznoliki. Stoga su radionice bile manje, pa je podjela posla bila ograničena, čak i u usporedbi s Gra-zom, a osobito u usporedbi s Bečom ili Münchenom. U malim radionicama koje su obavljale najraznovrsnije slikarske poslove, od ličenja stolarije do polikromira-nja oltara, štafelajnog i zidnog slikarstva, nije se mo-gla održati visoka škola Rokokofassunga, čiji rafinirani postupci ukrašavanja površine – poliranja, punciranja i graviranja – pretpostavljaju majstorstvo istesano u ra-zrađenoj radioničkoj podjeli posla. Navedeni su se po-stupci u skromnijoj mjeri koristili, ali se njihova vrsno-ća, bez specijalizacije, nije mogla postići. Individualni je talent dolazio do izražaju u slikanju pojedinosti puti, kose i lica, a vrsnoća radionice u razini izvedbe pozlate te finoći i maštovitosti marmorizacija.

TEHNOLOGIJA

Istraživanja tehnologije i materijala srodne grupe »ko-lorističkih« oltara Fraza Antona Strauba provedena su u Hrvatskom restauratorskom zavodu, gdje su restau-rirana tri oltara iz župne crkve Blažene Djevice Marije u Kloštar Ivaniću (1762.) i glavni oltar iz župne crkve Uznesenja Blažene Djevice Marije u Pakracu (1760.), a u tijeku je restauriranje glavnog oltara iz župne crkve Svetog Mihaela u Velikoj Ludini (1762.) i propovjeda-onice iz župne crkve Pohoda Marijina u Mariji Gorici (1762.). Sretna je okolnost da posljednja umjetnina – propovjedaonica u Mariji Gorici – nije nikad bila cjelo-vito repolikromirana. Zbog manjeg onečišćenja mate-rijalima iz kasnijih intervencija, rezultate provedenih analiza lakše je interpretirati.

Jedna od posebnosti polikromije ove grupe oltara jest rado i često korištenje modre lazure na posrebre-nju za podstavu odjeće (sl. 4). Tradicionalno se na tim mjestima kontrastiraju crvena i zelena lazura, što vodi porijeklo od polikromije 17. i ranog 18. stoljeća, gdje se te dvije komplementarne boje isprepliću ne samo na odjeći, nego i na ornamentici. Na oltarima Franza Antona Strauba modra lazura kombinira se s »golim« posrebrenjem i većim, uvijek dominantnim površina-ma pozlate. Crvena lazura je dosta česta, ponekad kao detalj, ali zelenu na odjeći nalazimo rijetko. Stoga ko-loristički dominira smireni, »luksuzni« kontrast modre i pozlate, po dojmu različit od dinamičnog kontrasta,

143KSENIJA ŠKARIĆ: POLIKROMIJA: ISTRAŽIVANJE TIPOLOGIJE, TEHNOLOGIJE I MAJSTORA NA HRVATSKOM KORPUSU

crvene i zelene.2 Identificirani pigmenti koji su korište-ni za modre lazure na odjeći anđela s propovjedaonice u Mariji Gorici su prusko plava, azurit i manja količina ultramarina.3

S druge strane, na baldahinima oltara i svetohra-ništa, koje Franz Anton Straub rabi često i rado, uvijek se na izrezbarenoj draperiji nalazi posrebrenje sa ze-lenom lazurom. Te draperije podražavaju zeleni svi-leni baršun ukrašen pozlaćenim resama, konopcima i kićankama (sl. 7).4 S obzirom na učestalost korištenja crvenog baršuna za luksuzni namještaj i baldahine, te prema komparativnim primjerima, očekivana boja lazure bila bi crvena, ali takve na baldahinima Franza Antona Strauba ne nalazimo. Kao pigment korišten za zelenu lazuru na oltaru u Pakracu korišten je pigment na bazi bakra.5

Na okvirima oltarnih slika triju oltara u Kloštru Ivaniću nalazimo marmorizaciju na posrebrenju, mo-drozelenu podvarijantu imitacije lazurnog kamena. Ova posebnost zapažena je već u suvremenom opisu iz 1765. godine, u kojem se lazure dosljedno nazivaju »sjajnim bojama«.6

Rezbareni dijelovi izrađene su u lipovini,7 dok su konstruktivni dijelovi izrađeni u crnogoričnom drvu,

2 Zbog građe oka i (psiho)fiziologije vida, odnos zelene i cr-vene je najsnažniji kontrast koji opaža ljudski vid.

3 Modri pigment analizirali su Patrick Dietemann u Doer-ner Institutu i Domagoj Mudronja u Prirodoslovnom labo-ratoriju HRZ-a.

4 Zelenu lazuru na baldahinu nalazimo na oltarima F. A. Strauba u Pakracu i Velikoj Ludini, te na svetohraništu u Velikoj Ludini i Kloštru Ivaniću. Ovaj posljednji baldahin je kasnije uklonjen sa svetohraništa i prenamijenjen. Kse-nija Škarić, Ana Dumbović, 2014. 169. Zelena lazura je na oltaru u Velikoj Ludini rekonstruirana, dok je na oltaru u Pakracu prebojena pokrivnom zelenom bojom (pigment za bazi bakra + cinkova bijela) koja, zbog osjetljivosti la-zure, nije uklanjana. Stoga kao primjer dajemo sliku oltar Poklonstva kraljeva iz župne crkve u Čazmi (1765. – 1767.), vjerojatno rađen po uzoru na Straubove oltare. Prema podatku koje mi je ljubazno ustupila restauratorica Saša Dolinšek i Zavoda za varstvo kulturne dediščine Slovenije, baldahin na glavnom oltaru u Arehu na Pohorju J. Strauba, također ima zelenu lazuru na posrebrenju.

5 Rezultat je dobiven XRF spektroskopijom u Prirodoslov-nom laboratoriju HRZ-a. Analizu je proveo Domagoj Mu-dronja.

6 NAZg, Kanonske vizitacije, Arhiđakonat Čazma, protokol 108/IV, 1765: »In medio est imago picta S. Georgi circa qua est circuferentia colore lucido ceruleo picta et in partibus inaurata« (prijepis: Irena Bratičević).

7 Mikroskopsku analizu vrste drva provela je Margareta Klofutar u Prirodoslovnom laboratoriju HRZ-a.

jeli ili smreki. Veće skulpture su izdubene s poleđine koja je nemarno obrađena, osim u slučajevima kad se pretpostavljalo da će se skulpture vidjeti pri ophodu oltara (Velika Ludina). Korištenje većeg broja komada drva različite kakvoće i nebriga o izgledu poleđine oda-je brzu gradnju.

Na oltarima u Velikoj Ludini, Kloštru Ivaniću i Pa-kracu provedena je komparativna analiza pigmena-ta. Analiziranje se dijelom odvijalo in situ, mobilnim uređajem za XRF spektroskopsku analizu, a dijelom na uzorcima XRF spektroskopijom u HRZ-u i PIXE spek-troskopijom u Institutu Ruđer Bošković. Ustanovljeno je da se crvene marmorizacije tvore crvenim okerom i olovnom bijelom, a samo ponegdje upotrijebljen je ci-nober. Na modroj marmorizaciji (imitaciji lazurnog ka-mena), osnova je pruska modra s olovnim bjelilom, dok su ponegdje u šarama upotrijebljene kromna zelena (viridijan), ultramarin i umbra. U sivim marmorizaci-jama pronađene su olovna bijela i umbra.8 Ostali često identificirani materijali su kalcit, magnezijev sulfat i gips, vjerojatno kao punilo u boji i osnovi.

Oslik je na svim umjetninama temperni. Na pro-povjedaonici u Mariji Gorici identificirano je vezivo na bazi proteina, vjerojatno tutkalno.9 Prisutnost pri-rodne terpenske smole i ulja pripisali smo laku koji nije bilo moguće u uzorku odvojiti od sloja boje. U inkarna-tu je ustanovljena olovna bijela, željezni oksid, cinober, olovno-kositrena žuta i kalcijev karbonat (sl. 8).10 Or-ganski pigmenti nisu analizirani.

MAJSTORI

Arhivski su nam potvrđena imena tek nekolicine slika-ra koji su polikromirali oltare i propovjedaonice obitelji Straub u Hrvatskoj. Prepoznatljivu polikromiju oltara Franza Antona Strauba u Pakracu, Velikoj Ludini, Luž-nici i Kloštru Ivaniću zasad nije moguće povezati niti s jednim slikarskim imenom. Indirektno zaključuje-mo da se radi o slikarskoj radionici poslovno tijesno povezanoj sa Straubovom kiparskom radionicom, i to barem u razdoblju između 1760. i 1762. godine. Može

8 HRZ, Prirodoslovni laboratorij, Domagoj Mudronja, Ispiti-vanje pigmenata s oltara Franje Strauba iz crkava Uznese-nja Blažene Djevice Marije u Kloštru Ivaniću te Pakracu i crkve sv. Mihovila Arkanđela u Velikoj Ludini, 2008; Desni-ca, Škarić, Mudronja, Bošnjak, Fazinić, Pastuović 2008, 123.

9 FTIR spektroskopiju u Prirodoslovnom laboratoriju HRZ-a provela je Margareta Klofutar 2018. godine.

10 XRF spektroskopiju u Prirodoslovnom laboratoriju HRZ-a proveo je Domagoj Mudronja 2018. godine.

144 ESSAYS

se pretpostaviti da se i slikarska, kao i radionica Fran-za Antona Strauba, u to vrijeme nalazila u Zagrebu. S obzirom na podatak da su neki od starije braće Straub pored kiparskog izučili i slikarski zanat, ne treba sa-svim odbaciti niti mogućnost da se polikromatorska djelatnost odvijala unutar same, očigledno vrlo velike i, u tom kratkom razdoblju izrazito plodonosne, radioni-ce Franza Antona Strauba.11

Srodnog je kolorita, ali drugačije izvedbe, polikro-mija oltara Sveta Tri kralja u istoimenoj kapeli na karlo-vačkoj Baniji (1762.). S obzirom da je oltarnu palu za taj oltar izradio Gabriel Taller,12 slikar-polikromator koji je u to vrijeme živio i radio u obližnjem pavlinskom sa-mostanu u Kamenskom, možda mu se može pripisati i polikromija karlovačkog oltara.

Posve drugačiji koncept polikromije nalazimo na nešto kasnijem oltaru Žalosne Majke Božje u Prepol-nom (1764.). Taj oltar nije restauriran (osim skulptura), ali restauratorske sonde otkrivaju marmorizacije koje su nam poznate s nekoliko drugih oltara na kojima je restaurirana polikromija 18. stoljeća, ali ne potječu iz radionice Franza Antona Strauba. Radi se o oltarima u Tugonici (1767.), Podgorju Bistričkom (1766. – 1771.) i Vinskom Vrhu (Poljanici Bistričkoj, 1762. – 1772.), istog kipara (Straubovog nasljednika?), koje je sve polikro-mirao isti slikar, Jacob Reißer, koji se potpisao na tu-goničkom oltaru.13 Dio marmorizacija je mat, izveden redovito dvama srodnim tonovima, a dio su, naprotiv, sjajne, naslikane modrozelenom lazurom na posrebre-nju i ukrašene zlatnim žilama. Tek po dovršetka resta-uriranja oltara u Prepolnom moći ćemo sa sigurnošću potvrditi je li i na njemu polikromiju izveo isti slikar.

Oltare u franjevačkim crkvama u pravilu su oslika-vali franjevački slikari-laici. Tako su glavni oltar Fran-za Antona Strauba u crkvi sv. Antuna Padovanskog u Hrvatskoj Kostajnici (uništen u ratu 1991.) 1764. godine polikromirali franjevci Luca Auleidner i Lazar Zweck.

Oltar sv. Ivana Nepomuka u varaždinskoj uršulin-skoj crkvi, od kojeg je danas ostao sačuvan središnji kip Josepha Strauba, polikromirao je varaždinski slikar porijeklom iz Klagenfurta Johann Valentin Karcher oko 1745. godine. Karcher je tu, kao i u nekim drugim slu-čajevima, bio glavni ugovaratelj poslova s naručiteljem te voditelj radova, pa je stolara i kipara angažirao kao podizvođače.14

11 Zahvaljujem na podatku austrijskoj istraživačici Juliji Strobl.

12 Cvitanović 1971, 6, 10–11; Cvitanović 1973, 19.13 Škarić 2014, 182–183.14 Lentić 1968; Lentić 1971, 12.

Polikromiju glavnog oltara Philippa Jakoba Strau-ba u hodočasničkoj crkvi Majke Božje Jeruzalemske na Trškom Vrhu (1759.) izveo je majstor iz Graza kojem se ne navodi ime.15 Propovjedaonicu (1761.) i oltar sv. Kri-ža (1762. – 1764.) u jezuitskoj crkvi, današnjoj katedrali u Varaždinu oslikao je slikar iz Graza Franz Karcher.16

ZAKLJUČAK

Restauratorska, laboratorijska i arhivska istraživanja, te međunarodna suradnja ostvarena kroz projekt Tra-gom umjetnosti obitelji Straub, zajednički su oblikovali spoznaje o novinama koje su umjetnici iz srednje Eu-rope donijeli na hrvatski prostor sredinom 18. stoljeća. Osobito nam je ovo posljednje – međunarodna surad-nja – pripomoglo osvijestiti postojanje lokalnih poseb-nosti razvijenih u radionici Franza Antona Strauba u Zagrebu i slikarskim radionicama njegovih suradni-ka. Međunarodne veze obnovljene tragom negdašnjih umjetničkih strujanja između ostaloga su doprinijele i refleksiji restauratorske struke – djelatnosti na granici umjetnosti i znanosti – koja, u svom umjetničkom vidu ostaje interpretativna i snažno vezana uz lokalnu kul-turu, a s druge se strane, svojim znanstvenim vidom, sve više nužno internacionalizira.

15 Župna spomenica navodi sljedeće: »Eodem Anno 1759 ma-jor Ara Beatissimae V. Mariae Jeros. ex munificentia pe-rillustris ac Generosi Domini Josephi Jagussich ejusdem nobilis Dominae Conthoralis natae Pullay per sculptorem Graecensem Straub extructa et erecta Graecio, et posita fuit, ac per pictorem pariter Graecensem inaurata, et mar-morizata.« – Baričević 1975, 22; Baričević 1992–1993, 196.

16 Vidi katalog Philipp Jakob Straub 56.

145KSENIJA ŠKARIĆ: POLIKROMIJA: ISTRAŽIVANJE TIPOLOGIJE, TEHNOLOGIJE I MAJSTORA NA HRVATSKOM KORPUSU

ZUSAMMENFASSUNG

FASSUNG: STUDIEN ZUR TYPOLOGIE, TECHNOLOGIE UND MEISTERN DES KROATISCHEN CORPUS

In den letzten Jahren wurde eine große Anzahl an Werken der drei Straub-Brüder Philipp Jakob, Joseph und insbesondere Franz Anton in Kroatien restauriert oder in Hinblick auf eine Restaurierung untersucht. Dies führte zu neuen Einblicken in die Verwendung der verschiedenen Typen von Fassungen und deren technischen Charakteristika. Es wurden Unterschiede zwischen dem lokalen Stil und den Praktiken in Bay-ern und der Steiermark festgestellt, ebenso besondere Eigenschaften der Kunst einiger lokaler Werkstätten.

IZVLEČEK

POLIHROMACIJA: ŠTUDIJA TIPOLOGIJE, TEHNOLOGIJE IN MOJSTROV HRVAŠKEGA KORPUSA

Na Hrvaškem so v zadnjih letih restavrirali in v procesu priprav na restavriranje raziskali večje število del treh bratov iz družine Straub – Filipa Jakoba, Jožefa in še po-sebej Franca Antona. To je prineslo nova spoznanja o tipih uporabljenih polihromacij in njihovih tehničnih značilnostih. Opaziti je mogoče razlike med lokalnim slogom in praksami, ki so se uporabljale na Bavarskem in Štajerskem, kot tudi posebnosti lokalnih delavnic.