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Periodisation of Architecture in Croatian Art History: Rennaisance and Baroque Architecture

The main factors for the development of Croatian art in the Early Modern Period were the changing historical conditions, marked by the intrusions and conquests of Ottoman forces and various sources of influence: of Mediterranean or Italian origin in Adriatic Croatia, or Hungarian in inland Croatia and strongly Habsburg-related from the 16th century onward. These circumstances have largely affected art- historical scholarly research as well. In the first period of the rise of art history as a discipline, in the “age of the founders” corresponding to the last decades of the 19th century, research was focused on the creation of the corpus of works of art, with emphasis on the study of the monumental heritage of the Adriatic coast and artwork belonging to earlier periods (I. Kukuljević Sakcinski, 1816-1889). The art of inland Croatia and more recent artistic periods would come into focus only with the expansion of the influence of the Viennese School of Art History, first with the survey written in 1902 by Iso Kršnjavi (1845-1927) and especially with the activity of Gjuro Szabo (1875-1943) and Artur Schneider (1879-1946). Besides to the key issue of identifying national features in the history of art, many scholars devoted their attention to problems of periodisation, with two distinct and parallel approaches or views of the topic. On one hand, scholars emphasized the contemporary appearance of artistic phenomena, which corresponded to current trends in Western art. On the other hand, Ljubo Karaman’s (1886-1971) reflections on art in periphery and on the delayed adoption of styles would prove to have a profound effect on the art-historical discourse of the 20th century. The applied methodology and periodisation reveal different approaches to the research of artwork in Adriatic and inland Croatia. While the periodisation of Dalmatian art was primarily based on formal characteristics and morphological features, especially decoration, an entirely different approach was introduced in the study of art of inland Croatia, with emphasis on context in discussing individual works of art. These theses will be considered on several examples. For the periodisation of Dalmatian art, an important element was the distinction between Gothic and Renaissance and efforts to define the “mixed Gothic-Renaissance style” in discussions between Cvito Fisković (1908-1996) and Ljubo Karaman. For the study of art in inland Croatia, it was important to determine the beginning of the Baroque period, which coincided with the arrival of the Jesuit order and the construction of their church in Zagreb, as well as the construction of new type of castles (Anđela Horvat, 1911-1985). Precisely the research of A. Horvat would abandon the traditional narrative of the chronological sequence of styles and embrace the notion of pluralism of stylistic phenomena (Between Gothic and Baroque, 1975).

architecture, periodisation, rennaisance, baroque, croatian art history

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