engleski

Rome in Croatia, via Tyrol

In the late 1720s, quite suddenly and at a large scale, in northern Croatia appeared new motifs and solutions that originate in Roman fresco paintings of the previous century: Pietro da Cortona's stucco finto and quadro riportato illusions, Andrea Pozzo's painted (illusionistic) architecture: vaults, domes and altars. Moreover, Gian Lorenzo Bernini's engaging baroque gran gesto, translated into huge fresco painting narratives inhabited church walls, as well as quotations from his famous sculptural ensembles. All these stylistic novelties for the local experience were introduced by a Tyrolese painter Ioannes Baptista Rang[g]er (b. 1700 in Götzens – d. 1753 in Lepoglava), who arrived to northern Croatia and became a Pauline lay brother in the central monastery of the Order of St Paul the First Hermit in the Croatian-Slavonian Province in Lepoglava. His arrival to Croatia with the baggage of the visual language of the Tyrolese fresco painting that was saturated with the Roman canons, changed the notion of the fresco decoration in Croatia. Ranger's migration to Croatia was preceded by another one with similar effect, that of Tyrolese painter Egid Schor, who returned from Rome to Tyrol around 1666, after a decade spent there, mostly in the workshop of his older brother Johann Paul Schor. A document from the Tyrolean Land Archive in Innsbruck states that in 1720 Ranger himself was: “in Welschlandt begaben”, gone to Italy. Unlike Schor, Rangger did not return to his native Tyrol in the west of the Habsburg Monarchy, since by the first decades of the 18th century the baroquisation of the major churches there was completed and village parish churches did not offer enough jobs to the growing number of Tyrolese artists. He became part of the Tyrolese artistic diaspora, settling down in the southern part of the Habsburg Monarchy and bringing the highly decorative Roman-Tyrolean Schor style to Croatia.

Ioannes Baptista Rang[g]er, fresco painting, migration, Tyrol, Rome, Croatia

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