Naslov
Rethinking the Veglia Altar Frontal from the Victoria and Albert Museum and Its Patron

Autori
Ciković, Danijel ; Jazbec Tomaić, Iva

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
Byzantium in Eastern European Visual Culture in the Late Middle Ages

Urednik/ci
Rossi, Maria Alessia ; Sullivan, Alice Isabella

Izdavač
Brill

Grad
Leiden : Boston (MA)

Godina
2020

Raspon stranica
248-279

ISBN
978-90-04-42136-3

ISSN
1872-8103

Ključne riječi
Paolo Veneziano ; altar frontal ; textiles ; silk ; embroidery ; Opus Venetum ; Trecento ; V&A Museum ; Krk (Veglia) ; Dobrinj ; Venice ; donor

Sažetak
This paper for the first time elaborates the hypothesis on Krk Bishop Ivan II (episcopate recorded from 1358 to 1389) as the donor of the Veglia Altar Frontal. The embroidered altar frontal was originally made for the high altar of Krk Cathedral (Croatia), and is now housed in the Victoria and Albert Museum. The artwork is the most valuable example of Gothic Venetian embroidery, executed after a preparatory drawing by the most important artist in fourteenth-century Venice – Paolo Veneziano. Based on a stylistic comparison with a series of Paolo's works and an analysis of the chronology of Krk’s bishops, it is possible to conclude that the altar frontal was made after a commission by Bishop Ivan II at the beginning of his episcopacy, most likely in the sixth decade of the fourteenth century. Redating the altar frontal from the Victoria and Albert Museum to Paolo’s late artistic phase (re)opens the question of the master's possible sojourn on the eastern coast of the Adriatic. The commission of the luxurious altar frontal for Krk Cathedral is viewed within the complex historical circumstances of the mid-century in the western Balkans. The impression is that during the years- long tense political situation between the Hungarian-Croatian King Louis I of Anjou and the Venetian Republic, patrons from eastern Adriatic towns continue to acquire works of art in Venice, regardless of the political affiliation of their communes. Finally, this essay highlights the importance of cataloguing the seemingly small number of remaining examples of Venetian Gothic embroidery, as well as the need for their valorization in the wider, European context.

Izvorni jezik
Engleski

Znanstvena područja
Povijest umjetnosti

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