Naslov
Nova djela Jacopa Contierija u Dalmaciji
(New works by Jacopo Contieri in Dalmatia)

Autori
Tulić, Damir

Izvornik
Radovi Instituta za povijest umjetnosti (0350-3437) 34 (2010); 121-130

Vrsta, podvrsta i kategorija rada
Radovi u časopisima, članak, znanstveni

Ključne riječi
venecijanska skulptura 18. stoljeća; Jacopo Contieri; mramor i kamen; Bol na Braču; Dol na Hvaru; crkva San Giovanni Evangelista u Veneciji; Kaštel Stari
(Venetian sculpture; 18th century; Jacopo Contieri; marble; stone; Bol on the island of Brač; Dol on the island of Hvar; church of San Giovanni Evangelista in Venice; Kaštel Stari)

Sažetak
Padovanski kipar Jacopo Contieri (Padova, 1676. – Udine, 17. listopada 1759.) u gradu Rijeci je između 1720. i 1725. izradio mramorne skulpture svetih Šimuna Apostola, Ane, Margarete te Antuna Padovanskog, kao i sedam kamenih anđeoskih figura na trokatnoj atici glavnog oltara zborne crkve Marijinog Uznesenja. U istom vremenu nastala je skulptorska dekoracija glavnog oltara u crkvi svetog Andrije u Mošćenicama. Tamo je kipar izradio mramorne skulpture svetih Ignacija Loyolskog i Franje Ksaverskog kao i anđele na atici oltara. Njegovo autorstvo nedavno je prepoznato i na dvjema krilatim anđeoskim glavama na stipesu mošćenićkog oltara. Također, bilo mu je moguće pripisati i stipes s reljefnom školjkom te dvije krilate anđeoske glave s cvjetnim girlandama na oltaru Gospe od Sedam Žalosti u katedrali svetog Stjepana Pape u gradu Hvaru, nastalim u drugoj polovici trećeg desetljeća 18. stoljeća. Stipes iz hvarske katedrale bio je tako prvo prepoznato djelo Jacopa Contierija u Dalmaciji. Međutim, putem stilske analize, ovdje mu se pripisuje omanji kameni kip svetog Ivana iz crkve San Giovanni Evangelista u Veneciji, u literaturi uvršten u katalog kipara Francesca Terillija. Najveći dio pažnje usmjeren je na skulptorsku dekoraciju oltara svetog Nikole u dominikanskoj crkvi u Bolu na otoku Braču. Riječ je o oltaru što ga je venecijanski arhitekt Marco Torresini podigao prema ugovoru sklopljenom 1723. u Milni na Braču. Prema ustaljenoj praksi, altarist je u „podugovor“ uzeo kipara, u bolskom slučaju Jacopa Contierija koji mu je napravio tri mramorne krilate glave anđela, dva veća kamena anđela na segmentima zabata te dva manja anđela – putta na središnjem djelu zabata. Jacopu Contieriju moguće je pripisati i dva kamena kipa svetih Petra i Ivana Evanđelista na glavnom oltaru crkve svetog Petra u Dolu na otoku Hvaru. Oni su najvjerojatnije preneseni oko 1904. sa starog na novi glavni oltar kipara Ivana Rendića. Skulpture iz Bola i Dola što se ovdje pripisuju kiparu Jacopu Contieriju nalaze brojne stilske paralele s njegovim djelima nastalim u trećem desetljeću 18. stoljeća u Veneciji, Ljubljani i na Kvarneru. Konačno Jacopu Contieriju može se pripisati i skromna dekoracija glavnog oltara župne crkve svetog Ivana Krstitelja u Kaštel Starom. Oltar je posvećen 1723. a skromni udio našeg kipara prepoznaje se u dvjema krilatim anđeoskim glavama na stipesu, anđeoskoj glavi u tjemenu lučno svedenog okvira za oltarnu palu te kipića Uskrslog Krista i malene anđeoske glavice nad vratima tabernakula. Ovdje predložena djela Jacopa Contierija proširuju kiparev opus, premda svojom kvalitetom zaostaju za majstorovim skulpturama u Rijeci i Mošćenicama. Ipak, njegova prisutnost u Dalmaciji, makar i u skromnijim i manje zahtjevnim radovima gdje je razložno tražiti i udio majstorove radionice, upotpunjuje sliku kiparske baštine 18. stoljeća priobalja, koja još uvijek nije poprimila svoje definitivne obrise.

Izvorni jezik
Hrvatski

Znanstvena područja
Povijest umjetnosti

Napomena
Jacopo Contieri, a sculptor from Padua (b. 1676 in Padua, d. on 17 October, 1759 in Udine), produced the marble sculptures of St Simon the Apostle, St Anne, St Margaret, and St Anthony of Padua in Rijeka during the period between 1720 and 1725. He is also the author of seven angel figures on the three-storied attic of the main altar in the Church of Mary’s Assumption, which is dated to the same period as the sculptural decoration of the main altar in St Andrew’s Church at Mošćenice. There Contieri produced the marble statues of St Ignatius of Loyola and St Francis of Xavier, as well as the angels in the altar’s attic. His authorship has recently been asserted for the two winged angel heads on the altar base of the Mošćenice altar, as well as the altar base with a shell relief and two winged angel heads with flower garlands on the altar of Our Lady of Seven Sorrows in the cathedral of St Stephen the Pope in the town of Hvar, dated to the late third decade of the eighteenth century. The altar base from the Hvar cathedral was the first acknowledged work of Jacopo Contieri in Dalmatia. However, it has been established with the help of stylistic analysis that he is also the author of a small stone statue of St John the Evangelist in Venice, which the scholarly literature still lists among the works of sculptor Francesco Terilli. This study is dedicated primarily to the sculptural decoration of St Nicholas’ altar at the Dominican church in Bol on the island of Brač. It was made by the Venetian architect Marco Torresini according to the contract signed in 1723 at Milna on the same island. According to the custom, the altar maker commissioned a sculptor, in this case Jacopo Contieri, who made for him three winged angel heads of marble, as well as two larger stone angels with gable segments and two smaller angels – putti – for the central part of the gable. It is probable that Jacopo Contieri also made the two stone statues of St Peter and St John the Evangelist for the main altar of St Peter’s Church in Dol on the island of Hvar, which were most likely transferred from the old altar to the new, central one, made by Ivan Rendić around 1904. Sculptures from Bol and Dol that are here attributed to Jacopo Contieri have numerous stylistic analogies in his artworks from the third decade of the eighteenth century, preserved at Venice, Ljubljana, and the gulf of Quarner ; the modest decoration of the main altar in the parish church of St John the Baptist at Kaštel Stari can be attributed to him as well. The altar was consecrated in 1723 and the contribution of our sculptor can be recognized in two winged angel heads on the altar base, the angel head in the crown of the arched frame of the altarpiece, as well as the statuette of Christ Resurrected and a small angel head above the tabernacle door. Eventually, his handwriting can be recognized in the small statue of St Sebastian placed in the centre of the base of the first altar to the right in St Francis’ Church at the Seafront in Split. The artworks that have been attributed here to Jacopo Contieri enlarge the sculptor’s known opus, even though their quality lags behind that of his sculptures in Rijeka and Mošćenice. Nevertheless, his presence in Dalmatia, if only in the form of modest and less demanding sculptural pieces, in which one should also presume the participation of his workshop, completes the picture of the eighteenth-century sculptural legacy at the Croatian littoral, which has not yet been adequately outlined.

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