Barbara Kristina Murovec | Zentralinstitut für Kunstgeschichte, München (original) (raw)
Papers by Barbara Kristina Murovec
ART AND ARTISTS IN THE CITY AROUND 1800, Katarína Beňová — Katarína Kolbiarz Chmelinová (eds.)eds. , 2023
The article deals with the iconographic programme of the ceiling painting in the staircase of the... more The article deals with the iconographic programme of the ceiling painting in the staircase of the Gruber Palace in Ljubljana. The oval dome, painted in oil on plaster in 1775, is the work of Martin Johann Schmidt, called Kremser Schmidt (1718–1801), for the newly built school building commissioned by the Jesuit Gabriel Gruber (Vienna 1740 – Saint Petersburg 1805). The painting had already been overpainted in 1786 by Andreas Herrlein (1738–1817), especially where the artist’s signature and the date were placed. The iconographic programme remained unchanged and is dominated by motifs from nautical science, navigation, and education. The concept in which Ljubljana is depicted as a city on the river, as a centre of innovation and intellectual activity, differs markedly from the visualisations of the early 18th century (St Nicholas Cathedral and the Seminary Library). The main influence on Gruber and the artist Kremser Schmidt was not – as in the period around 1700 – geographically linked to Rome, but to imperial Vienna. The central model for the ceiling in the Gruber Palace were the frescoes by the Roman painter Gregorio Guglielmi (1714–1773) for the new lobby of the University of Vienna (now the Austrian Academy of Sciences).
Key words: Martin Johann Schmidt, called Kremser Schmidt (1718–1801); ceiling painting around 1800; Gruber Palace in Ljubljana; visualised science of nautics and river navigation; the painted Enlightenment
Žene u/o umjetnosti: Zbornik radova znanstvenog skupa „Dani Cvita Fiskovića“ održanog 2021. godine, 2024
The article provides an insight into methodological approaches and research questions in early mo... more The article provides an insight into methodological approaches and research questions in early modern studies of female patronage, relevant to the visual representation of a young mother-widow from Inner Austria. Maria Juliana Countess Vetter von der Lilie (1672-1708) inherited the Castle of Slovenska Bistrica in Styria (Slovenia) after husband's death in 1695. Although the Castle was redecorated after 1717 by Ignaz Maria Count Attems, the uncle of the deceased, several spaces can still be linked to the women's patronage. A biblical quotation on the main portal announces that a wise woman built her house, a fresco on the first floor depicts the Allegory of Mother Earth, and Vischer's print of the garden and the ceiling painting of the pharmacy also show themes often related to women. Maria Juliana Vetter is a prominent secular nobelwoman who has emerged from her husband's shadow and from oblivion in the underresearched field of female patronage in Central Europe.
ZRC SAZU, Založba ZRC eBooks, Jan 4, 2008
The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a... more The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a student of Max Dvořak (1874-1921), was appointed the conservator of the province of Carniola. It became fully established in 1919, when, after the dissolution of the Austro-Hungarian Monarchy, the University of Ljubljana was founded. The paper analyses the activities of three art historians, in addition to France Stele also Izidor Cankar (1886-1958) and Vojeslav Mole (1886-1973), who shaped Slovenian art history between the two world wars. After the end of World War II, all aspects of life were completely subordinated to the Soviet system of the one-party communist state. Ideological suitability was the only standard of acceptability, also at the university. In the immediate postwar period, the older generation of art historians, who were educated in the Western European tradition, mostly in Vienna, were placed in a completely new ideological-political context, which has highly influenc...
Transfer of Cultural Objects in the Alpe Adria Region in the 20th Century
Radovi Instituta za povijest umjetnosti, 2021
Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The ro... more Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The role of personal iconography has been recognised mainly in his secular fresco commissions. This paper focuses on the analysis of the ceiling painting and furnishings of the pilgrimage church of the Holy Virgin at Zagorje near Pilštanj in Styria (Slovenia) and decodes the interweaving of Virgin (Madonna with Grapes, Assumpta, Regina Coeli, the Immaculate Conception), Holy Family, Holy Kinship and other saints worship with representations of the Attems family. In 1708 and 1709, the church was frescoed by Matthias von Görz, and in the following years, it obtained the main Virgin’ s altar and the altars of St Joseph and St Dismas in the lateral chapels. The Baroque decoration followed a unified iconographic concept in which the family memoria systematically builds on and complements the theological programme. Attems presented himself in the imitatio of the Holy Family, following the example of...
The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a... more The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a student of Max Dvořak (1874-1921), was appointed the conservator of the province of Carniola. It became fully established in 1919, when, after the dissolution of the Austro-Hungarian Monarchy, the University of Ljubljana was founded. The paper analyses the activities of three art historians, in addition to France Stele also Izidor Cankar (1886-1958) and Vojeslav Mole (1886-1973), who shaped Slovenian art history between the two world wars. After the end of World War II, all aspects of life were completely subordinated to the Soviet system of the one-party communist state. Ideological suitability was the only standard of acceptability, also at the university. In the immediate post-war period, the older generation of art historians, who were educated in the Western European tradition, mostly in Vienna, were placed in a completely new ideological-political context, which has highly influen...
Endpunkte. Und Neuanfänge, 2021
Acta historiae artis Slovenica, 2019
Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa
Acta historiae artis Slovenica
Newsletter Network of European Restitution Committees on Nazi-Looted Art , 2020
The Slovenian art historian Barbara Murovec is a specialist in art of the early modern period and... more The Slovenian art historian Barbara Murovec is a specialist in art of the early modern period and twentieth century in Central and South-Eastern Europe. In her specific dealings with provenance research and the EU HERA project TransCultAA she has recently experienced a rejection within the framework of Slovenian (research) policy, which has had serious personal consequences. She describes her ex-periences in an interview with Meike Hopp, chairperson of Arbeitskreis Provenienzforschung e.V.
Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century, 2013
The art-historical analysis of public monuments and their reception, as well as the media propaga... more The art-historical analysis of public monuments and
their reception, as well as the media propaganda for
retaining statues of the communist leaders in situ,
demonstrate how successful Tito’s project of Yugoslavia,
with its repressive and propagandistic methods, actually
was. The cult of a living personality was reserved for Tito,
whereas monuments dedicated to the memory of others
were erected posthumously. Among the Slovenian
politicians of the post-war Yugoslav period, Edvard
Kardelj (1910–1979) and Boris Kidrič (1912–1953)
were those most often used in visual and monumental
propaganda. In literature, the Kidrič statue on Prešeren
Street in Ljubljana was mostly defined as one of the
National Liberation War Memorials, although it
represents a portrait of a post-war politician. Four
years after Kidrič’s death, four sculptors were invited to
participate in a closed competition to create his statue.
The winner of the competition, Zdenko Kalin, made a
plaster model of Kidrič’s head on a spiral base but for
the final version of the sculpture he had to closely follow
a photograph. In contrast with other East European
states, the visual appearance of Slovenian public space
and its monuments has not changed since 1991. Just
as with the erection of monuments in a public space to
promote the cult of a certain politician, their removal
is also a part of historical reality. While in the past the
decision to remove a monument was based mostly on
political, propaganda and ideological motifs, today
these should be replaced by ethical judgements.
STELE (1886–1972) AND YUGOSLAV ART HISTORY, 2020
The contributions to this volume that we decided to publish under the title Remembering War and P... more The contributions to this volume that we decided to publish under the title Remembering War and Peace in South-East Europe were presented at the workshop Distinction and Unification, Regional and Supraregional Memories, which was held from 24 to 28 May 2011 in Novi Sad. It was the second annual meeting of the international network Media and Memoria in South-Eastern Europe founded in 2010 in Ljubljana. The papers dealt with various phenomena associ¬ated with the construction of memory in different media of remembrance. The methodological aspects were memory with regard to the longue durée, breaks and gaps, se¬lection and suppression, traumatic events and the loss of memory, but also phenomena of nostalgia, haunting and false memory. Examples of memory culture, whether institutional or subversive, made it possible to study strategies of suppression, reactivation, and appropriation, but also rituals, habitus and the traces of memory which survive it, and more specifically various cultures of remembering the World Wars and the Shoa. The network was intended to intensify the in¬ternational exchange of scholars and ad¬vanced students from different branches – history, political sciences, art history, media studies and literature, across borders between nation-states whose cultural politics were often antagonistic toward each other. The mem¬bers of the network shared a common in¬terest in the diverse transnational and na¬tional memory cultures of South-Eastern Europe, their interference as well as their rivalry. The network, which met annually at workshops and summer schools in Ljubljana (2010), Belgrade (2011), Split (2012) and Sarajevo (2013), published its proceedings in four anthologies: Balkan Memories: Media Constructions of National and Transnational History (2012), ‚Brüderlichkeit‘ und ‚Bruderzwist‘. Mediale Inszenierungen des Aufbaus und des Niedergangs politischer Gemeinschaften in Ost- und Südosteuropa (2014), Europe and the Balkans: Decades of 'Europeanization'? (2015) and Cultures of Economy in South-East Europe: Spotlights and Perspectives (2019). The workshop in Novi Sad in 2011, where the renowned Serbian writers Dragan Velikić and Sreten Ugričić, as well as the filmmaker Želimir Žilnik, presented their recent work, was attended by around 70 participants who presented their papers in three panels.
Acta historiae artis Slovenica, 2018
The Patronʼs Historized Image. Attemsʼ Family Portraits and Rempʼs Self-Portrait in the Brežice (... more The Patronʼs Historized Image. Attemsʼ Family Portraits and Rempʼs Self-Portrait in the Brežice (Rann) Castle
Barbara Murovec
The paper analyzes the family portraits of Ignaz Maria, Count of Attems (Ljubljana/Ger. Laibach, 15 August 1652–Graz, 13 December 1732), with his sons, and Maria Regina, Countess of Wurmbrand with her daughter and sons, painted in oil technique for the Great Hall in the Brežice Castle (Ger. Rann). The portraits have been kept at Schloss Eggenberg of the Landesmuseum Joanneum since 2010. They were painted by Franz Carl Remp (Radovljica/Ger. Radmannsdorf, 14 October 1674–Vienna, 23 September 1718), who depicted himself in fresco technique in full figure in a representative place in the center of the hall as the only person from the present. In the portrait, Ignaz Maria, who, according to archival sources, participated as an architect in the construction and rebuilding of his residences, is presented as an architect-creator and an architect-founder of the new Styrian family. A careful arrangement of historized portraits, with which the proud parents wanted to preserve for eternity the image of an artistically generous and ambitious family that prospers in peace and love, in connection to the painter’s self-portrait, is exceptional. Even though numerous possible sources for the paintings can be named, they served only as an inspiration for a unique work of art.
Key words: Styria, Franz Carl Remp, Ignaz Maria, Count of Attems, Maria Regina, Countess of Wurmbrand, family portrait, self-portrait, patron-architect, 1700, Baroque painting
Acta Historiae Artium, 2008
ART AND ARTISTS IN THE CITY AROUND 1800, Katarína Beňová — Katarína Kolbiarz Chmelinová (eds.)eds. , 2023
The article deals with the iconographic programme of the ceiling painting in the staircase of the... more The article deals with the iconographic programme of the ceiling painting in the staircase of the Gruber Palace in Ljubljana. The oval dome, painted in oil on plaster in 1775, is the work of Martin Johann Schmidt, called Kremser Schmidt (1718–1801), for the newly built school building commissioned by the Jesuit Gabriel Gruber (Vienna 1740 – Saint Petersburg 1805). The painting had already been overpainted in 1786 by Andreas Herrlein (1738–1817), especially where the artist’s signature and the date were placed. The iconographic programme remained unchanged and is dominated by motifs from nautical science, navigation, and education. The concept in which Ljubljana is depicted as a city on the river, as a centre of innovation and intellectual activity, differs markedly from the visualisations of the early 18th century (St Nicholas Cathedral and the Seminary Library). The main influence on Gruber and the artist Kremser Schmidt was not – as in the period around 1700 – geographically linked to Rome, but to imperial Vienna. The central model for the ceiling in the Gruber Palace were the frescoes by the Roman painter Gregorio Guglielmi (1714–1773) for the new lobby of the University of Vienna (now the Austrian Academy of Sciences).
Key words: Martin Johann Schmidt, called Kremser Schmidt (1718–1801); ceiling painting around 1800; Gruber Palace in Ljubljana; visualised science of nautics and river navigation; the painted Enlightenment
Žene u/o umjetnosti: Zbornik radova znanstvenog skupa „Dani Cvita Fiskovića“ održanog 2021. godine, 2024
The article provides an insight into methodological approaches and research questions in early mo... more The article provides an insight into methodological approaches and research questions in early modern studies of female patronage, relevant to the visual representation of a young mother-widow from Inner Austria. Maria Juliana Countess Vetter von der Lilie (1672-1708) inherited the Castle of Slovenska Bistrica in Styria (Slovenia) after husband's death in 1695. Although the Castle was redecorated after 1717 by Ignaz Maria Count Attems, the uncle of the deceased, several spaces can still be linked to the women's patronage. A biblical quotation on the main portal announces that a wise woman built her house, a fresco on the first floor depicts the Allegory of Mother Earth, and Vischer's print of the garden and the ceiling painting of the pharmacy also show themes often related to women. Maria Juliana Vetter is a prominent secular nobelwoman who has emerged from her husband's shadow and from oblivion in the underresearched field of female patronage in Central Europe.
ZRC SAZU, Založba ZRC eBooks, Jan 4, 2008
The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a... more The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a student of Max Dvořak (1874-1921), was appointed the conservator of the province of Carniola. It became fully established in 1919, when, after the dissolution of the Austro-Hungarian Monarchy, the University of Ljubljana was founded. The paper analyses the activities of three art historians, in addition to France Stele also Izidor Cankar (1886-1958) and Vojeslav Mole (1886-1973), who shaped Slovenian art history between the two world wars. After the end of World War II, all aspects of life were completely subordinated to the Soviet system of the one-party communist state. Ideological suitability was the only standard of acceptability, also at the university. In the immediate postwar period, the older generation of art historians, who were educated in the Western European tradition, mostly in Vienna, were placed in a completely new ideological-political context, which has highly influenc...
Transfer of Cultural Objects in the Alpe Adria Region in the 20th Century
Radovi Instituta za povijest umjetnosti, 2021
Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The ro... more Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The role of personal iconography has been recognised mainly in his secular fresco commissions. This paper focuses on the analysis of the ceiling painting and furnishings of the pilgrimage church of the Holy Virgin at Zagorje near Pilštanj in Styria (Slovenia) and decodes the interweaving of Virgin (Madonna with Grapes, Assumpta, Regina Coeli, the Immaculate Conception), Holy Family, Holy Kinship and other saints worship with representations of the Attems family. In 1708 and 1709, the church was frescoed by Matthias von Görz, and in the following years, it obtained the main Virgin’ s altar and the altars of St Joseph and St Dismas in the lateral chapels. The Baroque decoration followed a unified iconographic concept in which the family memoria systematically builds on and complements the theological programme. Attems presented himself in the imitatio of the Holy Family, following the example of...
The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a... more The institutionalisation of Slovenian art history began in 1913, when France Stele (1886-1972), a student of Max Dvořak (1874-1921), was appointed the conservator of the province of Carniola. It became fully established in 1919, when, after the dissolution of the Austro-Hungarian Monarchy, the University of Ljubljana was founded. The paper analyses the activities of three art historians, in addition to France Stele also Izidor Cankar (1886-1958) and Vojeslav Mole (1886-1973), who shaped Slovenian art history between the two world wars. After the end of World War II, all aspects of life were completely subordinated to the Soviet system of the one-party communist state. Ideological suitability was the only standard of acceptability, also at the university. In the immediate post-war period, the older generation of art historians, who were educated in the Western European tradition, mostly in Vienna, were placed in a completely new ideological-political context, which has highly influen...
Endpunkte. Und Neuanfänge, 2021
Acta historiae artis Slovenica, 2019
Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa
Acta historiae artis Slovenica
Newsletter Network of European Restitution Committees on Nazi-Looted Art , 2020
The Slovenian art historian Barbara Murovec is a specialist in art of the early modern period and... more The Slovenian art historian Barbara Murovec is a specialist in art of the early modern period and twentieth century in Central and South-Eastern Europe. In her specific dealings with provenance research and the EU HERA project TransCultAA she has recently experienced a rejection within the framework of Slovenian (research) policy, which has had serious personal consequences. She describes her ex-periences in an interview with Meike Hopp, chairperson of Arbeitskreis Provenienzforschung e.V.
Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century, 2013
The art-historical analysis of public monuments and their reception, as well as the media propaga... more The art-historical analysis of public monuments and
their reception, as well as the media propaganda for
retaining statues of the communist leaders in situ,
demonstrate how successful Tito’s project of Yugoslavia,
with its repressive and propagandistic methods, actually
was. The cult of a living personality was reserved for Tito,
whereas monuments dedicated to the memory of others
were erected posthumously. Among the Slovenian
politicians of the post-war Yugoslav period, Edvard
Kardelj (1910–1979) and Boris Kidrič (1912–1953)
were those most often used in visual and monumental
propaganda. In literature, the Kidrič statue on Prešeren
Street in Ljubljana was mostly defined as one of the
National Liberation War Memorials, although it
represents a portrait of a post-war politician. Four
years after Kidrič’s death, four sculptors were invited to
participate in a closed competition to create his statue.
The winner of the competition, Zdenko Kalin, made a
plaster model of Kidrič’s head on a spiral base but for
the final version of the sculpture he had to closely follow
a photograph. In contrast with other East European
states, the visual appearance of Slovenian public space
and its monuments has not changed since 1991. Just
as with the erection of monuments in a public space to
promote the cult of a certain politician, their removal
is also a part of historical reality. While in the past the
decision to remove a monument was based mostly on
political, propaganda and ideological motifs, today
these should be replaced by ethical judgements.
STELE (1886–1972) AND YUGOSLAV ART HISTORY, 2020
The contributions to this volume that we decided to publish under the title Remembering War and P... more The contributions to this volume that we decided to publish under the title Remembering War and Peace in South-East Europe were presented at the workshop Distinction and Unification, Regional and Supraregional Memories, which was held from 24 to 28 May 2011 in Novi Sad. It was the second annual meeting of the international network Media and Memoria in South-Eastern Europe founded in 2010 in Ljubljana. The papers dealt with various phenomena associ¬ated with the construction of memory in different media of remembrance. The methodological aspects were memory with regard to the longue durée, breaks and gaps, se¬lection and suppression, traumatic events and the loss of memory, but also phenomena of nostalgia, haunting and false memory. Examples of memory culture, whether institutional or subversive, made it possible to study strategies of suppression, reactivation, and appropriation, but also rituals, habitus and the traces of memory which survive it, and more specifically various cultures of remembering the World Wars and the Shoa. The network was intended to intensify the in¬ternational exchange of scholars and ad¬vanced students from different branches – history, political sciences, art history, media studies and literature, across borders between nation-states whose cultural politics were often antagonistic toward each other. The mem¬bers of the network shared a common in¬terest in the diverse transnational and na¬tional memory cultures of South-Eastern Europe, their interference as well as their rivalry. The network, which met annually at workshops and summer schools in Ljubljana (2010), Belgrade (2011), Split (2012) and Sarajevo (2013), published its proceedings in four anthologies: Balkan Memories: Media Constructions of National and Transnational History (2012), ‚Brüderlichkeit‘ und ‚Bruderzwist‘. Mediale Inszenierungen des Aufbaus und des Niedergangs politischer Gemeinschaften in Ost- und Südosteuropa (2014), Europe and the Balkans: Decades of 'Europeanization'? (2015) and Cultures of Economy in South-East Europe: Spotlights and Perspectives (2019). The workshop in Novi Sad in 2011, where the renowned Serbian writers Dragan Velikić and Sreten Ugričić, as well as the filmmaker Želimir Žilnik, presented their recent work, was attended by around 70 participants who presented their papers in three panels.
Acta historiae artis Slovenica, 2018
The Patronʼs Historized Image. Attemsʼ Family Portraits and Rempʼs Self-Portrait in the Brežice (... more The Patronʼs Historized Image. Attemsʼ Family Portraits and Rempʼs Self-Portrait in the Brežice (Rann) Castle
Barbara Murovec
The paper analyzes the family portraits of Ignaz Maria, Count of Attems (Ljubljana/Ger. Laibach, 15 August 1652–Graz, 13 December 1732), with his sons, and Maria Regina, Countess of Wurmbrand with her daughter and sons, painted in oil technique for the Great Hall in the Brežice Castle (Ger. Rann). The portraits have been kept at Schloss Eggenberg of the Landesmuseum Joanneum since 2010. They were painted by Franz Carl Remp (Radovljica/Ger. Radmannsdorf, 14 October 1674–Vienna, 23 September 1718), who depicted himself in fresco technique in full figure in a representative place in the center of the hall as the only person from the present. In the portrait, Ignaz Maria, who, according to archival sources, participated as an architect in the construction and rebuilding of his residences, is presented as an architect-creator and an architect-founder of the new Styrian family. A careful arrangement of historized portraits, with which the proud parents wanted to preserve for eternity the image of an artistically generous and ambitious family that prospers in peace and love, in connection to the painter’s self-portrait, is exceptional. Even though numerous possible sources for the paintings can be named, they served only as an inspiration for a unique work of art.
Key words: Styria, Franz Carl Remp, Ignaz Maria, Count of Attems, Maria Regina, Countess of Wurmbrand, family portrait, self-portrait, patron-architect, 1700, Baroque painting
Acta Historiae Artium, 2008
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period an... more Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a vital role in the construction of the image of the whole immigrant community and its visibility and recognition in the cosmopolitan urban contexts such as Venice, Rome, Bologna or Ancona, as well as in smaller centers of the Marche region. Moreover, they represent important hubs of exchange of ideas and knowledge both in Italy and with places of origin.
The conference aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
The conference is organized by the HRZZ research project Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th - 18th c.). The proceedings of the conference will be published as a special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage, University of Macerata peer-reviewed on line journal (WOS-ESCI; ERIH PLUS).