Croatian Art - Renaissance

Renaissance

In 15th century, Croatia was divided between three states – northern Croatia was a part of Austrian Empire, Dalmatia was under the rule of Venetian Republic (with exception of Dubrovnik) and Slavonia was under Ottoman occupation. Dalmatia was on the periphery of several influences, just as far from Italy as from Ottomans in Bosnia and Austrians in the north, so it thrived from all. In those circumstances in Dalmatia flourished religious and public architecture with clear influence of Italian renaissance, but still original. Three works out of that period are of European importance, and will contribute to further development of Renaissance: Cathedral of St James in Šibenik, Chapel of Blessed John in Trogir, and Sorkočević's villa in Dubrovnik.

Only in the kind of environment, free of dogmas and self-governed - far of major governing centers, could it be possible for artisan known as Juraj Dalmatinac to build a church entirely by his own project – Cathedral of St. James in Šibenik, in 1441. Besides mixing of gothic and renaissance style it was also original by unity of stone building and montage construction (big stone blocks, pilasters and ribs were bounded with joints and slots on them - without concrete) in the way that was usual in wooden constructions. This was unique building with so-called three-leaf frontal and half-barrel vaults, first in Europe. The cathedral and its original stone dome was finished by Nikola Firentinac following the original plans of Juraj. On the cathedral there is a coronal of 72 sculpture portraits on the outside wall of the apses. Juraj himself did 40 of them, and all are unique with original characteristics on their faces.

Work on Šibenik cathedral inspired Nicola for his work on the expansion of chapel of Blessed John from Trogir in 1468. Just like Šibenik cathedral, it was composed out of large stone blocks with extreme precision. In cooperation with disciple of Juraj – Andrija Aleši, Nicola has achieved unique harmony of architecture and sculpture according to antique ideals. From inside, there is no flat wall. In the middle of chapel, on the altar, lays the sarcophagus of blessed John of Trogir. Surrounding are reliefs of puttos carrying torches that look like they were peeping out of doors of Underworld. Above them there are niches with sculptures of Christ and apostles, amongst them are putties, circular windows encircled with fruit garland, and a relief of Nativity. All is ceiled with coffered ceiling with image of God in the middle and 96 portrait heads of angels. With so many faces of smiling children the chapel looks very cheerful and there is not anything similar in European art of that time.

In the entire area of Republic of Dubrovnik there were numerous villas of nobility, unique by their functionality and space organization - combination of renaissance villa and government building. Sorkočević's villa in Lapad near Dubrovnik in 1521 is original by order of building parts in asymmetrical, dynamical balance.

Wordiest Croatian renaissance sculptures are linked to some architecture, and the most beautiful one is perhaps relief Flagellation of Christ by Juraj Dalmatinac on altar of St Staš in Split cathedral. Three almost naked figures are caught in vibrant movement.

The most important Croatian renaissance painters are from Dubrovnik: Lovro Dobričević, Mihajlo Hamzić and Nikola Božidarević. They painted the altar screens with first hints of portraits in characters, linear perspective and even still life motifs In north western Croatia, the beginning of the wars with the Ottoman Empire caused many problems but in the long term it both reinforced the northern influence (by having the Austrians as the rulers). With permanent danger by Ottomans from east, there was modest influence of renaissance, while fortifications thrived. The plan for fortified city of Karlovac in 1579 was first entirely new urban city to be built by renaissance plans (so called "ideal city" plan) in Europe. It was built in radial plan, later common in Baroque. Renaissance fort of Ratkay family in Veliki Tabor from 16th century has mixed features of gothic architecture (high roofs) and renaissance (cluster and round towers) making it an example of mannerism.

Some of the famous Croatian renaissance artists lived and worked in other countries, like brothers Laurana (natively - Vranjanin, Franjo and Luka), miniaturist Juraj Klović (also known as Giulio Clovio) and famous mannerist painter Andrija Medulić (teacher of El Greco).