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PISAVA
VELIKOST

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VELIKE/MALE
STIL
Permanent Collection

1600–1700

Allegory (?)
17th Century, oil, canvas, 110 x 87 cm

NG S 1978, National Gallery of Slovenia, Ljubljana
Both the motif and the artist of this important painting are for the present still unknown. The identification of the two allegorical figures is uncertain. The male, crowned with a laurel wreath, probably represents Honour. The female, whom the male is crowning and to whom he is presenting a golden chain, is probably Fidelity, but in that case the animal at the lower right should be a dog, not, as it appears, a calf.

The perspective, which is calculated to be viewed from below, suggests that the painting was intended as a ceiling decoration, or to be hung high up on a wall.

The style is typically Venetian and indicates strong and close links with the painting of Pietro Liberi (Padua 1605–Venice 1687), to whom, however, we cannot attribute this work. The artist who painted this picture must be sought in Liberi’s inner circle at the time around 1650.

Restored: 1982, Kemal Selmanović.
Provenance: Dr. Ivo Černe, Ljubljana, until his death in 1976, then his heirs; purchased by the Narodna galerija, Ljubljana, 1982.
Exhibition: 1983, Ljubljana, No. 11.
Lit.: Zeri [& Rozman] 1983, p. 108, Cat. and Fig. No. 11.

From Mannerism to Baroque
Although imported early-Baroque works prevailed in this period and those by itinerant artists, the 17th century paved the way for the future. The political circumstances in the region were relatively stabilized in spite of the Thirty Year War and the patronage gradually grew stronger. The arrival of the Jesuits in Ljubljana, the activity of the polymath Johann Weichard Valvasor, particularly his graphic workshop at Bogenšperk/Wagensperg Castle, and the foundation of the Academia operosorum at the end of the century were the key events of the time. 

Characteristic of sculptural production on the Slovenian territory in the 17th century were the so-called “golden altars”. As a rule, these were gilded and polychrome carved wooden retables with rich ornamentation, first with crustaceous patterns which turned into vine and grapes that covered architectural framework until the achantus foliage took over and obliterated architectural structure completely. The making of golden altars included several branches of fine arts: prints, carving, gilding, painting. Religious painting of the first half of the century still contains Mannerist elements; in the second half also secular motifs became more numerous, particularly genre scenes and aristocratic portraits. The artworks mainly echo northern early-Baroque influences. 

Noteworthy among the newcomers who settled in Carniola with their workshops were the painter and gilder Hans Georg Geiger von Geigerfeld in the mid-century, who had moved to Carniola from the region of the Central Alps, and the Fleming Almanach in the third quarter of the 17th century, known only by his nickname, who worked here only for a few years. The extraordinary productivity and skills of the latter are evidenced by his rare surviving works, mentions in Valvasor’s books, and aristocratic probate inventories.