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PISAVA
VELIKOST

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VELIKE/MALE
STIL
Permanent Collection

1600–1700

Antonio Calza

(Verona, 1653–1725)

Battle Against the Turks
oil, canvas, 67 x 69,5 cm

NG S 983, National Gallery of Slovenia, Ljubljana
Depicted is a battle against the Turks in front of a fortress. We recognise the Turks by their turbans and the shaved heads with pony-tails.

Depictions of clashes with Turks were very popular, both in Italy and in Central Europe, when the Ottoman empire threatened Vienna, and after the victory which saved the city in 1683 when the aggressor was slowly retiring.

Like many battle scenes this one too was once attributed to Jacques Courtois, called il Borgognone; his name in the French version was written at the bottom left. But the style and typology indicate the hand of Antonio Calza; we also recognise him in the upper half of the picture, in the handling of the background.

Cat. No. 38 treats the same subject matter but it is larger and the composition is different.

Provenance: Venice; Graz; Strahl collection, Stara Loka, until 1930; purchased by the Narodna galerija, Ljubljana, 1930, old Inv. No. 481 (as 18C work). On the bottom slat of the stretcher are two old labels, one with the inscription: I. R. STRADA F. / Da VERONA P. / per Venezia; the other with the number 86.
Exhibitions: 1930, Ljubljana, no catalogue; 1993, Ljubljana, No. 32.
Lit.: Polec 1930b, p. 168, Cat. No. 361, Fig. on p. 163 (probably Courtois Le Borguignon, acquired in Graz, signature added by Künl); Zeri and Rozman 1993, pp. 116, 150–151, Cat. No. 32, Fig. 34.
At the bottom on the left Strahl’s restorer, Pavel Künl (1817–1871), added: Purginion pinxit.

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.