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Art in Slovenia

The Middle Ages and the 16th Century

House Altar of the Annunciation
(late 17th century), wood (polychromed), 80 x 41 x 7,5 cm

NG P 75, National Gallery of Slovenia, Ljubljana

From bottom to top, the altarpiece consists of a predella, a central section flanked by two figures on consoles and a top section with a lacelike openwork crown. It is placed on a low stepped pedestal, slightly wider than the predella. The predella is decorated with a shallow relief of St Margaret with a dragon and St Barbara holding a chalice; the former points with her left hand to the attribute of the latter. The sides of the predella are decorated by two heads of herms, which help to support the thin-profiled predella, on which rests the central section of the altarpiece, delimited above by an arched frame. The lower half features a high relief figural group showing the Annunciation: on the left is an angel with hands crossed over its chest and on the right is Mary with hands folded in prayer and resting on her belly. The Virgin is seated on a throne; the figures are separated by a lectern with a book and the scene is crowned with an arched frieze. Above them is the Child of God surrounded by a halo of rays and a roundel of clouds. The central section is flanked by two mannerist elongated figures with mournful expressions and noticeably small heads – on the left is Mary and on the right John the Evangelist. The latter looks up to the image of God the Father in the top section, again rendered in shallow relief: his right hand is raised in blessing and his left rests on an orb. A cross wrapped in thorns forms the central motif of the openwork crown, a fantastical weave of ornate ironwork curls and swirls. The motif of thorns is repeated in the predella with the two saints. 

The strong upward thrust, the console figures of distinctly mannerist proportions, the lacelike ornamentation of the altarpiece crown, the volute motifs on the sides of the central section and the small decorative arrays (ovoid and bar-shaped motifs in several variations and a diamond motif) that adorn the frame of the central section of this  altarpiece, the composition of which is completely dematerialised, suggest that this is a late 17th-century work.



Provenance: Mansion Puchenstein (Bukovje) near Dravograd


From the High Middle Ages to the Renaissance
In the High Middle Ages religious art prevailed that spread through the Slovenian lands first from monasteries and then from major regional centres, particularly, Gorizia, Villach and Ljubljana. Gothic art persisted even after the dawn of the Renaissance, but in the 16th century artistic production almost came to a standstill due to Turkish invasions, peasant uprisings and Protestantism which was averse to the fine arts. 

The leading position in Gothic painting belongs to frescoes. The collection presents a few examples of original fragments and several copies which illustrate the most frequent motifs, such as St Christopher, St George, the Procession and the Adoration of the Magi, etc., and a few special motifs, such as Sunday Christ and the Dance of Death. Along with numerous masters with provisional names we also know several artists by name and their idiosyncratic oeuvres, e.g. Johannes Aquila, Johannes de Laybaco, Master Bolfgang. Their production was part of the contemporary art scene in the sub-Alpine space, where from old times onwards stylistic influences of northern and southern countries had been intertwined. 

Numerous medieval sculpture workshops supplied reliefs and statues to churches for their altars. Crucified Christ, Madonna and Child, and Pietà rank among the characteristic religious motifs. The earliest sculptural pieces still demonstrate Romanesque vestiges, but the main body of exhibits are stylistically determined by the Gothic style which in some areas of Carniola, Styria and Carinthia lasted deep into the 16th century. The zenith of Gothic sculpture in Slovenia is represented by the works of the Ptujska gora sculpture workshop represented by The Beautiful Madona and the Pietà from Podsreda. To the period of the so-called late Gothic baroque style around 1500 belong the Virgin with ChildSt Catherine and St Magdalene from Avče, and the extraordinarily expressive Christ Crucified from Dramlje. Renaissance sculpture is represented by plaster casts of the Bishop Ravbar epitaph and two reliefs of St Andrew’s altar from Gornji Grad by Oswald Kittel.