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Art in Slovenia

Neoclassicism

Nike Loosening Her Sandal
(1927), plaster, 97,5 x 55,5 x 17 cm

NG P 901, National Gallery of Slovenia, Ljubljana
This relief depicting Nike, the goddess of victory, unbinding her sandal dates from around 420 BC and originally served as a decoration on the parapet surrounding the temple of Athena Nike on the Acropolis in Athens. It was rediscovered in 1835 and is today on view in the Acropolis Museum in Athens. 
The parapet was decorated with several reliefs showing winged creatures (Nikai) engaged in various tasks in honour of the goddess Athena: sacrificing bulls, adorning trophies or bringing gifts. 
Nike Unbinding Her Sandal is one of the best known works of art from classical antiquity. The goddess is shown frontally, apparently in the act of unbinding her sandal before entering the temple, balancing on her left leg as she does so. Her hand reaches down to her right foot, which she has raised off the ground, so all her weight is on her left leg. The slight arch of her body emphasises her gracefulness and perfection and the image is given an erotic charge by the diaphanous garment that clings tightly to her, so that her curves are visible underneath.


Plaster cast; Temple of Athena Nike, Acropolis, Athens; (copy 1927)

Neoclassicism
Franc Kavčič/Caucig was an important representative of European Neo-classicist painting. Even though he depicted stories from Greco-Roman antiquity, his ethical message is fully contemporary and mirrors the time of great social changes. 

In the 1780s, Kavčič was trained in Rome where he drew also at the French Academy at the time of the second sojourn of Jacques Louis David in the Eternal City, and when Angelika Kauffmann occupied the former residence of Anton Raphael Mengs. After more than twenty years of professorship at the Vienna art academy, Kavčič was appointed director of its painting and sculpture school. He also led the painting department of the Viennese porcelain factory, and towards the end of his life he became an honorary member of the Accademia di San Luca in Rome. Several of his compositions thus appeared on the products of the imperial porcelain works. 

His paintings are characteristic for their compositional monumentality and clarity, impeccable modelling by means of sharp drawing, thin polished paintlayers, underlined role of female protagonists in his scenes, and academic reserve. He relied for his motifs on the rich treasury of classical history and mythology as well as biblical stories. The Old-Testament Judgement of Solomon as a narrative of the ruler’s wisdom was thus a very suitable subject matter for the prestigious commission from Emperor Francis I. As to literary sources, Kavčič was inspired by the Idylls of Salomon Gessner. The painter’s landscapes are of the Arcadian type, they are ideal and thoughtfully composed in accord with classical rules and his travel memories. They contain architectural vestiges of the glorious past and are animated by means of tiny pastoral scenes. 

The painting output by Kavčič had some influence on his numerous Viennese students in the first half of the 19th century, while in the history of art he also left trace by taking part in the intense polemics with the members of the Brotherhood of St Luke, when he defended the then already conservative ideas.