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PISAVA
VELIKOST

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VELIKE/MALE
STIL
Permanent Collection

1870–1900

Alojz Gangl

(Metlika, 1859 – Prague, 1935)

Virgin and Child with St John the Baptist, (Madonna in stellis, Maria in stellis)
1894, marble, 68,5 x 39,5 x 11,5 cm
signed and dated left side: fecit AL. GANGL. 1894.

NG P 950, National Gallery of Slovenia, Ljubljana

The title of this work in older literature is Madonna in stellis or Maria in stellis. It was transferred to the National Gallery from the National Museum in 1934 under the title Mary with the Infant Jesus and John. The inventory of the National Gallery lists the work under the title Mary with Jesus and John the Baptist.

In 1894, Alojz Gangl set himself the task of creating a religious marble relief of the Madonna in stellis. He made the sculpture in Vienna and explained to the poet Anton Aškerc: “With this religious statue, I wanted to demonstrate that a sculptor who had hitherto been interested only in secular themes could also create a work of religious nature. [...] By setting this relief in the religious domain, I also wanted to show to those who make decisions, for example our heads of church, that a Slovenian artist can also create a religious statue, and that there is no need to commission such works from abroad.” Gangl’s work was received with much praise. Immediately after it was made, a poet Josip Stritar called on Slovenian patrons to buy the marble sculpture.

It depicts the Virgin Mary with child in her arms and the boy John the Baptist embracing her with his right arm. The boy is offering a cross and a leaf with the inscription Ecce agnus Dei to Child Jesus, onto which he and Mary have fixed their gaze. The scene is surrounded by a wreath of stars, after which the sculpture takes its name.

The relief, especially the modelling of Mary’s facial features, clearly draw on Renaissance ideals of composition and beauty, specifically on Raphael’s painting Mary with the Child, a copy of which Gangl owned.



From Romanticism to Realism
The first traces of realism can be observed in the late landscapes by Anton Karinger. In the late 1860s, encouraged by examples from Munich, he gradually discovered the value of a random landscape view. Possibly from direct observation in situ his pictures of forest sections were made then, oil sketches on a small-scale, rendered in free, painterly brushwork, which can also be traced in his select mountainscapes. 

With his highly moral and artistic attitude Janez Wolf paved the way for realist tendencies. He was a teacher to the Šubic brothers, Janez and Jurij, and Anton Ažbe. Wolf elevated the status of the artist from the previous level of a craftsman to the level of an artist with a higher mission. He stimulated his pupils to take up studies at art academies and facilitated their enrolments through his personal connections. Wolf’s religious works demonstrate inclination to the art of the Nazarenes, which replaced the older rural Baroque tradition. Wolf’s monumental manner of presenting the human figure by way of emphasizing volume was carried on in the sphere of religious painting by Janez Šubic. While Janez Šubic made use of traditional models of above all Venetian painting, realism in Jurij Šubic’s religious subjects is manifest in pedantic historical and topographical definition of costumes, e.g. in his painting Sts Cosmas and Damien. During his years in Paris, Jurij Šubic worked with the Czech artists Vojteˇch Hynais and Václav Brožík, the Hungarian Mihály Munkácsy and the Croat Vlaho Bukovac, who later took a teaching post at the Prague academy. 

Ivan Franke’s travel to the Far East gave rise to a more original style of vedute painting, with an obvious intention of rendering light in a different way.
Realism
Weak and unambitious local demand and the absence of academic centres meant that most Realist and academically trained artists spent a great deal of their creative lives in major art centres, first in Venice, Rome and Vienna, then also in Munich and Paris. 

Slovenian painters of the Realist period can be divided into two generations. In the works by the older generation, which includes Janez Šubic and Jurij Šubic, detachment can be observed from the contents and formal language of traditional religious themes and tendencies towards a more exact observation of reality and ever more obvious dealing with painting issues. Realistic approach is evident in Janez’s treatment of the sitters in the portraits of his family members and in Jurij’s down¬to-earth portraits of his contemporaries. Both brothers also tackled the question of psychological characterization in their portraits. The landscape studies in oil which Janez spontaneously sketched in the vicinity of Rome are our earliest plein-air vedute. Jurij’s professional paths led him to Athens and Paris, then to Normandy. While there, he painted minute genre scenes, rendered as plain-air pieces, and he devised the motif which he subsequently elaborated into the picture Before the Hunt which was successfully exhibited at the Salon in Paris. Jointly with his brother Janez he received a prestigious commission to paint frescoes in the Provincial (now National) Museum in Ljubljana. 

Jožef Petkovšek, too, relied on French realists and traditions of salon painting in his realist plein-air picture Washerwomen by the Ljubljanica. In his Landscape by a River he already dealt with a purely artistic issue of light and reflections, which brought him close to the Impressionist search. In contrast, his interiors are marked with dark, cool metallic colouring with sharp beams of light, which imbues the genre-like protagonists with anxious, frozen expression. 

Ferdo Vesel was inclined to experiment extensively with figure, colour, and technique, which brought him close to the Impressionist search.