The Classical antiquity genre in 19th century Art, a lecture

Dr Irena Kraševac, member of the project team, will give a lecture at 6.30 p.m. on November 26 in the premises of the Studia Mediterranea Centre of the Split Faculty of Humanities and Social Sciences (Poljana kraljice Jelene 3, Split). This will be the first in a series of lectures thematically related to this project, to be held in conjunction with the several-years-long programme of public lectures in the Cvito Fisković Centre of the Institute of Art History, Split.

The lecture will discuss the thematic and formal impact of antique art on European painting in the period from Neoclassicism to Art Nouveau.

Vlaho Bukovac, Young Patrician Lady, 1890 (Modern Gallery, Zagreb)
Vlaho Bukovac, Young Patrician Lady, 1890 (Modern Gallery, Zagreb)

Academic painting and sculpture were based from their beginnings in Vasari’s Florentine Academy on a good knowledge of the formal laws of proportion and composition as well as the iconographic themes and motifs of antique art. But within the framework of academic, particularly of history, painting of the 19th century, which combines the art of academic painting and the knowledge of the artefacts of ancient art and culture, new concepts of visual art were encouraged.

Bela Čikoš Sesija, Odysseus kills the Suitors, 1898 (Croatian Institute of History, Zagreb, Croatia)
Bela Čikoš Sesija, Odysseus kills the Suitors, 1898 (Croatian Institute of History, Zagreb, Croatia)

Inwardness with the world of the ancient heroes, the omnipresence of copies of ancient works and the numbers of originals that after being excavated filled European museum collections in the 19th century all helped in the creation of a specific Classical antiquity genre, one also practised by Croatian artists.

(written by I. K.)