Nina Kudiš |
Education:
1998 - Ph.D. in Art History, University of Zagreb (Croatia); thesis title: “Religious painting in Istria from 1550 to 1650” 1990, M.Phil, 1986 B.A., both at University of Zagreb Experience and Positions: 2016 – Tenured Professor at the Department for Art History, Faculty of Humanities and Social Sciences, University of Rijeka (Croatia). 2010 - Professor at the Department for Art History, Faculty of Humanities and Social Sciences, University of Rijeka (Croatia). Since 1987 Assistant, Assistant Professor and Associate Professor at the same institution. 2003 – 2006 - founder and the first Head of the Department of Art History, Faculty of Humanities and Social Sciences, University of Rijeka, Croatia. Doctoral advisor/teaches at: Doctoral Study of Art History, Faculty of Humanities and Social Sciences in Zagreb since 2002 Doctoral Study at the Univerza na Primorskem (Koper, Slovenia) 2006 - 2012 Doctoral Study of Humanities at the University of Zadar since 2010 Doctoral Study of Art History, Faculty of Humanities and Social Sciences in Ljubljana (Slovenia) since 2012 Awards and Honors: 2012, Croatian Museum Association awarded the book/catalogue Criquenicza 1412. Život i umjetnost Vinodola u doba pavlina (Criquenicza 1412. Life and Art in the Vinodol in the Age of Pauline Order), Crikvenica 2012, as the best publishing and exhibition project in 2012 2006, Croatian Academy of Sciences and Arts awarded the book Slikarska baština Istre/Istria Pittorica, Zagreb 2006, as the best publishing project in 2006 2003, Croatian Academy of Sciences and Arts awarded the book U kraljevskim stranama i pod Svetim Markom = Dalle parti imperiali e sotto San Marco, Rijeka 2003, as the best publishing project in 2003 For the complete list of publications see: http://bib.irb.hr/lista-radova?autor=151055 and also https://uniri.academia.edu/NinaKudis |
"il secolo d'oro" of the venetian painting in Dalmatia: ordering the works by Titian, Tintoretto and Veronese |
During the 16th century, the region of Dalmatia that stretches along the major part of the eastern Adriatic coast formed an important part of the Venetian Stato da Màr. The independent Republic of Dubrovnik bordered it to the south. Artistically, both political entities were under the strong influence of Venice that dominated the entire Adriatic area both literally and culturally as well as economically. While the most refined and wealthy donors of Dubrovnik were inclined to acquire the works by Titian, those living in the Venetian Dalmatia preferred the paintings by Jacopo Tintoretto and his workshop. The wealthy confraternity of St. Lazarus under whose protection the merchants of Dubrovnik that traded with the East were assembled, ordered a polyptich by Titian and his workshop, and so did one of Dubrovnik’s most influential families – the Pucić’s (Pozza’s). On the other hand, the Town Council of Korčula ordered an altarpiece for the main altar in the Cathedral around 1550 from an emerging young painter – Jacopo Tintoretto. In 1561, the Dominicans from the small village of Bol on the island of Brač also decided to obtain an altarpiece by Jacopo Tintoretto. The friars meticulously documented the payment amounting to the exorbitant price of 270 ducats but, alas, they received a rather mediocre work by Jacopo’s assistant. During the eighth decade of the century, the inhabitants of Vrboska, a small town threatened by the Turkish marine incursions, situated on the adjacent island of Hvar, ordered a polyptich for the main altar in their parish church from Paolo Veronese and his workshop. The paper intends to discuss the preferences and the decision-making process of the donors who were situated in the communities in the periphery of Serenissima and its immediate vicinity. Furthermore, it will consider the local context as well as the phenomenon of the painters’ adopting social personae in the 16th century Venice. |