Projects / Programmes
National Self-Assertion Versus Transnational Scholarship: the Impact of National Discourses on the Medieval and Early Modern Art History in Slovenia
| Code |
Science |
Field |
Subfield |
| 6.09.00 |
Humanities |
Art history |
|
| Code |
Science |
Field |
| H310 |
Humanities |
Art history |
| Code |
Science |
Field |
| 6.04 |
Humanities |
Arts (arts, history of arts, performing arts, music) |
history of art history, art historiography, national discourses
Researchers (12)
Organisations (3)
Abstract
Within the context of increasing national self-awareness in the late 19th century, the Slovenians, like other nations living in the Austro-Hungarian Empire, began to search for elements that could be understood as part of their national identity in the field of humanities, as well as in arts and architecture. Around 1900 first attempts of creating a national style in art and architecture can be noted. Moreover, some of the younger painters emphasized that they were “the first real Slovenian” artists. At the same time, first Slovenian students were studying art history in Vienna and Graz. In Vienna, Josip Mantuani received his Ph.D. with Franz Wickhoff as advisor in 1894, France Stelè and Izidor Cankar with Max Dvořak in 1912 and 1913, and Vojeslav Molè, also in 1912, with Josef Strzygowski. The latter was also the Doktorvater to Avguštin Stegenšek, who received his Ph.D. in Graz in 1906.
With the end of the World War I, most the Slovenes were united in a new multinational state the Kingdom of Serbs, Croats and Slovenes, which changed its name in 1929 to the Kingdom of Yugoslavia. Thus, the provincial institutions established throughout the 19th century were given the role of main national institutions (as was the case of the Provincial Museum of Carniola in Ljubljana which was to become the National Museum of Slovenia); some others, especially the National Gallery, were established after 1918. Art history also obtained one of the first chairs at the new University of Ljubljana, established in 1919. The abovementioned former students from Vienna played key roles in these events: Mantuani was the director of the National Museum, Cankar and Molè became the first professors at the University, and Stelè was the head of the institute for the protection of cultural heritage. The 1920s and 1930s were important (and decisive) years for the further development of the Slovenian art history: apart from the full-time study programme at the university, the professional organization was established (Slovenian association of art historians) as well as the first scientific journal. During this period, theoretical studies on style, as well as surveys of the Slovenian art were published (written by Cankar and Stelè). In his Outline of History of Art of Slovenians of 1924, Stelè tried to answer the question of national elements in the art and architecture of Slovenian territory, and this became one of the issues that dominated the Slovenian art history throughout most of the 20th century. During this period the initially rather wide in terms of subject matter, and theoretically based on the Vienna school, Slovenian art history slowly narrowed itself to local antiquarianism.
During the last decade or two, especially in Central Europe, several conferences addressed the questions of the relationship and interaction between art and art history with politics, ideology, and cultural context. At these occasions, Slovenia usually wasn’t addressed. Our project will therefore focus on analysis of the impact of national discourses on the medieval and early modern art history in Slovenia, esp. early art history studies of present-day territory of the Republic of Slovenia, written in the period of Austria-Hungary, the process of establishing "national" institutions (museums, university) and the development of their programs; the creation of dichotomy between "domestic/Slovenian" and "foreign" art and artists, and of the canon of "Slovenian" art, mostly in the context of scholarly and popular art historical surveys and larger museum exhibitions; different views of Italian, Austrian, Slovenian, Hungarian, and Croatian art historians on art heritage of Istria, and Prekmurje, international activities of art historians from Slovenia.
Significance for science
The proposed project is important contribution to the Slovenian art historiography; for the
first time the work of Slovenian art historians is to be valued comparatively in national and
transnational context, in the context of Slovenian humanities, as well as of former Jugoslav
and international art history. Moreover, it focuses on the almost completely neglected field of influence of national discourses on perception, reception and evaluation of cultural heritage.
Significance for the country
The proposed project is important contribution to the Slovenian art historiography; for the
first time the work of Slovenian art historians is to be valued comparatively in national and
transnational context, in the context of Slovenian humanities, as well as of former Jugoslav
and international art history. Moreover, it focuses on the almost completely neglected field of influence of national discourses on perception, reception and evaluation of cultural heritage.
Most important scientific results
Interim report
Most important socioeconomically and culturally relevant results
