Notes
The aim of this doctoral thesis titled Statues, Ornaments and Altar Architecture in the Oeuvre of Jožef Holzinger (1735-1797) is to emphasize the importance of a comprehensive analysis of 18th century religious sculpture. In their work, the researchers of Baroque sculpture in Slovenia have previously focused almost solely on figural works, even though the majority of the discussed material is of religious nature, characteristic of which is close connection or intertwinement of figures, ornamentation, and altar architecture. The ornamentation completes the figure, while the architecture represents its background. A partial discussion of altar wholes or only figural works contributed to a small collection of data obtained on authorship, the time of origin, and provenance. An extensive discussion of artworks and the consideration of a wider context are namely a prerequisite for appropriate dating and attribution, especially considering the fact that for a large part of Baroque sculpture in Slovenian Styria archival sources are either not preserved or are unprocessed or unorganized. The study of the defined topic was most cogent precisely on the example of Jožef Holzinger's sculpture since his almost 40 years long continuous sculptural work encompassed three style periods: Late Baroque, Rococo, and Classicism. Numerous preserved works from all three style periods represented a collection so large that it allowed for the research to comprehensively encompass the issues. Moreover, the research has given results that are widely applicable and transferrable to the study of other sculptors, while some findings can also be used in studying painted works. Holzinger dedicated himself with equal care to sculptural and figural works, ornamentation, and altar and pulpit architecture, even though the latter was not in his domain in regard to the execution, however, he undoubtedly planned it. The review of the state of research shows that the researchers of 18th century sculpture in Slovenia and Central Europe analysed the topic partially. The majority of researchers dedicated themselves only to figural works, some only to ornamentation, while the research of altar and pulpit architecture is very rare. The main objective of this thesis is a systematic and an in-depth study of Baroque sculpture on the example of Jožef Holzinger's oeuvre. An extensive catalogue of Holzinger's works with comprehensive content and supported by photographic material was the basis for the subject areas of the analytical part of the thesis. Holzinger's oeuvre is discussed for the first time from the point of view of the relationship between figural works, ornamentation, and altar and pulpit wholes, with which the thesis fundamentally complements the existing research of Baroque sculpture in Styria and Slovenia. Since a large part of the research was dedicated to stylistic changes of Holzinger's figural works and ornamentation as well as the intertwinement of style guidelines, the thesis deepens the knowledge of why the intertwinement of styles came about in the chosen period. Among the main objectives of the thesis was to thoroughly research and present ornamentation, its origin, models, and graphic prints that were used in sculptural and carving workshops on the example of an oeuvre of one sculptor, which also highlighted the work of other sculptors in the selected area. Another important objective of the thesis was a classification of the types of altar architecture or a systematic determination of the typology of an important part of altar wholes, which have been mostly neglected in the existing research on Baroque sculpture. The thesis also shed light on the previously completely overlooked aspect of polychromes. The part that the painters, who gave the finished look to the altar and pulpit wholes, played in the finalization of church furnishings, is highlighted. The commissioners and their role in the design of iconographic programs of church furnishings.