736 KB32 KB199420252015Cerkovnik, Gašperletnik:25številka:4str. 815-822ISSN:1408-5348COBISSID:59475810URN:URN:NBN:SI:doc-APGD6MNXslSocietá storica del LitoraleZgodovinsko društvo za južno PrimorskoAnnales. Series historia et sociologiabattle paintersCalza, Antonio, 1653-1729Courtois, Jacques, 1621-1676LjubljanaNarodna galerijaNarodni muzej SlovenijeNational Gallery of SloveniaNational Museum of Sloveniaslikarji bitkStom, Matteo, 1643-1702Slike bitk Antonia Calze v zbirki Narodnega muzeja Slovenije in Narodne galerije v Ljubljani|This paper focuses on three unsigned and undated battle paintings kept in collections of National museum and National gallery of Slovenia in Ljubljana, and were attributed to important Italian battle painter Antonio Calza (1653-1729) by Italian art historian Federico Zeri in collaboration with Slovenian art historian Ksenija Rozman. They each show a battle scene among European and Ottoman cavalry in midst of the larger military conflict in undefined fortified landscape. The painting of smaller format in National gallery was purchased in the 1930's from the collection of Edward and Carl Strahl from Stara Loka, however its provenance can be traced back to Calza's hometown Verona to the middle of the 19th century (fi g. 3). Strahl's painting was before Zeri's correction attributed to one of the most prominent European battle painter Jacques Courtois, teacher of Antonio Calza, in Italy, where he spend most of his working life commonly known as Giacomo Borgognone delle Battaglie (1621-1676) (signature "Purginion pinxit" was added by restorer Pavel Künl around year 1870). The history of other two paintings of approximately same format (c. 90 x 120 cm) is more unclear. Both came in public collections from the Federal Collecting Centre, established by new communist regime after World War II. FCC wasn't particularly consistent in keeping records from where certain objects originated. The provenance of paintings is therefore unclear. One of the paintings was given to Academy of Fine Arts for an academy gallery, which was never established (fi g. 1). The painting was exhibited for several times in National gallery and is now permanently a part of their European paintings collection. First attribution was made by Slovenian art historian Anica Cevc to Venetian battle painter Matteo Stom (1643-1702), who developed a similar style as Calza. Anica Cevc also connected this painting with the third one, declaring them pendants. The third painting was given to National museum of Slovenia, which almost immediately handed it over to Dolenjski muzej Novo mesto (Museum of Lower Carniola) (fi g. 2). Due to lack of exhibition space the painting stayed more or less unseen until the beginning of the new millennia. The connection made by Cevc and Zeri's attribution to Calza was unfortunately never again published in Slovenian, ending in unrecognition of authorship from the part of the National museum. The painting is now a part of permanent exhibition in Turjak Castle. Lack of provenance makes it difficult to determine exact time of their creation - Zeri cleverly suggested the second painting could be painted in the years of Calza's stay in Wiena in 1712 to 1716, which might be true if we could link the painting with one of the older collections in the regionNelle collezioni del Museo nazionale e della Galleria nazionale a Ljubljana sono presenti tre dipinti con scene di battaglia, attribuiti da Federico Zeri ad un importante pittore di questo genere, Antonio Calza. Il presente studio si dedica alle questioni storiografiche, soprattutto in connessione alla provenienza dei quadri pervenutici tramite il cosiddetto "fondo federale" dei beni artistici confiscati dalle collezioni private subito dopo la seconda guerra mondialeV zbirkah Narodnega muzeja Slovenije in Narodne galerije v Ljubljani so tri slike bitk, ki jih je italijanski umetnostni zgodovinar Federico Zeri pripisal pomembnemu italijanskemu slikarju bitk Antoniu Calzi. Sliki v Narodni galeriji sta že več desetletij znani kot deli tega avtorja, povezava s sliko iz Narodnega muzeja v Sloveniji pa se je medtem izgubila. Članek natančneje predstavlja tudi zgodovino raziskav, ki je med drugim tesno vezana na problem provenience slik iz Federalnega zbirnega centraTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZgodovinsko društvo za južno Primorsko