Permanent Collection

1870–1900

Janez Šubic

(Poljane nad Škofjo Loko, 1850 – Kaiserlautern, 1889)

“Labor”, Allegorical Composition (A Sketch)
1885, oil, canvas, 20 x 13,5 cm
signed and dated lower right: J. Š. 85

NG S 1831, National Gallery of Slovenia, Ljubljana

Back to list
Share link
https://www.ng-slo.si/sz-eng/NGS1831

In 1884, Janez Šubic left for Bavarian Kaiserslautern at the invitation of architect Karl Spatz, who designed the new building to house the Museum Pfalzgalerie and served as its first director. The palace was built in the style of Renaissance Revival and decorated exaggeratedly. Šubic accepted an offer to paint the ceiling in the great hall, the hallway, and 2 loggias with 7 domes and 7 arched niches and windows each. The commission was impressive in scope and required several years of work to complete, and so Šubic had several assistants on hand who completed tasks according to his plans.

Šubic had ambitious designs for the iconography, painting 2 huge paintings for the ceiling, namely allegorical depictions of Strength and Abundance, as well as 56 oval and 112 circular miniatures for the loggias with scenes from world history and the spiritual and political lives of various nations, while the other surfaces were fleshed out with depictions of other allegories and personifications, such as that of Peace (Pax) and Labor, whose sketches are housed at the National Gallery.

In 1885, Šubic also assumed the role of professor of ornamental painting at the arts and trade school operating under the museum’s auspices. A fire broke out at the museum in the same year, destroying all the paintings and forcing Šubic to start again from scratch.

The personification of Pax is replete with its characteristic attributes such as the laurel crown in her hair, the palm leaf in her right hand, and white doves upon her, while Labor is depicted in a Herculean pose, dressed in work clothes, and surrounded by tools.

ABOUT THE PERIOD

From Romanticism to Realism

The first traces of realism can be observed in the late landscapes by Anton Karinger. In the late 1860s, encouraged by examples from Munich, he gradually discovered the value of a random landscape view. Possibly from direct observation in situ his pictures of forest sections were made then, oil sketches on a small-scale, rendered in free, painterly brushwork, which can also be traced in his select mountainscapes.

With his highly moral and artistic attitude Janez Wolf paved the way for realist tendencies. He was a teacher to the Šubic brothers, Janez and Jurij, and Anton Ažbe. Wolf elevated the status of the artist from the previous level of a craftsman to the level of an artist with a higher mission. He stimulated his pupils to take up studies at art academies and facilitated their enrolments through his personal connections. Wolf’s religious works demonstrate inclination to the art of the Nazarenes, which replaced the older rural Baroque tradition. Wolf’s monumental manner of presenting the human figure by way of emphasizing volume was carried on in the sphere of religious painting by Janez Šubic. While Janez Šubic made use of traditional models of above all Venetian painting, realism in Jurij Šubic’s religious subjects is manifest in pedantic historical and topographical definition of costumes, e.g. in his painting Sts Cosmas and Damien. During his years in Paris, Jurij Šubic worked with the Czech artists Vojteˇch Hynais and Václav Brožík, the Hungarian Mihály Munkácsy and the Croat Vlaho Bukovac, who later took a teaching post at the Prague academy.

Ivan Franke’s travel to the Far East gave rise to a more original style of vedute painting, with an obvious intention of rendering light in a different way.

Realism

Weak and unambitious local demand and the absence of academic centres meant that most Realist and academically trained artists spent a great deal of their creative lives in major art centres, first in Venice, Rome and Vienna, then also in Munich and Paris.

Slovenian painters of the Realist period can be divided into two generations. In the works by the older generation, which includes Janez Šubic and Jurij Šubic, detachment can be observed from the contents and formal language of traditional religious themes and tendencies towards a more exact observation of reality and ever more obvious dealing with painting issues. Realistic approach is evident in Janez’s treatment of the sitters in the portraits of his family members and in Jurij’s down¬to-earth portraits of his contemporaries. Both brothers also tackled the question of psychological characterization in their portraits. The landscape studies in oil which Janez spontaneously sketched in the vicinity of Rome are our earliest plein-air vedute. Jurij’s professional paths led him to Athens and Paris, then to Normandy. While there, he painted minute genre scenes, rendered as plain-air pieces, and he devised the motif which he subsequently elaborated into the picture Before the Hunt which was successfully exhibited at the Salon in Paris. Jointly with his brother Janez he received a prestigious commission to paint frescoes in the Provincial (now National) Museum in Ljubljana.

Jožef Petkovšek, too, relied on French realists and traditions of salon painting in his realist plein-air picture Washerwomen by the Ljubljanica. In his Landscape by a River he already dealt with a purely artistic issue of light and reflections, which brought him close to the Impressionist search. In contrast, his interiors are marked with dark, cool metallic colouring with sharp beams of light, which imbues the genre-like protagonists with anxious, frozen expression.

Ferdo Vesel was inclined to experiment extensively with figure, colour, and technique, which brought him close to the Impressionist search.

ARTISTS

Owner	Birth - death
Anton Ažbe	(Dolenčice, 1862 – Munich, 1905)
Ladislav Benesch	(Slavkov u Brna, 1845 − Vienna, 1922)
Vlaho Bukovac	(Cavtat, 1855 − Prague, 1922)
Ivan Frankè	(Dobje, 1841 − Ljubljana, 1927)
Alojz Gangl	(Metlika, 1859 – Prague, 1935)
Ludvik Grilc	(Idrija, 1851 − Ljubljana, 1910)
Vojtěch Hynais	(Vienna, 1854 − Prague, 1925)
Rihard Jakopič	(Ljubljana, 1869–1943)
Matija Jama	(Ljubljana, 1872–1947)
Ivana Kobilca	(Ljubljana, 1861–1926)
Jožef Petkovšek	(Verd, 1861 − Studenec, Ljubljana, 1898)
Alojzij Repič	(Vrhpolje, 1866 – Ljubljana, 1941)
Matej Sternen	(Verd, 1870 – Ljubljana, 1949)
Janez Šubic	(Poljane nad Škofjo Loko, 1850 – Kaiserlautern, 1889)
Jurij Šubic	(Poljane nad Škofjo Loko, 1855 – Leipzig, 1890)
Ivan Vavpotič	(Kamnik, 1877 – Ljubljana, 1943)
Ferdo Vesel	(Ljubljana, 1861–1946)
Janez Vurnik Jr.	(Radovljica, 1849−1911)
Janez Wolf	(Leskovec pri Krškem, 1825 − Ljubljana, 1884)
Ivan Zajec	(Ljubljana, 1869−1952)