Permanent Collection

1900–1918

Maksim Gaspari

(Selšček, Cerknica, 1883 − Ljubljana, 1980)

Adoration
1916, pastel, watercolour, paper, 45 x 50 cm
signed and dated lower right: MAKSIM /GASPARI / 1916.

NG G 8381, National Gallery of Slovenia, Ljubljana

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This drawing is an excellent example of Gaspari’s idyllic style that combines several of his characteristic features. Dominating the scene, in front of a symbolically rendered typical Slovene landscape with mountains and a hilltop church is a wayside shrine or chapel with a shingle roof and folk art decoration. Inside the chapel, a seated Virgin Mary and Child are depicted not as a sculpture but as actual living figures. A mother and daughter, both in Slovene national costume, are portrayed in front of the chapel in an attitude of supplication.

Using fragmented brushstrokes, muted colours and a variety of details (such as the pot in the little girl’s hands, the stream flowing over the ground and the flowering shrub), Gaspari created a fairy-tale atmosphere while at the same time expressing an idea of national pride. A wide circle of people in the Slovene lands would have been able to identify with the depiction and Gaspari’s addition of certain characteristically Slovene elements warns us not to forget who we are and where we come from. The picture was probably included in the exhibition at Jakopič’s Art Pavilion in 1917, just three months after the May Declaration (a set of demands relating to the unification of the South Slav territories in Austria-Hungary), when Gaspari exhibited his “Slovene Madonnas” for the first time.

References: New Acquisitions 2011−2021, National Gallery, Ljubljana 2022

ABOUT THE PERIOD

Intimism, Expression, Jakopič and Sternen

The empathetic painting of Jakopič stems from his encounters with symbolist art in Munich before the turn of the century; it then transformed into intimist images of the time before the Great War. Counterlight, so exceptional in the tradition of western art, is one of the essential elements of his style. Looking at the sun through tree crowns creates a shaded and limited, intimate space in the foreground where lonely muses or bathing women appear. Analogous to natural counterlight is the “internal” light from an artificial source as a stimulus for inner life in the images of women engaged in typical female activities in middle-class interiors (At the Piano, By a Lamp, Maidens). Light and orchestration of arbitrary colours culminated in his painting Reminiscences, in which the painter, by means of a wide colour range, complementary contrasts and empathetic handling of paint, enhanced the sensual openness of the image to the viewer’s empathy and emotionality.

In a very different way the world of a lonely middle-class woman is revealed by Matej Sternen. His The Red Parasol shows a fashionable and self-confident townswoman taking a walk in the English Garden in Munich or in Tivoli Park in Ljubljana. After 1911 the painter devised in ambitious formats a number of nudes and young women dressing or being engaged in some other intimate business. The skill of his brush speaks about sensual luxury and creates thoroughly convincing equivalence between the real and re-created worlds. The suggestive look of white taffeta or various shades of silk create a sensual aura for middle-class women whom the painter’s compositional strategy offers to an uninvited, or sometimes provoked, gaze.

In the sphere of sculpture, several younger representatives emerge, such as Lojze Dolinar, Ivan Napotnik and Anton Štefic. They still depend on Art Nouveau stylization (Napotnik’s A Woman of Egypt), which is more evident in Dolinar’s small sculpture, but they already make use of more expressive interpretations, e.g. Job by Štefic and The Blind One by Dolinar.

National art, Impressionism

The discussion about national art took a new direction after the exhibition of the Sava artists’ society in the Galerie Miethke in Vienna in 1904, when Viennese art critics recognized a new painting province of the Empire in the paintings of Slovenian artists. In spite of his determination to withdraw from the ill-tempered attitude of the local scene, Ivan Grohar exhibited his painting Spring, the central piece in the above-mentioned exhibition, in the Sezession the following year under the title From My Homeland. A series of paintings suggestive of plein-air thus established themselves in public as a gallery of symbolic images of the homeland. The period of impressionistically formulated landscapes lasted until Grohar’s Sower of 1907, which is a programme-based image in which the earth and the man reach mythical identification through handling of paint, and a Carniolan hayrack appears in the picture as a national attribute of the agricultural worker. Within the Slovenian artists’ group Vesna, to which Maksim Gaspari, Gvidon Birolla and sculptor Svetoslav Peruzzi belong, a popular variant of national motifs dominated which relied on direct examples of folk tradition and creativity. The proximity of the two theses is revealed by the comparison between Birolla’s (Landscape) and Grohar’s (A Hillock) landscapes, the motifs of the same topographical area. The ideological use of the term “Slovenian Impressionism” is clearly paradoxical in view of the motifs of Lower Austria or Croatia by Matija Jama (Willows, Village in Winter, Bridge on the Dobra, etc.), but the artist’s obsessive dealing with light throughout his life imperceptibly incorporated them into the notion of the national. If impacts of Art Nouveau can be traced in his pictures, Jama’s painting, based on a skilful painting routine and self-discipline, is pervaded by reasoned distance and exaltation of the visual.

In the sphere of sculpture, Gangl’s and Repič’s realism is gradually surpassed by younger sculptors who follow Art Nouveau stylization or answer the influence of Auguste Rodin. Berneker could meet his works at exhibitions in Vienna and saw them in contemporary periodicals. Forms modelled in a fluid manner, horizontally oriented compositions and softly polished surface in marble portraits are just a few elements of the most topical trends. Ivan Zajec was staying in Paris in 1905 and had first-hand acquaintance of the master. His Conflagration and The Wave of Life demonstrate this experience.

Late Realism and Art Nouveau

When they studied in Munich, the generation of younger Slovenian realists, Anton Ažbe, Ivana Kobilca and Ferdo Vesel, took up the tradition of the manifest handling practised by the circle of Wilhelm Leibl. Ivana Kobilca surpassed her motif-related limitations to portraits tinted with genre-like hues (Woman Drinking Coffee) or pure genre pieces (Women Ironing) only with her painting Summer, 1890, in which the allegory is obliterated by plein-air intentions. But after the canvas had been exhibited in Paris, her ambitions gradually waned and for the rest of her life she painted mainly excellent portraits (e.g. Parisian Woman with a Letter; two decades later portrait of her niece Mira Pintar) and flower still lifes. Ažbe put all his energies into his work as a teacher, and his Black Woman was hung on the wall of his art school in Munich as an exemplary masterpiece. From among the realist painters it was Ferdo Vesel that came closest to the aspirations of the younger generation, but he never abandoned his realist roots. Two graduates from Prague academy, Ivan Vavpotič and Ivan Žabota, upgraded portraiture to a middle-class status portrait of intellectuals (Composer Fran Gerbič and Dr Niko Županič in Vienna) or femmes fatales (Alma Souvan), while Henrika Šantel carried on the attained level of genre portrait of children. Matej Sternen drew his power from Ažbe’s gravitational attraction; by means of light he liberated the studio motif of a nude from the qualifiers of study context. With his Head of a Black Man, Rihard Jakopič attempted to emulate his teacher Ažbe, but in his portrait of Henrik Czerny or the image of a Saint he at the same time vigorously resisted the teacher’s authority. Art Nouveau models, imbued with symbolism, are revealed by the counter light, limited palette and a rather licked surface in the portrait but emancipated handling in the figure of the saint. The time between 1899 when the question of Slovenian art became topical among the intellectuals and 1904 when landscape assumed iconic character is represented by the monumentalized genre by Ivan Grohar (The Rakers) inspired by Giovanni Segantini, and by Peter Žmitek (Beggar with a Church Model) relying on the example of Ilya Repin and Peredvizhniki.

ARTISTS

Owner	Birth - death
Franc Berneker	(Gradišče, Slovenj Gradec, 1874 − Ljubljana, 1932)
Gvidon Birolla	(Trieste, 1881 − Ljubljana, 1963)
Lojze Dolinar	(Ljubljana, 1893 − Ičići, Opatija, 1970)
Alojz Gangl	(Metlika, 1859 – Prague, 1935)
Maksim Gaspari	(Selšček, Cerknica, 1883 − Ljubljana, 1980)
Ivan Grohar	(Sorica, 1867 − Ljubljana, 1911)
Anton Gvajc	(Ljubljana, 1865 – Brežice, 1935)
Rihard Jakopič	(Ljubljana, 1869–1943)
Matija Jama	(Ljubljana, 1872–1947)
Ivana Kobilca	(Ljubljana, 1861–1926)
Ivan Napotnik	(Zavodnje, Šoštanj, 1888 − Šoštanj, 1960)
Svetoslav Peruzzi	(Lipe, 1881 − Split, 1936)
Alojzij Repič	(Vrhpolje, 1866 – Ljubljana, 1941)
Matej Sternen	(Verd, 1870 – Ljubljana, 1949)
Henrika Šantel	(Gorizia, 1874 – Ljubljana, 1940)
Anton Štefic	(Gabrnik, Boštanj, 1878 − Gorizia, 1915)
Ivan Vavpotič	(Kamnik, 1877 – Ljubljana, 1943)
Ferdo Vesel	(Ljubljana, 1861–1946)
Heinrich Wettach	(Vienna, 1858 − St. Andrä, 1929)
Ivan Zajec	(Ljubljana, 1869−1952)
Ivan Žabota	(Podgradje, Ljutomer, 1877 − Bratislava, 1939)
Peter Žmitek	(Kropa, 1874 − Ljubljana, 1935)