Slovenia: 19th and early 20th century painting

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OVERVIEW:

Painting

Medieval painting

Renaissance and Baroque painting

19th and early 20th century painting

During the 19th century painting was characterised by a new relationship with antiquity and classicism, with Franc Kavčič (1755-1828) from Gorica (one-time Dean at the Vienna Academy of Fine Arts and Design) as its main proponent. Alongside this there was an increased emphasis on intellectualism, rationalism and the importance of academia in the art world. At the same time, a vernacular style developed, commonly seen on beehive panes, furniture and glass paintings.

Religious painting of this era was based largely on the Baroque tradition and influenced at the end of the century by the Nazarenes, while portrait painting showed Biedermeier characteristics, as in the work of Jožef Tominc (1790-1866), Matevž Langus (1792-1855) and Mihael Stroj (1803-1871). Landscape painting enjoyed new popularity at this time with the romantic works of Anton Karinger (1829-1870) and Marko Pernhart (1824-1871).

During this period many Slovene artists travelled overseas to study and work in Paris, Berlin and other European capitals. Realist painters Janez Šubic (1850-1889) and Jurij Šubic (1855-1890) were the first Slovenes to appear at the Paris Salon, Slovenia’s first professionally-trained female painter, Ivana Kobilica (1861-1926), began working within the Expressionist movement during this period along with Ferdo Vesel and Janez Petkovšek. She lived in various European cities (Vienna, Munich, Paris, Sarajevo and Berlin) and produced portraits, genre subjects and plein-air landscapes.

At the end of the century, Anton Ažbe (1862-1905) opened a private school in Munich, attracting young Slovene artists and emigrants such as Aleksei Jawlensky (1864-1941) and Vasilij Kandinski (1866-1944) to Germany. Ažbe was one of the first portrait painters and realists of the 19th century to gain wide recognition. However, the worldwide reputation of Slovene visual arts was really secured during the first half of the 20th century by Ažbe's students, Impressionists Ivan Grohar (1867-1911), Rihard Jakopic (1869-1943), Matija Jama (1872-1947) and Matej Sternen (1870-1949). Their exhibitions in Trieste (1902) and Vienna (1904) proved an important milestone in the development of the sector's international cultural context. Today their works can be seen at the National Gallery of Slovenia in Ljubljana.

The most important group of young painters at the start of the 20th century was the group known as Vesna (‘Spring’). Its members, Gvidon Birolla (1881-1963), Maksim Gaspari (1883-1980) and Hinko Smrekar (1883-1943), had all studied in Vienna absorbing the decorative language of the Secession, whilst importantly introducing Slovene folk art motifs into their works.

After 1918 the main influences came from post-Impressionism, folk arts and symbolism. The European-wide avant-garde movement was less established in Slovenia, but constructivism, futurism and surrealism were prevalent.

Avgust Cernigoj, Portrait of Srecko Kosovel, 1926

Expressionist France Kralj (1985-1960) and Božidar Jakac (1899-1989), the founder of modern Slovene graphic art, both studied in Prague. Painter, graphic artist and photographer Veno Pilon (1896-1970) showed Expressionist tendencies, while Avgust Černigoj (1898–1985) was a Constructivist. He took courses at the Bauhaus in Dessau, and was a key figure of the Slovene avant-garde artistic scene, along with writer Srecko Kosovel (1904-1926). Pilon's works may be seen at the Pilon Gallery, Ajdovščina, while Černigoj’s works are hung at the Avgust Černigoj Gallery, Lipica.

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