| Abstract | U radu su prikazane četiri dosad neobjavljene slike neznanog autora s prikazom kralja Davida, nastale vjerojatno krajem 17. ili početkom 18. stoljeća, a nalaze se u depou Dubrovačke biskupije. Slike su početkom 20. stoljeća bile u posjedu grofice Malvine pl. Bonda Dorotka von Ehrenwall koja ih je prodala biskupu Josipu Marčeliću, a on ih je pak poklonio Sjemeništu. Slike Šaul baca koplje na Davida, David oplakuje Šaulovu i Jonatanovu smrt i Šaul protjeruje Davida u divljinu su nastale prema grafičkim predlošcima Aegidiusa Sadelera II. prema crtežima Maertena de Vosa. Neznani slikar je za sliku David i Golijat preuzeo rješenja više grafika od kojih se prepoznaju Ugo da Carpi, Cornelis Massijs te nepoznati autor prema crtežu Maartena van Heemskercka čime se dodatno proširuje spoznaja o preuzimanju rješenja s grafičkih listova za izradu slika u Dubrovniku. Četiri slike u likovima kralja Davida i Šaula oprečno postavljaju vrline i mane, a u kompozicijskim rješenjima, modelaciji likova i koloritu dijele velike sličnosti sa slikom Poklonstvo kraljeva koja je izložena u Biskupskoj palači u Dubrovniku. Spomenutu je sliku Radoslav Tomić pripisao dubrovačkom slikaru Petru Matteiju te se tako i četiri slike koje su tema ovoga rada mogu dovesti u vezu s Matteijem. |
| Abstract (english) | The paper presents four so-far unpublished paintings by an unknown artist depicting King David, likely created in the late 17th or early 18th century, currently stored in the depot of the Diocese of Dubrovnik. At the beginning of the 20th century, the paintings were owned by Countess Malvina pl. Bonda Dorotka von Ehrenwall, who sold them to Bishop Josip Marčelić. He, in turn, donated them to the Seminary. The paintings Saul Throws a Spear at David, David Mourns the Death of Saul and Jonathan, and Saul Banishes David into the Wilderness were modelled on the engravings after Aegidius Sadeler II., which were themselves based on the drawings by Maerten de Vos. For the painting David and Goliath, the unknown painter combined elements from several engravings, among which those by Ugo da Carpi, Cornelis Massijs, and an unknown author based on a drawing by Maarten van Heemskerck, which provides new insights into the use of prints as sources for paintings in Dubrovnik. The four paintings contrast virtues and vices through the figures of King David and Saul, and share significant similarities in composition, figure modeling, and color palette with the painting The Adoration of the Magi, exhibited in the Episcopal Palace in Dubrovnik. Radoslav Tomić attributed the mentioned painting to the Dubrovnik painter Petar Mattei, and thus the four paintings discussed in this paper can also be linked to Mattei. |
