Od primanja do stvaranja : hrvatska grafika 15. i 16. stoljeća

As a new visual medium, prints appeared almost at the same time as printing industry and started gaining recognition in Croatia in the second half of the 15th century owing to the use of printed materials which provided the local craftsmen, painters and illuminators with the models to be copied. During the Renaissance, prints became fairly commonplace among the Croatian people, largely due to the illustrations found in religious books, especially those written in the Croatian language which were printed either in Venice or in one of the few local printing-houses (Senj, Rijeka, Nedelišće, Varaždin). Particularly strong at the time was the impact of the Venetian woodcuts found in a number of publications written in Glagolitic script and less frequently in those written in Cyrillic script or Latin. Judging by the works of Marko Marulić (who, contrary to a common belief, was not the author of the illustrations published in his epic poem Judita) to those of Dominko Zlatarić, Venetian woodcuts exerted an important influence on the acceptance of prints along the Croatian Adriatic Coast during the 16th century. Prints frequently provided a source of inspiration for the local artists, thus making a significant contribution to the spreading of the Renaissance style within the intellectual context of Humanism. Around the middle of the 16th century, North-European prints became more widely available, primarily due to the publications of Croatian protestants from Urach near Tübingen. After giving an outline of the above-mentioned, largely passive acceptance of prints, the paper concludes with an emphasis on the creative contribution to the European history of printmaking by some "Schiavone" masters who were of Croatian origin but were active outside the boundaries of present-day Croatia. Those artists include Andrija Medulić (Andrea Meldolla Schiavone), Martin Rota Kolunić, Natale Bonifacio and Juraj Julije Klović (Giorgio Giulio Clovio)