The Conspiracy of Zrinski-Frankopan in Art and the Evolution of the Cult in 19. Century

U hrvatskoj historiografiji Urota zrinsko-frankopanska detaljno je istražena, međutim likovni izvori su često bili zanemareni. U ovom radu obrađuju se dvije skupine likovnih izvora. Prvu skupinu predstavlja nekoliko grafika koje su nastale u 17. stoljeću netom nakon smaknuća urotnika Petra Zrinskog i Frana Krste Frankopana u Bečkom Novom Mjestu 30. travnja 1671. godine. Prikazi smaknuća kružili su Europom letcima i brošurama te je njihova svrha bila propagando širenje poruke kojom je vlast htjela pokazati što se događa s onima koji joj se protive. Nakon ovih letaka nastupa zatišje o Zrinskima i Frankopanima sve do pada Bachova neapsolutizma kad je u Monarhiji nastupila veća sloboda govora. Vraćanjem ustavnosti na političku scenu u Hrvatskoj nastupa Ante Starčević, začetnik Stranke prava i kulta izgrađenog oko Petra Zrinskog i Frana Krste Frankopna. Uzdizanjem dvojice urotnika, pravaši su u njima pronašli mučenike i idealne simbole otpora protiv tuđinske vlasti odnosno Habsburgovaca. Širenje tog kulta odrazilo se i u likovnoj umjetnosti, prvenstveno u djelima slikara historijskog slikarstva. Ta djela čine drugu skupinu izvora u ovom radu kao i njihove kopije u oleografiji koje su najviše utjecale na širenje kulta pomoću likovnih umjetnosti.In Croatian historiography, the Conspiracy of Zrinski-Frankopan has been researched in detail, but art sources have often been neglected. This paper deals with two groups of art sources. The first group is represented by several prints created in the 17th century just after the execution of conspirators Petar Zrinski and Fran Krsto Frankopan in Wiener Neustadt on April 30, 1671. Execution depictions circulated in Europe in leaflets and pamphlets, and their purpose was to propagate the message that the government wanted to show what was happening to those who opposed it. After these leaflets, there was a lull about the Zrinskis and the Frankopans until the fall of Bach's neo-absolutism, when greater freedom of speech appeared in the Monarchy. With the return of constitutionality on the political scene in Croatia comes Ante Starčević, the founder of the Party of Rights and builder of the cult around Petar Zrinski and Fran Krsto Frankopn. With the rise of the two conspirators, the rightists found in them martyrs and ideal symbols of resistance against foreign rule, that is, the Habsburgs. The spread of this cult was also reflected in the fine arts, primarily in the works of painters of historical paintings. These art works are the second group of sources in this thesis as well as their copies in oleography that most influenced the spread of the cult through the fine arts in 19th century