ON THE NEWLY RESTORED ĆULINOVIĆ`S "MADONNA AND CHILD ON A THRONE" FROM ŠIBENIK

Radnja obrađuje - nakon nedavno uspjelog restauratorskog zahvata Stanka Alajbega - sliku Bogorodica s Djetetom na prijestolju u franjevačkom samostanu sv. Lovre u Šibeniku. Taj je, naime, popravak otkrio mnoge do sada „nečitke“ pojedinosti ove tempere na drvu i omogućio utvrditi da se radi o djelu kasne faze istaknutog „Schiavonea“ iz 15. stoljeća Jurja Čulinovića (1433/36-1504) kao sto je bio G. Gamulin iznio 1963.-1964. hipotetični prijedlog. Važno je istaknuti i činjenicu da je ovo djelo jedini sačuvani Čulinovićev rad u zavičaju.The article deals with the painting of the » Virgin Mary and Child on a Throne« from the Franciscan monastery of St. Lawrence in Šibenik, which was recently successfully restored by Stanko Alajbeg of the Split National Service Preservation of Cultural and Natural Heritage. G. Gamulin suggested in 1963-1964 that this tempera on wood belonged \u27 to the late period in the work of the eminent and distinguished »Schiavone« painter of the Quattrocento, Juraj Čulinović (1433/36-1504) from Skradin. In 1959 the painting was restored to its supposed original appearance and accompanied by a detailed description presenting the principle characteristics of the painting in a new light, particularly emphasising the qualities of the rendering of the face of the Madonna, the fi gure of the baby Jesus and the delicate tonal handling of Mary \u27s green robe and the blue clouded sky. Following a brief biography of Juraj Čulinović, the author subjects the painting to an indepth comparative analysis, drawing parallels with the artist \u27s frescoes in Padua completed after his apprenticeship in the workshop of Francesco Squarcione at the time of Donatello\u27s residence in that city. The differences between the works are also mentioned showing the work to be part of the artist\u27s late Šibenik period beginning after one of his shorter visits to Italy when he would have seen the work of Giovanni Bellini from around 1470. The analysis finally confirms that the now »legible« painting does indeed belong to the artist\u27s later career, when his output was considerably diminished and that the painting is, as far as it is known, the only preserved work by this artist in his homeland