St Leopold, Austriae Marchionis, within the Habsburg »Iconographic Panorama« of 18th-Century Croatia

U članku se razmatra ikonografska slika hrvatske umjetnosti 18. stoljeća oblikovana pod snažnim utjecajem vladajućih Habsburgovaca. Nakon kratkoga osvrta na prikaz sv. Ivana Nepomuka, sv. Josipa, sv. Terezije Avilske u djelima hrvatske umjetničke baštine, čiji kult snažno promoviraju unutar čitave Monarhije, autorica ističe gotovo potpuni izostanak prikaza i čašćenja svetoga austrijskog kralja Leopolda. Iako se čašćenje sveca širi i na susjedne Erblande, posebice Češku i Mađarsku, svečev kraljevski identitet i ideja neprekinutoga nasljeđivanja zemlje i krune koje promiče vežu ga najsnažnije za njegovo ishodište: u ustrijsku sredinu, pretežito Donju Austriju i Beč, gdje je posebno snažan u 17. i 18. stoljeću. Kao jedan od malobrojnih hrvatskih primjera ističe sliku Sv. Leopold iz kapucinskog samostana u Osijeku, stavljajući je u izravnu vezu s istoimenom slikom u bečkoj isusovačkoj crkvi, kao još jedno svjedočanstvo snažne povezanosti tih dviju umjetničkih sredina.The »iconographical image« of 17th- and 18th-century Croatia was greatly shaped by its political framework, the Habsburg Monarchy. The process of gradual liberation from Ottoman occupation was followed by a prolifi c period of restoration of catholic identities of Croatian cities. The choice of saints conveying new messages was directly infl uenced by the ruling House of Habsburg. The promotion of the Habsburg saints, whose canonisation processes they encouraged and spread their veneration all over the Monarchy, directly shaped the state’s iconographic stage. Refl ections of similar aspirations can be discerned in numerous examples of Croatian 18th-century art: public stone monuments bearing distinct catholic messages emerged specially in frontier areas (with St John of Nepomuk as the most frequent saint), accompanied by an increased veneration of saints Joseph (especially as the patron of happy death) and Teresa of Ávila (four grandiose churches dedicated to her were built in only half a decade). The role of these signs was not only the dissemination of Tridentine aspirations, but they were also strong symbols of royal power. Unlike the overt promotion of the aforementioned saints, the veneration of the Holy King Leopold III of Babenberg (Melk 1073 – Klosterneuburg 1136) did not spread to Croatia. The infrequent appearance of his image in Croatian art makes the surviving artwork of the kind even more interesting, among which the painting of St Leopold from the Capuchin monastery in Osijek. The painting is considered in direct relation to the painting of the same subject in St Leopold’s Chapel in the Jesuit church in Vienna, derived from the same graphic model. The text is conceived as a contribution to the understanding of 18th-century painting in Slavonia and its relations to the Viennese royal milieu