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MARTINA OŽANIĆ, MARTINA WOLFF ZUBOVIĆ

FRANZ ANTON STRAUB

Franz Anton Straub (Wiesensteig, May 16, 1726–Za-greb (?), 1774/6)1 was the youngest son of Johann Georg Straub Sr, born from his second marriage to Barbara Blanz (Gosbach, 1677–?, 1759).2 Unlike in the cases of Johann Baptist, Philipp Jakob, and Joseph, data about Franz Anton is very sparse and sporadic. Johann Bap-tist’s contemporary and biographer Johann Casper Lip-pert (Furth im Wald, 1729–Munich, 1800) only record-ed in 1772 that Franz went “nach Agram in Kroatien”.3 The first archival entry about Franz Anton found in Zagreb so far dates from 1763 when the baptism of his daughter was entered in the Baptismal Register of St Mary’s parish on Dolac,4 but works attributed to him show that he had certainly moved to Zagreb earlier, in the late 1750s. Doris Baričević (1992–3) researched the work of the Bavarian brothers in north Croatia, and since not a single work by Franz Anton was archivally documented and not a single contract or bill has been preserved, she based attributions of his works on sty-listic and comparative analyses of the works of his

1 Archival sources such as the Baptismal Register of the Par-ish of St Mary on Dolac in Zagreb mention him as Fran-ciscus Straub, Straupp, Straübb, Strob – NAZg, Župa sv. Marije na Dolcu, Matica krštenih 1714–80, 1763, 420; 1766, 438; 1767, 447; 1768, 453; 1770, 463.

2 Baričević published the place and year of birth, as well as the proposed place and year of death. Baričević 1992–3, 193; Baričević 2008a, 268–84. Recent research by Julia Strobl in the parish St Cyriacus and in the city archives in Wiesensteig has revealed Franz Anton’s birthdate, and that he had a twin sister who died two months after her birth. See chapter “The Straub family in Wiesensteig”, note 12, PfA Wiesensteig, family register, A 459; StA Wiesensteig, Gemächtbuch 1644–1730, fol. 65.

3 Lippert 1772, 53; Baričević 1992–3, 193.4 NAZg, Župa sv. Marije na Dolcu, Matica krštenih, 1763,

420: “Maij 1763. Die 10ma baptisata est Mariana, filia legit-ima Francisci Straub et Magdalenae, legitimae consortis, levantibus Gasparo Lehner et Mariana Praumstainn, per parochum. Manu propria.” (Transcription: Šime Demo); Baričević 1992–3, 194.

brothers.5 There is no record about where and under whom he trained, but he may have spent some time, as did his brothers Joseph and Johann Georg Jr, in the workshop of his older brother Philipp Jakob in Graz, which means that he came to Zagreb as an experienced sculptor and carpenter. Considering that he quickly produced a large number of works in a short period of time, Doris Baričević considered that he must have had a large workshop and that he had come to Zagreb

“probably with a certain collection of designs”,6 which has however not been preserved. The executed works show a stylistic expression drawn from the Central Eu-ropean artistic circle of his time as well as influences of the other brothers, primarily Joseph and Philipp Ja-kob. Some of the works incorporated in Franz’s œuvre

5 Baričević 1992–3, 193–218; Baričević 2008a, 268–84.6 Baričević 1992–3, 198.

Kutina, parish church of Our Lady of Snow, pulpit, sculpture of St Luke the Evangelist (HRZ Photo Archive, GT, 2017)Kutina, župna crkva Majke Božje Snježne, propovjedaonica, kip sv. Luke (Fototeka HRZ-a, GT, 2017)

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86 ESSAYS

mirror knowledge of currently used solutions; the fig-ure sculptures are often excellently modelled and the ornamental accents carefully carved, and the final stamp is given by the vivid play of polychromy. Illus-trative examples are the high altar (1760) in the parish church in Pakrac, the high altar (1760–2) in the parish church in Karlovac-Banija, the high altar (1761) in the parish church in Velika Ludina, impressive in size, and the high altar (1762) in the parish church in Brezovica.7 The structure of these altars is architectonically sup-pressed, which was usually achieved by removing the back panel of the retable and thus easing the weight of the volume and creating a feeling of lightness, with backlighting playing an active role in the altar compo-sition. Furthermore, the abundant ornamentation sof-tens the architectural skeleton and is often even com-pletely independent, or rocaille motifs “dematerialize”

7 Ožanić 2018, 66, 69, 71, 76. See there for earlier bibliography.

the shafts of the columns. This can be seen on the altar in Brezovica, on which Rococo designs enter the struc-ture of the columns, pilasters, and herms, giving them bizarre rocaille shapes. Ornamentation also takes the place and function of the bearing members, which particularly comes to expression on the side altar of St Anne (1761) in the parish church in Čučerje and on the altar of the Holy Cross (1761) in Lužnica Manor,8 which seem to be the only atectonically constructed retables in his œuvre with the columns completely replaced by gigantic ornamental volutes or rocaille elements.

Apart from the introduction of counter-lighting, a strong scenic and theatrical effect is also achieved by using the motif of curtains, which are in Pakrac and Ve-lika Ludina grandly stretched and fall from four knots,

8 Ožanić 2018, 72–3. See there for earlier bibliography.

Zagreb, Zagreb City Museum, sculpture of Holy Father – detail (HRZ Photo Archive, NO, 2016)Zagreb, Muzej grada Zagreba, kip Boga Oca – detalj (Fototeka HRZ-a, NO, 2016)

2 3

Kloštar Ivanić, parish church of the Assumption of the Blessed Virgin Mary, side altar of St George, sculpture of St Augustine (HRZ Photo Archive, GT, 2018)Kloštar Ivanić, župna crkva Uznesenja Blažene Djevice Marije, bočni oltar sv. Jurja, kip sv. Augustina (Fototeka HRZ-a, GT, 2018)

87MARTINA OŽANIĆ, MARTINA WOLFF ZUBOVIĆ: FRANZ ANTON STRAUB

4

their large size dominating the entire retable in imita-tion of the folds of the curtain on the high altar of Graz Cathedral. The much smaller curtain on the altar in Brezovica is completely different and is casually tossed over the gable at the top of the altar. In this way it ap-proaches the contemporary solution applied by Johann Baptist Straub on the lateral altars of the Benedictine Monastery in Ettal (1757–65), which emanate the light-ness of Rococo.

Zagreb Bishop Franjo Baltazar Thauszy (Lipnik, 1698–Zagreb, 1769; Bishop of Zagreb from July 30, 1751 to January 11, 1769) recognized Franz’s talent and, be-sides commissioning him for the abovementioned altar in Pakrac and the high altar (1765) in the Franciscan church of St Leonard in Cernik, also commissioned him to make the high altar (1762) in the parish church in Kloštar Ivanić.9 Unlike the side altars of St George

9 Ožanić 2018, 74–5. See there for earlier bibliography.

and St Joseph (1761–2) beside the triumphal arch of that church, which bend to more conservative and more traditional architectural designs (such as the lateral altars in the parish church in Vugrovec), the high altar in Kloštar Ivanić shows innovative ideas in composi-tion. The only architectural load-bearing members are the two columns flanking the central altarpiece; they are completely emancipated, even separated from the background, and have stepped forward into the space as if they did not belong to the retable in front of which they stand. The high altar (1764) in the church in Pre-polno also has two columns that have stepped forward into the space in front of the retable,10 but these are not as completely liberated as the ones in Kloštar. As they stepped out they pulled the entablature with them, and created the forceful concave-convex bending of the re-table, enhancing the impression of the marked pliancy

10 Ožanić 2018, 76–7. See there for earlier bibliography.

5

Prepolno, church of Our Lady of Seven Sorrows, high altar, 1764, sculpture of St Mary Magdalene (HRZ Photo Archive, GT, 2018)Prepolno, crkva Majke Božje od Sedam Žalosti, glavni oltar, 1764., kip sv. Marije Magdalene (Fototeka HRZ-a, GT, 2018)

Kloštar Ivanić, parish church of the Assumption of the Blessed Virgin Mary, high altar, sculpture of St Anne (HRZ Photo Archive, GT, 2018)Kloštar Ivanić, župna crkva Uznesenja Blažene Djevice Marije, glavni oltar, kip sv. Ane (Fototeka HRZ-a, GT, 2018)

88 ESSAYS

of the entire altar. Franz Anton’s influential predeces-sors can be recognized in the works of his brother Jo-seph, for example on the now dismantled high altar (1750) of the parish church in Studenci (a documented piece by Joseph Straub and the carpenter Franz Leeb), as well as on the high altar in Slovenska Bistrica (Joseph Straub, completed by Joseph Holzinger 1757–8), and the similarity of architectural design, but in reduced size, is also reflected on the side altar of the Holy Trinity and the altar of the Virgin Mary in the Benedictine Church in St Paul im Lavanttal from the second half of the eight-eenth century, attributed to Philipp Jakob Straub.11

In addition to the retables, Franz Anton is also attributed with three pulpits. The one in Brezovica (1762) is relatively conservative in construction, with

11 Ožanić 2018, 77–8. See there for earlier bibliography

a predominant share of ornaments12 such as the deli-cate, plaited, floral branches and angel telamons that can be linked with the works of Philipp Jakob Straub, who carved angel telamons on his pulpit (1734–8) in the Church of the Holy Spirit in Graz (Bürgerspital-kirche). The pulpits in Kutina (1761, see fig. 1) and part-ly in Marija Gorica (1762) are ornate combinations of richness in ornaments, scenes in relief, and figures of saints.13 The characteristic attributes of his sculptures can be seen in the first works that, according to current research, he did in Croatia, and perhaps the only one he did for a church in Zagreb. This is the sculptural group of the Coronation of the Virgin (see fig. 2) on the attic of the side altar of the Conversion of St Paul from 1760 in the parish church of St Mark in Zagreb, today in the Zagreb City Museum. The figures are usually shown in contrapposto, with a pronounced movement of the hips that creates a dynamic twist of volume. The mood of the characters is illustrated by the position of their heads which, when thrown back, suggest intense spir-itual emotion (see fig. 3), or they are bent forward with

12 Baričević 1992–3, 210.13 Baričević 1992–3, 207–8; Baričević 2008a, 276. See there for

earlier bibliography.

7

Čučerje, parish church of the Visitation of the Blessed Virgin Mary, side altar of Our Lady of Seven Sorrows, 1762, detail (HRZ Photo Archive, GT, 2017)Čučerje, župna crkva Pohoda Blažene Djevice Marije, oltar Gospe od Sedam Žalosti, 1762., detalj (Fototeka HRZ-a, GT, 2017)

Čučerje, parish church of the Visitation of the Blessed Virgin Mary, side altar of Our Lady of Seven Sorrows, sculpture of St Francis of Assisi (HRZ Photo Archive, GT, 2017)Čučerje, župna crkva Pohoda Blažene Djevice Marije, bočni oltar Žalosne Gospe, kip sv. Franje Asiškog (Fototeka HRZ-a, GT, 2017)

6

89MARTINA OŽANIĆ, MARTINA WOLFF ZUBOVIĆ: FRANZ ANTON STRAUB

Kutina, parish church of Our Lady of Snow, pulpit, 1758–61, detail (HRZ Photo Archive, GT, 2017)Kutina, župna crkva Majke Božje Snježne, propovjedaonica, 1758.–1761., detalj (Fototeka HRZ-a, GT, 2017)

8

dignity in silent contemplation, and in both cases they are accompanied with hand gesticulation congruent with experiencing strong emotions (see fig. 4). Educat-ed on the heritage of late-Baroque and Rococo sensi-bilities, Franz Anton created gentle and graceful pro-tagonists with small heads compared to the rest of the body (see fig. 5), and with fine and elegant movements close to the aesthetic of (female) figures by Veit Königer. The figures are often arrested in a position with out-stretched and widespread arms as in dance moves, as seen on the high altar in Prepolno where the heavenly group on the attic looks like a ballet troupe arranged by a top choreographer. However, some of the works vary in quality so it seems that the master craftsman left the making and completing of the statues to assistants, es-pecially those in the less visible places, such as on the altars in Velika Ludina, Brezovica, Čučerje (side altar of Our Lady of the Seven Sorrows, see fig. 6) or in Gorn-ja Jelenska (1764). Their faces and poses show typical characteristics of Franz Anton’s figures, such as small, half-open lips with a hovering smile, long beards mod-elled as two winding horns of dense curls, or slanted eyes, but the rendering of the clothing and anatomical details of the hands and feet seems somewhat stiffer, rougher, almost sketchy, which might show the work of an assistant since in those years the workshop was employed on several parallel projects.

The altars and pulpits by Franz Anton Straub and his workshop are decorated with rocaille ornamenta-tion which was in the 1760s already at home in conti-nental Croatia, having followed the path that led from France to the countries under the Habsburg Crown, pri-marily through the Francophile court of Munich and through Augsburg. It is the skilfully carved rocaille or-namentation on Franz Anton’s altars, whose powerful structures leave a late-Baroque impression, that gives them a Rococo atmosphere. However, in most cases the designs leave a certain massive and compact impres-sion so that the lightness and subtlety of Styrian Roco-co, for example in the works of Philipp Jakob Straub or Veit Königer, achieved by using restless, slender shapes with curly tips and a variety of perforations rendering the decorative compositions lighter and more delicate, are usually absent. Along with compact forms in shap-ing the motifs, Anton’s workshop is characterized by surface treatment showing grooves of varying density and orientation that emphasize the fragmentation of decorative designs into smaller parts, various rocaille borders14 that successfully function as independent

14 The border with the calmest contour is derived from the wavy edge of the shell whose segments are alternately fur-rowed by vertical and horizontal grooves and rounded tips. The border similar to the fin of a fish (or the wing of

Kloštar Ivanić, parish church of the Assumption of the Blessed Virgin Mary, side altar of St George, 1762, detail (HRZ Photo Archive, GT, 2018)Kloštar Ivanić, župna crkva Uznesenja Blažene Djevice Marije, oltar sv. Jurja, 1762., detalj (Fototeka HRZ-a, GT, 2018)

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90 ESSAYS

motifs and the principle of addition to build larger dec-orative compositions. The rocaille borders as individu-al motifs decorate, for example, the postaments of col-umns (Pakrac, Kloštar Ivanić, Čučerje, see fig. 7) or the enclosure of the pulpit (Kutina, see fig. 8), but can also be recognized as an integral part of decorative frames (Kloštar Ivanić, see fig. 9; Vugrovec, Kutina, see fig. 10) and altar niches (Velika Ludina, see fig. 11), identifiable as products of the workshop. To the workshop reper-toire of motifs we might also add the somewhat less frequently present floral forms composed of shallow scrolls with a rocaille border (Kloštar Ivanić, Čučerje, altar of Our Lady of Seven Sorrows) and decorative vases with a soft, molten outline inspired by undefined

a bat) has several pointed, prominent tips and is furrowed with shallow, densely crowded grooves. The third type of rocaille border is made up of unequal peaks reminiscent of flames or undulating blades of sea algae, and its outline is the most restless.

forms of the underwater world. The model for both motifs, as well as for the rocaille borders, can be found on popular graphic prints showing ornamental pat-terns such as those made by Franz Xaver Habermann (1721–96) and George Michael Roscher (1727–75), which circulated throughout the Central European cultural circle, inspiring local artists and patrons. A different choice of motifs and much subtler designs character-ized by thin, curly tips and a more pronounced use of perforation is shown on the high altar in Brezovica, while the ornamentation of the high altar in Prepolno (see fig. 12) prefers soft, restless forms with curved edg-es and drawn-out rocaille motifs perforated in the mid-dle, similar to the flower.15 The ornamentation on the

15 The undoubted similarity of the architectural structure, but also of the ornamentation and polychromy, with the high altar of St Roch in Tugonica indicates that an un-known carpenter and painter may have cooperated with Franz Anton Straub. Škarić 2014, 182–3; Ožanić 2017, 45;

11

Velika Ludina, parish church of St Michael, high altar, 1761, detail (HRZ Photo Archive, GT, 2018)Velika Ludina, župna crkva sv. Mihaela arkanđela, glavni oltar, 1761., detalj (Fototeka HRZ-a, GT, 2018)

Kutina, parish church of Our Lady of Snow, pulpit, 1758–61, detail (HRZ Photo Archive, GT, 2017)Kutina, župna crkva Majke Božje Snježne, propovjedaonica, 1758.–1761, detalj (Fototeka HRZ-a, GT, 2017)

10

91MARTINA OŽANIĆ, MARTINA WOLFF ZUBOVIĆ: FRANZ ANTON STRAUB

12

Prepolno, chapel of Our Lady of Seven Sorrows, high altar, 1764, detail (HRZ Photo Archive, GT, 2018)Prepolno, kapela Majke Božje od Sedam Žalosti, glavni oltar, 1764., detalj (Fototeka HRZ-a, GT, 2018)

side altars of St Anne (1761)16 and Our Lady of the Sev-en Sorrows (1762) in Čučerje, and the altar of the Holy Cross (1761) in Lužnica Manor (see fig. 13),17 also shows a shift from the usual design in the use of large volutes filled with powerful rocaille borders as altar wings and decorations of the attic.

Wolff Zubović 2017, 175–6; Ožanić 2018, 65–87. Doris Ba ri-čević attributes the altar in Tugonica to the Zagreb sculp-tor Luka Salzer. Baričević 2008a, 263–5.

16 It is possible that the ornamentation on the altar of St Anne is the work of an artist with a stronger personality, whose expression is close to that of the unknown artist of the ornamentation on the altar of the Conversion of St Paul from the early 1760s, made for the Church of St Mark in the Upper Town.

17 The scrollwork on the attic of the altar of the Holy Cross in the manor chapel in Lužnica is decorated with an impos-ing shell-like border similar to that on the attic of the high altar in the Church of St Ignatius Loyola in Rdeči breg in Slovenia, attributed to Joseph Straub.

Although the appearance on the art scene of north-west Croatia of Franz Anton Straub, who had grown up as part of the Bavarian family of sculptors and whose oldest brother was court sculptor in Munich, was an event of undoubted importance, as evidenced by the commissions of Bishops Thauszy and Josip Antun Ćolnić, his life is poorly recorded in archival material. It seems that his name was last recorded in Zagreb in the register of deaths in St Mark’s parish in 1776, following the death of Josip, the two-year-old son of the sculp-tor, himself by now also dead.18 Although his name ap-pears in archives in 1769 (a list of sculptors acting out-side the guild on the territory of the Zagreb County)19

18 Baričević 1992–3, 194; HDA, Matica umrlih, Župa sv. Marko, 1776: “Item [i.e. die 1a] obiit filiolus Josephus de-functi Francisci Straübb sculptoris, annorum 2. sepultus ad Sanctam Margaritham” (Transcription: Šime Demo).

19 Dobronić 1991, 199–200; Baričević 1992–3, 194; HDA, Hr-vatsko kraljevsko vijeće, 1770: list of craftsmen in the ter-

13

Lužnica, Lužnica Manor, altar of the Holy Cross, 1761, detail (HRZ Photo Archive, GT, 2018)Lužnica, Dvorac Lužnica, oltar Svetog Križa, 1761., detalj (Fototeka HRZ-a, GT, 2018)

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and 1771 (a list in which he was entered among mas-ter carpenters),20 research to date has not established the existence of his works after 1765. He arrived at the time when Josephus Weinacht, one of the best sculp-tors in this area in the 1740s and 1750s, stopped work-ing, while the creative potential of most of the masters living in Zagreb during the 1750s and 1760s, such as Antun Reiner, Antun Franjo Risner, partly Josephus Stallmayer, and many unnamed artists, did not exceed local significance. The works attributed to Franz Anton Straub, the youngest descendant of the famous Bavar-ian sculptural dynasty, were created in north Croatia for only a few years and testify to mature artistic excel-lence, which in some works fully reached the contem-porary stylistic aspirations of Central Europe.

ritory of the Zagreb County, sent to the Royal Regency Council. In a report dated November 28, 1769 were listed all the craftsmen under the jurisdiction of the Zagreb Bishop, among others sculptors who did not belong to guilds: “Sculptores extra caeham: Franciscus Straupp, Lu-cas Szalzer, Balthasar Detrich”.

20 Baričević 1992–3, 194; HDA, Acta Comitatus Zagrabiensis, Publico politica, box 8, Ad fasc 297/3, 1771: In the list of craftsmen the name of Franc. Strauß is given in the cat-egory “arculariorim magistri”.

MARTINA OŽANIĆ, MARTINA WOLFF ZUBOVIĆ

FRANZ ANTON STRAUB

Franz Anton Straub (Wiesensteig, 16. 5. 1726. – Zagreb (?), 1774./1776.)1 najmlađi je sin Johanna Georga Stra-uba Starijeg, rođen u drugom braku sklopljenom s Barbarom Blanz (Gosbach, 1677.– ?, 1759.).2 Za razliku od Johanna Baptista, Philippa Jakoba ili Josepha, po-datci o Franzu vrlo su sporadični i skromni. Suvreme-nik i biograf Johanna Baptista, Johann Casper Lippert (Furth im Wald, 1729. – München, 1800.) zabilježio je 1772. godine samo da se Franz uputio »nach Agram in Kroatien«.3 Prvi za sada poznati arhivski podatak o Franzu Antonu u Zagrebu potječe iz 1763. godine kada je u Matici krštenih Župe sv. Marije na Dolcu zapisa-no krštenje njegove kćeri,4 no atribuirana djela govore da se nesumnjivo u Zagrebu nastanio i ranije, koncem 1750-ih godina. Doris Baričević (1992. – 1993.) istražila je stvaralaštvo bavarske braće na tlu sjeverne Hrvat-ske, a s obzirom da niti jedno djelo Franza Antona nije arhivski dokumentirano i ne postoji ni jedan sačuvani ugovor niti račun, opus je temeljila na stilskoj i kom-parativnoj analizi s djelima njegove braće.5 Gdje i kod

1 Arhivska vrela poput Matice krštenih Župe sv. Marija na Dolcu u Zagrebu navode ga pod imenima Franciscus Stra-ub, Straupp, Straübb, Strob. NAZg, Župa sv. Marija na Dol-cu, Matica krštenih 1714.–1780., 1763., 420; 1766., 438; 1767., 447; 1768., 453; 1770., 463.

2 Mjesto i godina rođenja poznati su od ranije. Vidi: Bariče-vić 1992–1993, 193; Baričević 2008a, 268–284.

Julia Strobl je u župnom arhivu crkve sv. Cirijaka te u Gradskom arhivu u Wiesensteigu pronašla datum rođe-nja Franza Antona kao i podatak da je imao sestru bli-zanku koja je umrla dva mjeseca nakon rođenja. Vidi: poglavlje »The Straub family in Wiesensteig«, fusnota 12, PfA Wiesensteig, family register, A 459; StA Wiesensteig, Gemächtbuch 1644–1730, fol. 65.

3 Lippert 1772, 53; Baričević 1992–1993, 193.4 NAZg, Župa sv. Marije, Dolac, Matica krštenih, 1763., 420;

»Maij 1763. Die 10ma baptisata est Mariana, filia legitima Francisci Straub et Magdalenae, legitimae consortis, le-vantibus Gasparo Lehner et Mariana Praumstainn, per parochum. Manu propria.« (Prijepis: Šime Demo); Bariče-vić 1992–1993, 194.

5 Baričević 1992–1993, 193–218; Baričević 2008a, 268–284.

93MARTINA OŽANIĆ, MARTINA WOLFF ZUBOVIĆ: FRANZ ANTON STRAUB

koga se školovao – nije zabilježeno, no moguće da je neko vrijeme, poput braće Josepha i Johanna Georga Mlađeg, proveo u radionici starijega brata Philippa Ja-koba u Grazu, došavši u Zagreb, dakle, kao već iskusan kipar i stolar. S obzirom na užurbanu aktivnost kroz kratko razdoblje, Doris Baričević zaključuje da je za-sigurno imao veću radionicu te da je u Zagreb došao »vjerojatno s izvjesnim fundusom nacrta«,6 koji među-tim nisu sačuvani. Ostvarena djela manifestiraju stil-ski izričaj uronjen u srednjoeuropski umjetnički krug svoga vremena, kao i utjecaje druge braće, u prvom redu Josepha i Philippa Jakoba. U radovima uvrštenim u Franzov opus mogu se izdvojiti djela na kojima se zr-cali upućenost u suvremena rješenja, nerijetko s vrsno modeliranim kiparskim figurama i brižljivo rezbare-nim ornamentalnim akcentima, sa završnim pečatom žive igre polikromije. Ilustrativni su glavni oltar (1760.) u župnoj crkvi u Pakracu, glavni oltar (1760. – 1762.) u župnoj crkvi u Karlovcu-Baniji, glavni oltar (1761.) u žu-pnoj crkvi u Velikoj Ludini koji se ističe i svojim impre-sivnim dimenzijama, ili primjerice glavni oltar (1762.) u župnoj crkvi u Brezovici.7 Njihove su konstrukcije za-tomljene arhitektoničnosti, što je redovito postignuto uklanjanjem stražnje plohe retabla što olakšava težinu volumena i stvara dojam prozračnosti, a pozadinsko osvjetljenje dobiva aktivnu ulogu u oltarnoj kompozi-ciji. Nadalje, arhitektonski skelet omekšan je obiljem ornamentike koja se nerijetko i posve osamostaljuje ili pak rocaille motivi »dematerijaliziraju« debla nosača. Vidljivo je to na oltaru u Brezovici na kojemu estetika rokokoa zadire u strukturu stupova, pilastara i hermi dajući im bizarne rokajne oblike. Ornamentika ujed-no preuzima mjesto i funkciju nosača, što se posebice ogleda na bočnom oltaru sv. Ane (1761.) u župnoj crkvi u Čučerju i na oltaru sv. Križa (1761.) u dvorcu Lužnica,8 čini se jedinim atektonsko građenim retablima u nje-govom opusu, na kojima su nosači u potpunosti zami-jenjeni gigantskim ornamentiranim volutama ili rokaj-nim tvorbama.

Osim uvođenjem protusvjetla, utisak naglaše-ne sceničnosti i teatralnosti postignut je i motivom zastora, koji su u Pakracu i Velikoj Ludini pompozno rastegnuti sa četiri čvora te svojim velikim dimenzija-ma dominiraju čitavim retablom, oponašajući pad za-stora glavnog oltara gradačke katedrale, dok značajan odmak pokazuje znatno manji zastor na oltaru u Bre-

6 Baričević 1992–1993, 198.7 Ožanić 2018, 66, 69, 71, 76. I ondje navedena ranija li te -

ratura.8 Ožanić 2018, 72–73. I ondje navedena ranija literatura.

zovici, nehajno prebačen preko zabata na vrhu oltara. Time se približava suvremenom rješenju koje Johann Baptist Straub primjenjuje na bočnim oltarima bene-diktinskog samostana u Ettalu (1757. – 1765.) koji odišu lakoćom rokokoa.

Franzov talent prepoznao je zagrebački biskup Franjo Baltazar Thauszy (Lipnik, 1698. – Zagreb, 1769.; zagrebački biskup od 30. srpnja 1751. do 11. siječnja 1769.) koji mu je, izuzev već spomenutoga glavnog ol-tara u Pakracu te glavnog oltara (1765.) u franjevač-koj kapeli sv. Leonarda u Cerniku, povjerio i zadatak izrade glavnog oltara (1762.) u župnoj crkvi u Kloštru Ivaniću.9 Za razliku od bočnih oltara sv. Jurja i sv. Jo-sipa (1761. – 1762.) uz trijumfalni luk iste crkve koji su konzervativnije, tradicionalnije arhitektonske sheme (poput bočnih oltara u župnoj crkvi u Vugrovcu), na glavnom oltaru u Kloštru Ivaniću na osobit su način razvijene inovativne kompozicijske ideje. Jedini arhi-tektonski nosači su dva stupa uz središnju oltarnu palu koji su se posve emancipirali, čak i odvojili od pozadine i istupili u prostor kao da ne pripadaju retablu ispred kojega stoje. Na glavnom oltaru (1764.) u kapeli u Pre-polnom također su dva u prostor istaknuta stupa ispred retabla10, no ovdje se nisu posve oslobodili kao u Kloš-tru, već iskorakom povlače za sobom gređe i pridono-se silovitom konkavno-konveksnom povijanju retabla, pojačavajući utisak naglašene gipkosti oltarne stijene. Njegovi utjecajni prethodnici prepoznaju se u djelima njegovoga brata Josepha, primjerice u danas srušenom glavnom oltaru (1750.) u župnoj crkvi u Studencima (dokumentiranom djelu Josepha Strauba i stolara Fran-za Leeba), kao i na glavnom oltaru u Slovenskoj Bistrici (Joseph Straub, dovršio Joseph Holzinger 1757./1758.), a srodnosti arhitektonske sheme, ali u reduciranom opsegu, reflektiraju se i na bočnom oltaru Presvetoga Trojstva i oltaru Majke Božje u benediktinskoj crkvi u St. Paul im Lavanttal iz druge polovine XVIII. stoljeća, koji se pripisuju Philippu Jakobu Straubu.11

Osim retabala pripisuju mu se i tri propovjedaoni-ce, od kojih je ona u Brezovici (1762.) razmjerno kon-zervativne konstrukcije s prevladavajućim udjelom ornamentike12 čije motive poput upletenih nježnih cvjetnih grana i anđela telamona možemo povezati s radovima Philippa Jakoba Strauba, kod kojeg se motiv anđela telamona javlja na njegovoj propovjedaonici (1734. – 1738.) u gradačkoj crkvi Svetog Duha (Bürger-

9 Ožanić 2018, 74–75. I ondje navedena ranija literatura.10 Ožanić 2018, 76–77. I ondje navedena ranija literatura.11 Ožanić 2018, 77–78. I ondje navedena ranija literatura.12 Baričević 1992–1993, 210.

94 ESSAYS

spitalkirche). Propovjedaonice u Kutini (1761., sl. 1) te djelomično Mariji Gorici (1762.) raskošni su spojevi bogatstva ornamentike, reljefnih scena i svetačkih fi-gura.13 Značajke njegovih skulptura ogledaju se već od prvih ostvarenja koje je, prema dosadašnjim istraži-vanjima, izveo u Hrvatskoj, a možda i jedinim koje je izveo za neku zagrebačku crkvu, a riječ je o kiparskoj grupi Krunidbe Bogorodice (sl. 2) na atici bočnog oltara Preobraćenja Sv. Pavla iz 1760. godine u župnoj crkvi sv. Marka u Zagrebu, danas u fundusu Muzeja grada Za-greba. Riječ je o figurama redovito kontrapostom izvi-jenih tijela s naglašenim pokretom u kukovima kojim se stvara dinamičnu torziju volumena. Raspoloženje likova ilustrira položaj njihovih glava koje ili zabačene unatrag sugeriraju intenzitet produhovljenih emocija (sl. 3) ili su pak dostojanstveno spuštene u tihoj kon-templaciji, a u oba slučaja praćene gestikulacijom ruku u suglasju s proživljenim emotivnim nabojem (sl. 4). Odgojen na zasadima kasnobaroknog i rokoko senzibi-liteta, Franz Antonovi protagonisti nježni su i graciozni, glavica manjih u odnosu na ostatak tijela (sl. 5), te fino-ćom i elegancijom pokreta bliski estetici (ženskih) figu-ra kod Veita Königera. Likovi su nerijetko zaustavljeni u položaju ispruženih i raširenih ruku kao u plesnoj kretnji, što se uočava na glavnom oltaru u Prepolnom gdje se nebeski ansambl na atici doima poput vrhunski koreografiranog baletnog sastava. Ipak, na pojedinim djelima dolaze do izražaja razlike u kvaliteti, pa se čini da je majstor izradu i dovršetak kipova, a naročito onih na slabije vidljivim mjestima, prepustio pomoćnicima, kao na oltarima u Velikoj Ludini, Brezovici, Čučerju (bočni oltar Žalosne Gospe) (sl. 6) ili primjerice Gor-njoj Jelenskoj (1764.). Njihove fizionomije i stavovi po-kazuju tipična obilježja Franz Antonovih likova, poput malenih poluotvorenih usnica s titravim smiješkom, dugačkih brada modeliranih kao dva uvrnuta roga gustih uvojaka, ili ukošeno položenih očiju, međutim, tretman odjeće i detalja anatomije ruku i nogu djeluju nešto tvrđe, grubo, gotovo sumarno obrađeno, što je moguće rezultat rada nekog od pomoćnika s obzirom da je tih godina radionica bila zaposlena na više uspo-rednih projekata.

Oltari i propovjedaonice Franza Antona Strauba i njegove radionice dekorirani su rokajnom ornamen-tikom koja se šezdesetih godina 18. stoljeća već udoma-ćila na području kontinentalne Hrvatske, prošavši put koji ju je iz Francuske u zemlje pod habsburškom kru-nom doveo prvenstveno preko frankofilnog minhen-

13 Baričević 1992–1993, 207-208; Baričević 2008a, 276. I ondje navedena ostala ranija literatura.

skog dvora i Augsburga. Iako upravo vješto rezbarena rokajna ornamentika Franz Antonovim oltarima, čije moćne konstrukcije ostavljaju kasnobarokni dojam, pridaje ugođaj rokokoa, u samom oblikovanju moti-va je u većini slučajeva prisutna izvjesna masivnost i kompaktnost, dok lakoća i suptilnost koje štajerski ro-koko, primjerice u djelima Philippa Jakoba Strauba ili Veita Königera, postiže pomoću pokrenutih istanjenih forma zakovrčanih vršaka i raznolikih perforacija koje dekorativne kompozicije čine nježnijim i rahlijim, naj-češće izostaju. Uz kompaktnost forme u oblikovanju motiva za radionicu je karakteristična obrada površine utorima različite gustoće i usmjerenja koja naglašava fragmentaciju dekorativnih kompozicija na manje di-jelove, raznolike rokajne rubove14 koji uspješno funkci-oniraju kao samostalni motivi, a principom adicije gra-de veće dekorativne kompozicije. Rokajni rubovi kao pojedinačni motiv dekoriraju, primjerice, postamente stupova (Pakrac, Kloštar Ivanić, Čučerje, sl. 7) ili ogra-du propovjedaonice (Kutina, sl. 8), ali ih prepoznajemo i kao sastavni dio za radionicu prepoznatljivih ukra-snih okvira (Kloštar Ivanić, sl. 9, Vugrovec, Kutina, sl. 10) i oltarnih niša (Velika Ludina, sl. 11). Radioničkom repertoaru motiva pribrajamo i nešto rjeđe prisutne cvjetaste oblike sačinjene od plitkih voluta s rokajnim rubom (Kloštar Ivanić; Čučerje, oltar Žalosne Gospe) te dekorativne vaze mekog, rastaljenog obrisa koje in-spiraciju crpe iz nedefiniranih oblika svijeta podmorja. Uzor za oba motiva kao i za rokajne obrube možemo naći na popularnim grafičkim otiscima ornamentalnih motiva poput onih Franza Xavera Habermanna (1721. – 1796.) i Georga Michaela Roschera (1727. – 1775.) koji su kolali diljem srednjeuropskog kulturnog kruga nadah-njujući lokalne umjetnike i naručitelje. Drugačiji izbor motiva i znatno suptilnije oblikovanje koje karakterizi-raju istanjeni, zakovrčani vršci i naglašenije korištenje perforacija pokazuje glavni oltar u Brezovici, dok or-namentika glavnog oltara u Prepolnu (sl. 12) preferira meke, pokrenute forme uvijenih rubova i rastegnute, u sredini perforirane rokajne motive slične cvijetu.15

14 Obrub najmirnijeg obrisa izveden je iz valovitog ruba mo-tiva školjke čiji su režnjevi naizmjenice izbrazdani verti-kalnim i horizontalnim utorima a vršci zaobljeni. Obrub sličan ribljoj peraji (ili krilu šišmiša) ima nekoliko ušilje-nih, istaknutih vršaka a izbrazdan je plitkim, gusto nati-skanim utorima. Treći tip rokajnog obruba sačinjen je od nejednakih vršaka koji podsjećaju na plamičke ili lelujave vlati morskih algi i njegov je obris najnemirniji.

15 Nedvosmislene sličnosti arhitektonske konstrukcije, ali i ornamentike i polikromije s glavnim oltarom kapele sv. Roka u Tugonici ukazuju na mogućnost da su neznani stolar i slikar surađivali s Franzom Antunom Straubom.

95MARTINA OŽANIĆ, MARTINA WOLFF ZUBOVIĆ: FRANZ ANTON STRAUB

Ornamentika bočnih oltara sv. Ane (1761.)16 i Žalo-sne Gospe (1762.) iz Čučerja kao i oltara sv. Križa (1761.) u dvorcu Lužnica17 (sl. 13) također pokazuje odmak od uobičajenih rješenja sklonošću ka korištenju velikih voluta ispunjenih snažnim rokajnim obrubima u funk-ciji oltarnih krila i ukrasa atike.

Iako je za umjetničku scenu sjeverozapadne Hr-vatske pojava Franza Antona Strauba stasalog u okviru bavarske kiparske obitelji čiji je najstariji brat bio dvor-ski kipar u Münchenu od nesumnjive važnosti, što se očituje i u narudžbama od strane biskupa Thauszyja i Josipa Antuna Ćolnića, njegov je životni put slabo evi-dentiran u arhivskoj građi. Čini se da je posljednji put njegovo ime u Zagrebu zabilježeno u Matici umrlih Župe sv. Marka 1776. godine kada umire dvogodišnji sin Josip tada već pokojnoga kipara.18 Premda mu se ime pojavljuje u arhivskim vrelima 1769. (popis kipara koji djeluju izvan ceha na području Zagrebačke županije)19 i 1771. godine (popis gdje je ubrojen pod majstore stolare),20 dosadašnja istraživanja nisu utvrdila posto-janje njegovih djela nakon 1765. godine. Njegov dola-zak zbiva se u vrijeme kada prestaje djelovati Josephus Weinacht, jedan od kvalitetnijih kipara ovih prostora u petom desetljeću 18. stoljeća, dok kreativni potencijal većine u Zagrebu nastanjenih majstora tijekom 1750-ih

Škarić 2014, 182–183; Ožanić 2017, 45; Wolff Zubović 2017, 175–176; Ožanić 2018, 78. Doris Baričević pripisala je oltar u Tugonici zagrebačkom kiparu Luki Salzeru. Baričević 2008a, 263–265.

16 Moguće je da je ornamentika oltara sv. Ane djelo umjet-nika snažnije osobnosti čiji se izraz približava neznanom autoru ornamentike oltara Obraćenja sv. Pavla iz početka 1760-ih podignutom za crkvu sv. Marka na Gornjem gradu.

17 Volute atike oltara Svetog Križa iz dvorske kapele u Lužnici dekoriraju impozantni školjkasti rubovi slični onima s ati-ke glavnog oltara crkve sv. Ignacija Loyole u Rdečem bregu u Sloveniji, pripisanom Josephu Straubu.

18 Baričević 1992–1993, 194; HDA, Matica umrlih, Župa sv. Marko, 1776.: »Item [i.e. die 1a] obiit filiolus Josephus de-functi Francisci Straübb sculptoris, annorum 2. sepultus ad Sanctam Margaritham.« (Prijepis: Šime Demo).

19 Dobronić 1991, 199–200; Baričević 1992–1993, 194; HDA, Hrvatsko kraljevsko vijeće, 1770.: popis obrtnika na po-dručju Zagrebačke županije, koja ga šalje Kraljevskom na-mjesničkom vijeću. U dopisu datiranom 28. studenog 1769. popisani su svi obrtnici pod jurisdikcijom zagrebačkog biskupa, među ostalom i kipari izvan ceha: »Sculptores extra caeham: Franciscus Straupp, Lucas Szalzer, Baltha-sar Detrich.«.

20 Baričević 1992–1993, 194; HDA, Acta Comitatus Zagrabi-ensis, Publico politica, kut. 8, Ad fasc 297/3, 1771.: u popisu obrtnika ime Franc. Strauß navedeno je u kategoriji »arcu-lariorim magistri«.

i 1760-ih godina, poput Antuna Reinera, Antuna Franje Risnera, djelomice Josephusa Stallmayera, te brojnih neimenovanih umjetnika, ipak ostaje lokalnoga dome-ta. Ostvarenja koja se pripisuju Franzu Antonu Straubu, najmlađem potomku glasovite bavarske kiparske di-nastije, nastala su na prostoru sjeverne Hrvatske kroz svega nekoliko godina te svjedoče o zreloj umjetničkoj vrsnoći koja u pojedinim djelima u potpunosti dosiže suvremene stilske težnje srednjoeuropskog prostora.

96 ESSAYS

ZUSAMMENFASSUNG

FRANZ ANTON STRAUB

Archivalische Quellen zum jüngsten Mitglied der Straub-Familie Franz Anton (Wiesensteig, 1726–Zag-reb (?), 1774/1776) sind leider nur spärlich vorhanden. Es wird angenommen, dass er sowohl Unterricht von seinem Vater in Wiesensteig, als auch von seinem Bru-der Philipp Jakob in Graz erhielt und er möglicherwei-se in den späten 1750er-Jahren als erfahrener Bildhauer und Schreiner nach Zagreb kam. Hier richtete er eine produktive Werkstatt ein, die innerhalb von nur eini-gen Jahren zahlreiche Arbeiten von außergewöhnli-cher Qualität im kontinentalen Kroatien schuf. Franz Antons stilistische Ausdruckskraft ist vom steirischen Spätbarock beeinflusst, zeigt jedoch auch Einflüsse des Rokoko, was insbesondere durch die Anbringung von ornamentalen Zierwerken, wie Rocaillen, deutlich wird, aber auch durch die eleganten, sehr ausgefeilten Skulpturen.

IZVLEČEK

FRANC ANTON STRAUB

Arhivski podatki o najmlajšem potomcu družine Straub, Francu Antonu (Wiesensteig, 1726–Zagreb (?), 1774/1776), so zelo skopi. Domneva se, da se je šolal v očetovi delavnici v Wiesensteigu in nato pri bratu Fi-lipu Jakobu v Gradcu. Že kot izkušen kipar in mizar je verjetno konec 50. let 18. stoletja prišel v Zagreb, kjer je zasnoval zelo produktivno delavnico, ki je zgolj v ne-kaj letih izdelala številna, po kvaliteti izstopajoča dela v osrednji Hrvaški. Njegov slog izhaja iz štajerskega poznobaročnega kiparstva s primesmi rokokoja, ki se odraža v uporabi ornamentalnega motiva rocaille in elegantne prefinjenosti figur.

Right: Kloštar Ivanić, parish church of the Assumption of the Blessed Virgin Mary, high altar by Franz Anton Straub, 1762, detail (HRZ Photo Archive, GT, 2018)