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During the years of his apprenticeship he did not only learn to carve marble but he also had the opportunity of becoming acquainted with a vast array of Roman. Robba took over Mislej’s workshop with an established clientele in and beyond Carniola. After five years of apprenticeship and probably a few more in the role of an assistant in Baratta’s workshop. including some celebrated works of Gian Lorenzo Bernini (1598–1680) and Alessandro Algardi (1598–1654). Graz. in 1722 Robba married Theresia. Not unlike the situation in some other Austrian cities. Baratta. 45–63) reveal the strong influence of his teacher. an ever greater technical virtuosity and formally refined and emotionally expressive style. During the long period of his recorded residence in Ljubljana. After the first sculptural works for the Jesuit church in Ljubljana that were probably the reason for his arrival. while his best mature works (at least from the late 1730s onwards) are not only marked by a growing self-confidence. born in Massa and later most probably trained in Tuscany. pp. 1676–1759) – left Venice for Ljubljana. but more successful brother Giovanni (1670–1747). Florentine and Genoese as well as Venetian models.g. as well as the commercial interests and entrepreneurial contacts of several discriminating patrons. At the time. by the summer of 1720.SUMMARY Francesco Robba (1698–1757) A Venetian Sculptor and Architect in Baroque Ljubljana Francesco Robba was born in Venice on 1 May 1698 and was trained as a sculptor in the studio of Pietro Baratta (1668–1729) between 1711 and 1716. Summary 307 . After his father-in-law died in 1727. Carinthia. Francesco Robba – alongside his older colleague Jacopo Contieri (ca. were decisively directed towards Italy. Baratta. the daughter of local stone-cutter Luka Mislej. until his death on 24 January 1757 (he died on one of his business trips in Zagreb). and at that time he was already called “sculptor and architect” and “a citizen of Ljubljana” (he obtained citizenship in 1724). the intellectual aspirations of the educated classes in Ljubljana.e. aristocratic and bourgeois patrons in Carniola. i. 1721–26. e. then the capital of the Duchy of Carniola and therefore part of the Holy Roman Empire. Robba was regularly allotted the most prestigious public and private commissions emanating from ecclesiastical. Ljubljana was one of the liveliest smaller cultural centres of Central Europe. they also bear witness to his familiarity with the Baroque sculpture of central Italy in general. the Austrian part of Istria and continental Croatia. Robba’s early free-standing marble statues and reliefs (ca. could have obtained the most important pieces of his fondo di bottega before his arrival to Venice and also in the following years with the help of his younger.

Robba’s fountain in front of the Town Hall in Ljubljana. Not only do we know of his regular visits to Venice where he could become acquainted with the work of his contemporaries Antonio Corradini (1688–1752). the Communal Fountain in Ljubljana (contracted in 1743. 155–177). 1696–1779). Giovanni Marchiori (1696–1778) and Giovanni Maria Morlaiter (1699–1781). the oeuvre of Franceco Robba is discussed in chronological order. 37–135). originally placed in front of the chancel in the nave of the Cathedral of Zagreb. 17–35). 10–15) and on Pietro Baratta and the Venetian Baroque sculpture of the early 18th century (pp. 308 Matej Klemenčič: Francesco Robba (1698–1757) . 137–155). A39). Robba – not unlike several of his Roman colleagues – returned to some of the principles of the art of Gian Lorenzo Bernini and transformed it into a very distinctive personal style. Gaetano Susali (ca. it also seems possible that after the mid-1730s. his angels (cat. cat. addressing mostly the questions of style and patronage (pp. Moreover. classical and Cinquecento sculpture as well as theatre performances. following the chapters on the state of research (pp.and Rome in particular. A40). cannot be fully understood and explained without the sculptor’s good knowledge of some important monuments in Rome. pp. In the present monograph. cat. 130–135. with some closing remarks on his influence on the local sculptors in and beyond Carniola (pp. Antonio Gai (1686–1769). perhaps even around 1740. 118–129. as well as the altarpiece of the Holy Cross (pp. he made a trip to Rome that would explain some important changes in his personal style in the late thirties as well as the decisively Roman design of his most important public work. finished by 1751. A separate chapter is dedicated to his workshop in Ljubljana and to a number of his pupils and collaborators. A36) flanking the mensa of the eucharistic altar of the Cathedral of Ljubljana. The last part of the monograph seeks to establish Robba’s artistic achievements in relation to other Venetian sculptors of his generation (pp. At the time when his Venetian (and Austrian) colleagues were experimenting with their personal styles studying contemporary painting. among others.

od leta 2011 pa je urednik društvenega Zbornika za umetnostno zgodovino. 1971. Giovanni Marchiori). rojen leta 1971 v Ljubljani. Pietro Baratta. osrednje slovenske umetnostnozgodovinske znanstvene revije. He was Chair of the Department of Art History at the Faculty of Arts from 2008 to 2012. The Story of the City’s Symbol (2010). Dr. Antonio Corradini. in 18. Venice and the Veneto. and acted as President of the Slovenian Association of Art Historians from 2007 to 2012. where he has been teaching undergraduate and graduate courses in Early Modern Art since 2001.D. Almanach in slikarstvo druge polovice 17. His other research interests include Late Gothic architecture in Central Europe and the historiography of art history. He has curated three exhibitions for the National Gallery of Slovenia. Klemenčič has published and lectured extensively on various aspects of Baroque art and architecture in Central Europe. pa tudi poznogotski sakralni arhitekturi ter drugim vprašanjem zgodovine umetnosti na Slovenskem in njene historiografije. kjer od leta 2001 tudi predava umetnost zgodnjega novega veka na Slovenskem. je leta 2000 doktoriral na Oddelku za umetnostno zgodovino Filozofske fakultete Univerze v Ljubljani. ki mu je med letoma 2007 in 2012 predsedoval. Njegovo raziskovalno delo je posvečeno predvsem beneškemu kiparstvu 17. in Art History from the University of Ljubljana in 2000. v Srednji Evropi in v Jadranskem prostoru. V ljubljanski Narodni galeriji je bil avtor ali soavtor razstav Francesco Robba in ljubljansko baročno kiparstvo (1998). About the author Matej Klemenčič (b. Giovanni Bo­ nazza. and The Robba Fountain. Preko predavanj in objav svoje ugotovitve redno predstavlja v slovenskem in mednarodnem okolju.O avtorju Matej Klemenčič. with particular emphasis on the Venetian sculptors of the 17th and 18th centuries (e. During his doctoral studies he was a fellow of the Roberto Longhi Foundation in Florence in 1998/99. Enrico Merengo. stoletja ter beneškim umetnost­ nim importom v srednji Evropi. stoletja na Kranjskem (2005) ter Robbov vodnjak: zgodba mestnega simbola (2010). Aktiven je tudi v organih Slovenskega umet­ nostnozgodovinskega društva.g. Ljubljana) received his Ph. Almanach and Painting in the Second Half of the 17th Century in Carniola (2005). Francesco Robba. O avtorju – About the author 309 . which are: Francesco Robba and the Highlights of the Venetian Baroque Sculpture in Ljubljana (1998).

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