Uznesenje Marijino, Lorenzo Luzzo

Slika Uznesenje Marijino djelo je slikara Lorenza Luzza (Zadar ili Feltre, su 1971. godine u Restauratorskoj radionici tadašnjega JAZU-a u
1484./1485. – Venecija ili Zadar, 1526./1527.), zvanog Zarot(t)(o) Zagrebu. Tada su sanirana velika oštećenja drvenog nosioca i izra-
(Zadranin) i Morto da Feltre. U njegovim radovima mogu se prepo- đeno je novo ojačanje poleđine. Za konsolidaciju odignutih slojeva
znati utjecaji Tiziana, Rafaela, Sebastiana del Piomba te Giorgionea. preparacije i boje, kao i drvenog nosioca, upotrijebljen je vosak. S
Kompozicija i figuralika zadarske oltarne pale Uznesenje Marijino vremenom, tamnjenjem boje retuširanih površina nastale su brojne
(prva četvrtina 16. stoljeća) ima pak uočljive sličnosti i s istoimenom nečitljive mrlje koje su sa slojem potamnjelog laka narušile izvornu
oltarnom palom mletačkoga slikara Palme starijeg. ljepotu i vrijednost umjetnine.

Oltarna pala Uznesenje Marijino slikana je temperom na drvu (246 Novi konzervatorsko-restauratorski radovi počeli su 2013. godine
x 137,5 cm). Na rubovima slike vidljive su konture profilacije rene- istraživanjima, laboratorijskim analizama te snimanjima tehnikama
sansnog okvira. Kompozicija je podijeljena u dva dijela. U donjem su RTG, UV i IC reflektografije. Uklonjeni su slojevi starog potamnjelog
dijelu oko praznoga mramornog sarkofaga, ukrašenog renesansnom laka i retuša te izrazito debeo sloj voska. Izvedena je konsolidacija
girlandom s ovnujskim glavama i anđeoskom glavicom, naslikani nestabilnih površina slikanog sloja te konsolidacija šupljina drvene
apostoli, svjedoci Bogorodičina Uznesenja na nebo. U gornjem dijelu osnove. Rekonstrukcija mehaničkih oštećenja izvedena je s više vrsta
kompozicije skupina anđela nosi Bogorodicu na nebo. Pri dnu slike, preparacije koje su prilagođene površini slikanog sloja. Retuš je izveden
na sredini se nalazi potpis slikara: Laure(n)tius: Lu(cius) Feltri(nus) u podsliku gvaš bojama hladnog kromatskog spektra te završno lakirnim
fec(it), koji je prije pogrešno čitan, pa je djelo pripisivano Rafaelovu bojama. Rekonstruirani su i završni lazurni slojevi izvorne boje, oštećeni
učeniku Francescu Fattoriju. No Sergio Claut je potpis 1981. godine u velikoj mjeri nekontroliranim čišćenjem u prethodnim intervencijama
reinterpretirao i sliku pripisao Lorenzu Luzzu. na slici te oksidacijom pigmenata. Ujednačene su nove plohe boje s
originalnim slikanim partijama i nanesen je završni lak.
Nije potpuno jasno podrijetlo slike, no vjerojatno se nalazila u crkvi
sv. Marije Velike u Zadru koja je srušena 1570./1571. godine zbog Dovršetkom višegodišnjih konzervatorsko-restauratorskih radova na
gradnje gradskih utvrda. Tad je umjetnina prenesena u crkvu bene- oltarnoj pali Uznesenje Marijino, omogućenih sredstvima Ministarstva
diktinki, posvećenu Marijinu rođenju. Od 1976. godine slika se čuva kulture i medija RH, sjaj i koloristička kvaliteta vraćeni su iznimnom
u Stalnoj izložbi crkvene umjetnosti u Zadru.Prvi opsežniji konzer- djelu venecijanskoga renesansnog slikarstva, izloženog u prostorima
vatorsko-restauratorski radovi na slici Uznesenje Marijino izvedeni Stalne izložbe crkvene umjetnosti u Zadru.



Assumption of Mary was painted by Lorenzo Luzzo (Zadar or Feltre, The first large-scale conservation of the Assumption of Mary was
1484/1485 - Venice or Zadar, 1526/1527), called Zarot(t)(o) (from carried out in 1971 at the Restoration Workshop of the Yugoslav
Zadar) and Morto da Feltre. His art was influenced by other artists Academy of Sciences and Arts in Zagreb. Extensive damage to the
such as Titian, Raphael, Sebastian del Piombo and Giorgione. The wood panel was repaired during the conservation, and the back of
composition and figural representation on the Assumption of Mary the painting was reinforced. Wax was used to consolidate the raised
altarpiece from Zadar (first quarter of the 16th century) have obvious preparation and painted layers, as well as the wood panel. As the
similarities with the eponymous altarpiece of the Venetian painter colour on the retouched areas had become darker over time, it created
Palma the Elder. numerous illegible spots that, together with the layer of darkened
varnish, compromised the original beauty and value of the artwork.
Luzzo’s Assumption of Mary altarpiece was painted with tempera on
wood (246 x 137.5 cm). Contours of the Renaissance frame moulding Conservation carried out in 2013 began with research, laboratory
are visible on the edges of the painting. The composition is divided analysis and X-ray, UV, and IR reflectography imaging. Layers of old
into two parts. The apostles, witnesses of the Assumption of the darkened varnish and retouching, as well as an extremely thick layer
Virgin Mary, were painted in the lower part of the painting around the of wax, were all removed. Consolidation of unstable painted layers
empty marble sarcophagus decorated with a Renaissance garland with and wood panel holes was performed. Reconstruction of mechanical
rams’ heads and an angel’s head. A group of angels carries the Virgin damage was carried out using different types of preparation that
to heaven in the upper part of the painting. The painter’s signature, were matched to the surface of the painted layer. Retouching was
Laure(n)tius: Lu(cius) Feltri(nus) fec(it), previously misread and incor- done in the layer of underpainting with cool gouache colours and
rectly attributed to Raphael’s pupil Francesco Fattori, is located in the finished with lacquer paint. The varnish layers of the original colour,
centre of the bottom edge of the painting. Sergio Claut reinterpreted damaged by uncontrolled cleaning during previous interventions and
the signature in 1981 and attributed the painting to Lorenzo Luzzo. oxidation of pigments, were also reconstructed. New areas of the
painted layer were matched to the original, and the conservation was
The origin of the painting is not entirely clear but it was probably finished with varnish.
originally located in the church of St Mary in Zadar. The church was
demolished in 1570/1571 during the construction of city fortifications, Conservation of the Assumption of Mary altarpiece, funded by the Ministry
and the artwork was moved to the Benedictine church dedicated of Culture and Media of the Republic of Croatia, restored the splendour
to the birth of Mary. Since 1976, the painting has been part of the and colour quality to the exceptional example of Venetian Renaissance
Permanent Exhibition of Religious Art in Zadar. painting exhibited at the Permanent Exhibition of Religious Art in Zadar.