Blaž Jurjev Trogiranin

Blaž Jurjev-Trogiranin (Trogir or Lapac, around 1390 - Zadar, 1450) was a Venetian painter during the Renaissance. He was first mentioned in 1412 in Split, then in 1419 in Trogir. Blaž Jurjev was a contemporary of many Renaissance painters of the time, namely Jovan Ugrinović, Matko Junčić, and Lovro Dobričević

Biography

Blaž Jurjev's ancestors originally came from Montenegro like most of the ancestors of the Quattrocento painters of the 15th century (Dobričević, Božidarević, Ugrinović, Hamzić, Junčić, Vladanov, Vučković, Ćulinović, Ristanović, and others..

During his career, he worked from 1421 to 1427 in Ragusa as an official painter of the Republic of Venice, and in 1431 he had a workshop on the island of Korčula. In 1433 he returned to Trogir, where for several years he painted polyptychs for the churches of St. John the Baptist and St. Marija in Trogirand St. Jakov on Ciovo. It was in Trogir, however, that he received his sobriquet "Trogiranin". In 1439 he made a polyptych for the fraternity of All Saints in Korčula, then settled in Zadar, where he painted the door of the organ for the church of St. Frane and begins the painting of Our Lady of the Castle, which he signed in 1447 as Blasius de Jadera.

The works of Blaž Jurjev Trogiranin are found in Split and Ston (crucifixes), Dubrovnik (Blessed Virgin Mary with Child), Korčula (two polyptychs), Trogir (matriculation of the fraternity of the Holy Spirit, Our Lady in the rose garden, and three polyptychs), Kaštel Štafilić (The Virgin Mary with Child) and Šibenik . There is speculation that he also may have painted in Marche which explains the Venitian influences.

Many of his paintings are of uneven quality, and this can be explained by the loss of contact with art centers, the interventions of painters from his workshop, and the youth or age of the artist. Blaž Juraj Trogiranin, whose identity was confirmed by the discovery of a signature on a polyptych from the church of St. Jakov in Trogir (1961), is a distinctive painterly figure of the late Gothic style; despite visible Republic of Venice influences (Nicolò di Pietro, Gentile da Fabriano) he develops a sense of inspired linear rhythms as a whole and in detail (draperies), a characteristic typology of characters with unusually bulging eyes, and a subtle scale of colors.

References

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