MARCUS PERNHART (1824-1871)
Triglav (2,864m - 9,396 ft)
Slovenia
1. In Triglav in the mist, oil on canvas, Landesmuseum für Kärnten
2. In Triglav in sunset, oil on canvas, Landesmuseum für Kärnten
The mountain
Triglav (2,864m - 9,396 ft), is the highest mountain in Slovenia and the highest peak of the Julian Alps. The mountain is the pre-eminent symbol of the Slovene Nation. A stylized depiction of Triglav's distinctive shape with its three peaks is the central element of the Slovene coat of arms, designed by the sculptor Marko Pogačnik, and is in turn featured on the flag of Slovenia. Slovenia is the only country in Europe and one of the few in the world to feature a mountain on its coat-of-arms. Formerly, it was featured on the coat of arms of the Socialist Republic of Slovenia. The first to depict Triglav as the symbol of the Slovenes was the architect Joћe Plečnik, who in 1934 put it besides other coats-of-arms of the nations of the Kingdom of Yugoslavia on the coat of the statue of the Mother of God in front of the parish church in Bled.
During World War II, the stylised Triglav was the symbol of the Liberation Front of the Slovene Nation resistance movement. The distinctive three-pronged caps worn by Slovene Partisans during World War II were known as triglavkas. A relief map of the mountain is the design on the national side of the Slovene 50 eurocent coin.
An old map from 1567, referes to Triglav as Ocra mons, whereas Johann Weikhard von Valvasor named it Krma in the second half of the 17th century. According to the German mountaineer and professor Adolf Gstirner, the name Triglav first appeared in written sources as Terglau in 1452, but the original source has been lost. The next known occurrence of Terglau is cited by Gstirner and is from a court description of the border in 1573. The name is derived from the compound *Tri-golvъ (literally 'three-head' or , 'three peaks'), which may be understood literally because the mountain has three peaks when viewed from much of Upper Carniola. It is unlikely that the name has any connection to the Slavic deity Triglav.
The painter
Marcus (or Markus) Pernhart was a Carinthian / Slovenian / Austrian painter. He is considered the first Slovene realistic landscape painter. He painted several times Triglav.
At barely 12 years, he painted the guest rooms of Krajcar Restaurant between Klagenfurt and Völkermarkt. The innkeeper made, the bishop's chaplain Henr. Hermann discovered the talented boys. At 15, he trained in painting first with Andreas Hauser in Klagenfurt. Hermann supported him further and introduced him to his patron, the Gorizia Archbishop Francis Xavier Luzhin. Through this he got contact with the Viennese art scene, particularly to Franz Steinfeld, who taught at the Academy of Fine Arts. It was forwarded to the Munich Academy, but soon returned to Carinthia. There he was promoted by his stage name Pernhart the famous landscape painter of his time.
When Pernharts drawing style had fully developed, he was asked by Max from Moro to draw all Castles Carinthia. The idea was to these buildings if they could often for financial reasons can not be obtained, at least to preserve the picture, thereby preserving from decay. Markus Pernhart does not disappoint its customers and held in pencil drawings smallest details of the well-preserved, but also the already partly decayed plants firmly. Already in 1853, he produced 40 drawings followed by 198 others, he property of the Historical Association for Carinthia. In 1855 he gave the Carinthian estates Empress Elisabeth, an album of 21 drawings to which Max Moro contributed. Entitled images from Carinthia appeared in 1863-1868 in deliveries as steel engravings with accompanying. After his death appeared 5 lithographic panoramic images (Klagenfurt in 1875 and 1889).
His entire painted oeuvre consists of approximately 1,200 paintings, drawings and enrgavings that delight even after his death a large appreciation.
Pernhart presented landscapes, preferably lakes and high mountain motifs or castles, but also animals and still life subjects, in an idyllic and pathetic style. His works can be seen against the background of an incipient leisure society, they lead before the regional status objects of his home.
Marcus (or Markus) Pernhart was a Carinthian / Slovenian / Austrian painter. He is considered the first Slovene realistic landscape painter. He painted several times Triglav.
At barely 12 years, he painted the guest rooms of Krajcar Restaurant between Klagenfurt and Völkermarkt. The innkeeper made, the bishop's chaplain Henr. Hermann discovered the talented boys. At 15, he trained in painting first with Andreas Hauser in Klagenfurt. Hermann supported him further and introduced him to his patron, the Gorizia Archbishop Francis Xavier Luzhin. Through this he got contact with the Viennese art scene, particularly to Franz Steinfeld, who taught at the Academy of Fine Arts. It was forwarded to the Munich Academy, but soon returned to Carinthia. There he was promoted by his stage name Pernhart the famous landscape painter of his time.
When Pernharts drawing style had fully developed, he was asked by Max from Moro to draw all Castles Carinthia. The idea was to these buildings if they could often for financial reasons can not be obtained, at least to preserve the picture, thereby preserving from decay. Markus Pernhart does not disappoint its customers and held in pencil drawings smallest details of the well-preserved, but also the already partly decayed plants firmly. Already in 1853, he produced 40 drawings followed by 198 others, he property of the Historical Association for Carinthia. In 1855 he gave the Carinthian estates Empress Elisabeth, an album of 21 drawings to which Max Moro contributed. Entitled images from Carinthia appeared in 1863-1868 in deliveries as steel engravings with accompanying. After his death appeared 5 lithographic panoramic images (Klagenfurt in 1875 and 1889).
His entire painted oeuvre consists of approximately 1,200 paintings, drawings and enrgavings that delight even after his death a large appreciation.
Pernhart presented landscapes, preferably lakes and high mountain motifs or castles, but also animals and still life subjects, in an idyllic and pathetic style. His works can be seen against the background of an incipient leisure society, they lead before the regional status objects of his home.
