Abstract

Avgust Bukovec was undoubtedly a pioneer of in-depth research into painted beehive panels. He was inspired by the art historian, ethnologist, musicologist and the first curator of the Slovene Ethnographic Museum, Dr. Stanko Vurnik (1898–1932). Bukovec was primarily interested in placing the painting of beehive panels within the scope of Slovenian folk painting. Vurnik focused on the motifs, which he elaborated on in detail. Bukovec was completely reliant on Vurnik for this, but in researching other aspects of the phenomenon of painted beehive panels – such as the artists of the paintings and their characteristics, the relationship between beekeepers as clients and artists, sources for purchasing painted panels, materials and painting technology – he delved much further and deeper. Although Bukovec’s primary purpose was to familiarise beekeepers with this unique component of Slovenian heritage, his findings, based on research into both the motives of painted frontal panels and the social relations within which this particular genre of painting was created and lived, have a broader professional significance that is particularly important for the history of relevant ethnological views and insights.