III/1 CRTE@

92

DRAWING

IDEAL RECONSTRUCTION

IDEALNA REKONSTRUKCIJA

ANALOGIJA

ANALOGY

3 D ZVUKA

3 D LINIJE

DRAWING

CRTE@
ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

rotacija za 180
rotation 180

OF SOUND

OF LINE

nema ritmiziranja
without rhythm

trajanje

duljina

duration

length

ja~ina

irina

intensity

width

visinske promjene

tok (izmjenjivanje, zakrivljenja)

pitch

inflections (changes of curves)

promjena irine
change of width
H. MATISSE

promjena irine
change of width

rotacija
rotation

a = napetost
tenseness

b = poputanje napetosti
relaxation

P. PICASSO
P. KLEE

promjena irine

rotacija

change of width

rotation

93

III/1 CRTE@
94

Prva izvedba radionica: 1993.-94.

Radionice C r t e ` od predhodnih se razlikuju po tome {to su specijalisti~ke. Sudionici se bave
isklju~ivo upoznavanjem crte`a, pristupaju mu raznim metodama na svestran na~in i povezuju ga s
drugim podru~jima.
Radionice su podijeljene u tri dijela. U prvom dijelu svaki sudionik radi na jednom modernom
crte`u. U drugom dijelu radi na paru crte`a iz vremenskog razdoblja od 9. do 19. st., a u tre}em se
sudionici posve}uju isklju~ivo upoznavanju zasigurnih crte`a F. Guardija, a i njemu atribuiranog
crte`a koji se nalazi u Zagrebu.
U ovim je radionicama, vi{e nego u prethodnim, naglasak na individualnom istra`ivala~kom radu
svakog sudionika u ~emu im poma`u studenti-instruktori. Temeljna je namjera posti}i da sudionici
bolje opa`aju - razlikuju.
U p r v o j radionici namjera je osvijestiti elementarne znakove, temeljna pravila sintakse, odnos
linijskih sekvenci - sugeriranje plohe i njena svojstva - putem idealne rekonstrukcije crte`a; uputiti na
samoodnosnost oblika u crte`u (zrcaljenje - ponav-ljanje i variranje istog oblika); do`ivjeti nastajanje crte`a putem realne rekonstrukcije; do`ivjeti i proosje}ati ritam i simetriju linija razli~itih tokova
putem prijenosa u drugi medij (zvukovni); zbiljskim rastavljanjem fotokopiranog crte`a na izolirane
linijske sekvence istra`iti i tako pripremiti materijal za daljnje istra`ivanje; omogu}iti svakom
sudioniku vlastiti odabir djela za istra`ivanje.
Ambijent: Sudionici sjede uz slobodno raspore|ene stolove. Uz dva polaznika je po jedan instruktor.
Projektor je s jedne u`e strane i projicira se na nasuprotni zid. Uz taj je zid i TV prijemnik i video player.
Prire|ene su fotokopije modernih crte`a izrazito li-nijskih sekvenci (Klee, Matisse, Picasso) i bo~ice
bjelila (crte`a ima koliko i sudionika: svaki crte` u po 10 fotokopija). Sudionici se mole da nabave
bilje`nice iste veli~ine i ~istih listova koja }e im poslu`iti za izradu vlatite knjige o crte`u.
Struktura doga|anja
1. a) Voditelj projicira pojedine, izdvojene linije Kleeova crte`a Ecce i izvodi idealnu rekonstrukciju koju
su sudionici radionica P o ~ e l a i n a ~ e l a ve} imali prilike upoznati. Taj dio rada slu`i bilo da se
temeljni postupak dozove u sje}anje, bilo da se s njim upoznaju oni koji ga jo{ nisu susreli. Prepoznaju
se i imenuju elementarni znakovi, temeljna pravila sintakse, me|usobni odnos linijskih sekvenci sugeriranje ploha i svojstva ploha. b) Prikazuje se ulomak Clousotova filma o Picassu: crtanje jednog
crte`a od po~etka do kraja (realna rekonstrukcija naspram idealne rekonstrukcije Kleeova crte`a). Taj se
ulomak sudionicima ve} prikazivao u radionicama P o ~ e l a i n a ~ e l a.
c) Sudionici dobivaju fotokopirani materijal o Matisseovu crte`u (analiza ritma, simetrije, skale) iz J. D.,
Vizualni jezik i likovna umjetnost. Na taj na~in osiguran je tromedijski pristup djelima trojice crta~a
~iji }e se crte`i istra`ivati u prve tri radionice (dijapozitivi uz verbalni komentar, video film, tiskani tekst
s reprodukcijama i analiti~kim crte`ima).
2. a) Projiciraju se redom tri linijske sekvence iz po jednog Kleeova i Matisseova crte`a i jedan Picassov
crte` koji je sav u jednoj linijskoj sekvenci. Linije se poku{avaju otpjevati na temelju analogije
izme|u triju dimenzija linije i triju dimenzija tona. Student-instruktor obja{njava vje`bu: duljini linije
odgovara duljina zvuka, {irini linije ja~ina zvuka, a toku linije - izmjenjivanju zakrivljenja odgovaraju
visinske promjene zvuka. U pjevanju se koriste glasovi a i b (a za napetost, uspon, b za popu{tanje
napetosti, spust). Kada se umjesto jednostavnog izmjenjivanja u toku pojavljuju osobiti zastoji simetrija (rotacija), maksimalnim se skra}enjem (ubrzanjem) poku{ava uputiti na neritmiziranost.
Student-instruktor prvo sam pjeva prstom prate}i projiciranu liniju, nakon toga svi zajedno glasom
poku{avaju pratiti liniju koju on/ona pokazuje prstom. Vje`ba slu`i intenziviranju iskustva razli~itih
ritmova - razli~itih sklopova napetosti i popu{tanja.
b) Nakon ovog do`ivljaja skupnog u`ivljavanja u tokove linijskih sekvenci, koji je potvr|en jo{ jednim
osjetilom (auditivnim), sudionicima se dijele fotokopije tih istih linijskih sekvenci s uputom da, sada
individualno, jo{ jednom poku{aju u sebi, prate}i liniju pogledom, tiho otpjevati njen ritam.
3. Sudionici se pozivaju da na temelju ritma s kojim su se najvi{e su`ivjeli, me|u fotokopijama
Kleeova, Matisseova i Picassova crte`a izaberu onaj koji `ele istra`ivati. Nakon izbora voditelj, `ele}i
da sudionici osvijeste svoj izbor, napominje da su vjerojatno birali vlastiti portret (svi crte`i
prikazuju ljudski lik).
4. Slijedi rad na fotokopijama izabranih crte`a. Svaki se crte` rastavlja:: bjelilom se izoliraju pojedine
linijske sekvence, istra`uju se i pripremaju za daljnja istra`ivanja. Sudionicima poma`u studentiinstruktori.
5. Sudionici ostavljaju pripremljeni materijal koji }e se fotokopiranjem dovr{iti do sljede}e radionice.

DRAWING

First performance of workshops: 1993.-94.

The Drawing workshops differ from the earlier ones
because they are specialist workshops. The participants exclusively work to get acquainted with drawings, they approach them thoroughly using various
methods and connect them with other fields.
The workshops are divided into three sections. In the
first section the participants work with a modern
drawing each person with a different one. In the second section they work with a pair of drawings from
the period between the 9th. and 19th centuries. In the
third section they got acquainted with certain drawings by F. Guardi and with the one attributed to him
which is in Zagreb. In these workshops, more than in
the earlier ones the accent is on the individual
exploratory work of each participant helped by students-instructors.
In the f i r s t workshop the intention is to
become aware, through an ideal reconstruction of
the drawings, of the elementary signs, of the basic
rules of syntax, of the relationship between linear
sequences - their suggestions of planar shapes and
their characteristics; to direct attention to the selfreferal character of the shapes in a drawing
(reflection - repetition and variation of the same
shape); to experience through a real reconstruction
how a drawing is really made; experience and feel
the rhythm and the symmetry of lines with various
inflections through a transposition into another
medium (acoustic); actually disconnecting the photocopied drawings into their isolated linear
sequences to explore and thus prepare the material
for further exploration; to enable every participant to
choose his/her own work for exploration.
Ambience: The participants sit side by side at
freely placed tables spread around the room.
Beside every two participants there is an instructor.
The projector is placed near the na-rrow side of the
room and projects slides onto the opposite wall.
Against the same wall there is a TV set and a video
player. Photocopies of some modern drawings
explicitly linear in their sequences are also prepared (Klee, Matisse, Picasso). The number of
drawings is the same as the number of participants
(e.g. and every drawing is photocopied 10 times).
There are white correcting pens. The participants
are asked to bring notebooks of the same size with
clean white sheets of paper in order to prepare
their own book about drawings.
Structure of the Activity
1. a) The workshop leader projects the particular, isolated lines of Klees drawing Ecce and
performs an ideal reconstruction known already to
the participants of the workshops Origins and
Principles. This part of the work should assist the
participants to recall the basic procedure or to
instruct those who do not know it yet. The elementary signs, the basic rules of syntax, the relationships between the linear sequences - the suggestion of planar shapes and their characteristics
are recognised and named. b) A fragment is presented out of Clousots film about Picasso: drawing one of his drawings from the beginning to the
end (a real reconstruction in opposition to an ideal
reconstruction of Klees drawing). This fragment

DRAWING

CRTE@

had been presented earlier to the participants of

the workshops Origins and Principles too. c) The
participants get some photocopied pages from the
book
J. Damjanov Visual language and art about one
of Matisses drawings (analysis of rhythm, symetry, gamut) and in this way a three-media-approach
to the works of the artists whose drawings will be
explored in the next three workshops (projection of
slides with verbal commentary; video/film; printed
text with reconstructions and analytic drawings)
are available.
2. a) There are three linear sequences projected out
of the drawing by Klee, by Matisse and the one by
Picasso which is wholly done in one linear
sequence. The participants sing the lines on the
basis of an analogy between the three dimensions of
line and the three dimensions of tone. A student
explains the exercise: the length of a line responds
to the length of a sound, the width of a line to the
intensity of a sound, and the inflexions of a line (the
changes of curves) to the pitch (variation of the
heights of the sound). In the singing tones a and b
are used, a for tension, and the ascent, b for the
relaxation of the tension and the descent. When
instead of the simple change in continuity a characteristic break (pause) - a symetry appears, for
example rotation, with a maximum of shortening
(acceleration) we try to direct attention to the nonrythmicalness. At first the student sings alone pointing at the projected line; later, all the participants try
to follow the line the student is pointing at with their
voices. The exercise is used to intensify experiencing the various rhythms - various structures of tension and relaxation. b) After experiencing a collective
empathy in the inflections of the line which are confirmed with one more sense (auditive) the participants receive the photocopies of these same linear
sequences with the instruction to try once more,
now individually, to sing silently in themselves the
rhythm, following the line with their gaze.
3. The participants are invited, on the basis of the
rhythm they felt mostly to choose between the
drawings of Klee, Matisse and Picasso the one they
want to work with. After the choice has been made
the workshop leader, desiring to make the participants aware of their choices points out that they
have probably chosen their own portraits (all the
drawings represent human figures).
4. The participants work on the photocopies of the
chosen drawings. Disconnecting the drawings with
a white correcting pen they isolate the particular linear sequences, explore them and prepare them for
further exploration. Students-instructors help the
participants with their work.
5. The finished material will be photocopied till the
following workshop.

95

Studentica glasom prati ritam Kleeove linije/A

student-instructor follows the rhythm of Klees line
with her voice

Individualno, u sebi pjeva se ritam Picassove

linije/Individual, silent singing the rhythm of

Bjelilom se izoliraju pojedine linije na fotokopiji

crte`a/With white correcting pens lines are isolated

Voditelj radi s grupom/The workshop leader

Picassos line

works with the group

in the photocopy of the drawing

Studenti rade s grupom/The students-instructors

work with the group

III/2 CRTE@
96

DRAWING

IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

STRAITGHT LINE
(linguistic category)

RAVNA LINIJA
(jezi~na kategorija)

Kleeov govor

Matisseov govor

Picassov govor

Klees speech

Matisses speech

Picassos speech

P. KLEE:

H. MATTISE:

PREMA BRDIMA/
TOWARDS THE MOUNTAINS,

HENRI DE MONTHERLAND,

1934., 31 X 20,5 CM, CRAYON

1944., PERO/PEN

P. PICASS0:

GLAVA @ENE/
WOMAN'S HEAD,
1938., PERO/PEN,
44,5 X 23,5 CM

DRAWING

CRTE@

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

Kleeov govor

Matisseov govor

Picassov govor

Klees speech

Matisses speech

Picassos speech

JEDNAKA KRIVULJA
(jezi~na kategorija)

EQUAL CURVE
(linguistic category)

NEJEDNAKA KRIVULJA
(jezi~na kategorija)

UNEQUAL CURVE
(linguistic category)

UGLATA KRIVULJA
(jezi~na kategorija)

ANGLE CURVE
(linguistic category)

97

III/2 CRTE@
98

U d r u g o j radionici namjera je pove}ati razlikovnu mo} opa`aja usmjeravanjem pozornosti

sudionika na tanahne i si}u{ne razlike svih triju dimenzija linije; usmjeravati pa`nju na govorne paradigme istih elementarnih znakova (govorne razlike koje pro-izlaze iz medija i osobnosti); usmjeravati
pozornost na svojstva ploha; omogu}avati sudionicima da izvo|enjem pojedinih linijskih sekvenci u
razli~itim materijalima/tehnikama u`ivaju u sviranju partiture odre|enog crte`a.
Ambijent: Stolovi su razmje{teni uokrug sredi{ta u kojem je ve}i stol. Razmje{taj sudionika i studenata-instruktora je naizmjeni~an tako da jedan student mo`e pomagati dvojici sudionika (10 sudionika 5 studenata-instruktora). Linije izolirane u prethodnoj radionici fotokopirane su na zasebne papire tako
da ostanu na istim mjestima u odnosu na format crte`a. Iz svakog crte`a pripremljena je po jedna
izrezana i tu{em zacrnjena ploha. Na stolu su krejoni, kistovi, tu{, pera, flomasteri.
Struktura doga|anja
1. a) Na sredi{njem su stolu izmije{ane i rasprostrte fotokopije izoliranih linijskih sekvenci Matisseovih,
Kleeovih i Picassovih crte`a iz pro{le radionice. Svi (sudionici, studenti-instruktori, voditelj) stoje oko
stola. Sudionici prvo tra`e svoje linije (linije koje su izolirali u prethodnoj radionici) isklju~ivo na
temelju sje}anja. Ako se nakon duljeg traganja neke linije ne pronalaze, tra`e se pogledom na fotokopiju cjeline.
b) Kada su linije prona|ene sudionici sjedaju uz stolove naokolo, uspore|uju ih s cjelinom crte`a i
provjeravaju imaju li sve linije.
2. Stavljaju se razli~ita crta~ka sredstva na stol, voditelj poziva sudionike da odaberu jednu od linija
ili vi{e njih i da ih isku{aju u razli~itim materijalima: u krejonu, tu{u itd. Preporu~uje im da rade
stoje}i i da ruku svakako puste slobodnu i odmaknutu i od tijela i od stola. Voditelj govori o razlikama medija, o govoru medija, o osobnom govoru crta~a i svakog sudionika. Usmjerava pozornost
sudionika na razlike izme|u izvornih linija i njihovih ina~ica. Upozorava na osvje{tavanje u`itka koji
proizlazi iz crtanja.
3. Zapo~inje razgovor me|usobno sli~nih linija i razgovor o me|usobno sli~nim linijama. Po~inje
pozivom da svi stave na stol svoje ravne linije. Svi stoje oko stola, svi motre dozvoljavaju}i linijama
da razgovaraju i oni sami razgovaraju o sli~nostima i razlikama svih ravnih linija uzimaju}i u obzir
sve tri dimenzije (duljina, {irina, tok). Nakon toga voditelj poziva da na stol stave sve jednake krivulje,
pa nejednake, pa uglate. U razgovoru se uo~avaju razlike izme|u pojedinih elementarnih znakova kod
istog crta~a i onda izme|u razli~itih, npr. Kleeovih i Matisseovih jednakih krivulja (mikropromjene su
kod Kleeovih linija o~ite, kod Matisseovih se vide samo pove}alom).
4. Na stol se stavljaju plohe, zacrnjene i izrezane iz crte`a i fotokopirane (sa~uvan je polo`aj u
odnosu na ostali dio crte`a). Svatko pronalazi svoju plohu, ugleda je i identificira.
5. Sudionici se podsje}aju da ne zaborave na komponiranje knjige o crte`u.

DRAWING

In the s e c o n d workshop the intention is to

raise the discriminative ability of perception directing
the participants attention to the very subtle and
small differences in all three dimensions of the lines;
to direct the attention to speech paradigms of the
same elementary signs (the speech differences
which come out from the media and from the personalities); directing attention to the characteristics
of the planes; giving the opportunity to the participants to enjoy playing the scores of a particular
drawing while performing the particular linear
sequences in various materials or techniques.
Ambience: The tables are placed in a circle in the
centre of the room where there is a large table. The
participants and the students sit so that one student
can help two participants
(10 participants - 5 students). The lines isolated in
the former workshop are photocopied on separate
pieces of paper, so they are left in the same places
concerning the paper format. A plane has been cut
out of each particular drawing and then blackened
with Indian ink. On the table there are crayons,
brushes, Indian ink, pens, felt-tip pens.
Structure of the Activity
1. a) The photocopies of isolated linear sequences
are mixed up and spread over the central table. All
the participants, students-ins-tructors and the workshop leader stand around the table. The participants
first search for their own lines (the lines they isolated from the drawing last time) from memory. If
after a considerable time the lines are not found the
participants search for them in the photocopies of
the drawings as a whole. b) When all the lines are
found the participants sit again at the tables all
around the room and compare the lines with the
drawings and check if they have all the lines.
2. There are different tools for drawing placed on
the tables and the workshop leader invites the participants to choose a line or two or three and to
explore in various materials: in crayon, Indian ink

DRAWING

CRTE@

etc. It is recommended that they work in a standing

position leaving the hand with which they draw free
without the elbow on the table. The workshop
leader speaks about the medium differences, about
the medium speech, about the personal speech of
the drawer and every participant. He/she directs the
participants attention to the differences between
the original lines and their variations and instructs
them on how to become aware of the pleasures
coming out of the drawing activity.
3. Then a discourse between the similar lines and
a discourse about the similar lines begins. It begins
with the invitation that everybody has to put his
own straight lines onto the table. Everyone stands
around the table, everybody observes and lets the
lines talk to each other and they themselves talk
about the similarities and differences of all the
straight lines in all the three linear dimensions
(length, width, inflexions). After that the workshop
leader invites the participants to put onto the table all
the equal curves, then all the unequal ones and so
on. In the discussion the differences are observed
between the particular elementary signs by the same
drawer and then between the different ones, for
example between Klees and Matisses equal curves
(The micro inflexions are observable in Klees lines
and in Matisses they can be seen only with a magnifying glass.)
4. The planes, blackened and cut out from the
drawings and photocopied (the setting is preserved
considering the rest of the drawing) are put onto the
table. Everybody finds their planes and identifies
them.
5. The participants are reminded not to forget to
compose their book about drawing.

99

Prate se linijske sekvence/The linear sequences

Linije razgovaraju / sudionici razgovaraju/ A dis-

are followed

course between different lines / participants

Linije razgovaraju / sudionici razgovaraju/ A dis-

Linije razgovaraju / sudionici razgovaraju/ A dis-

course between different lines / participants

course between different lines / participants

Kineskim kistom se isprobavaju Kleeove

linije/Klees lines are tried out with a Chinese brush

Obi~nim se kistom isprobavaju Matisse-ove linije/Matisses lines are tried out with an ordinary
brush

Krejonom se isprobavaju Picasove linije/

Picasso's lines are tried out with crayon

III/3 CRTE@
100

DRAWING

IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

LINEAR SYNTAGMAS

LINIJSKE SINTAGME

Kleeov govor

Matisseov govor

Picassov govor

Klees speech

Matisses speech

Picassos speech

MODULACIJA

DRAWING

CRTE@

SKALA PROMJENA POLO@AJA

LINEAR GAMUT

MODULATION

KLEE

TRANSLACIJA

linija je promijenila polo`aj 15x

TRANSLATION

the line changed the position 15x

RAZLI^ITE DENOTATIVNE ULOGE ISTE LINIJE

KOORDINATNI SUSTAV KAO STRUKTURA FORMATA

COORDINATE SYSTEM AS A STRUCTURE OF FRAME

DIFFERENT DENOTATIVE ROLES OF THE SAME LINE

jednaka krivulja
equal curve

ROTACIJA S POMAKOM (VAL)

kosa

ROTATION WITH SHIFT (WAVE)

hair

stra`njica
back

rame
shoulder

POVE]ANJE - UMANJENJE

AUGMENTATION - DIMINUTION

bok
hip
H. MATISSE:

@ENA KOJA SJEDI

S LE\A/ SEATED
WOMAN SEEN
FROM THE BACK
1940., PERO/PEN

101

III/3 CRTE@
102

Namjera u t r e } o j radionici je usmjeriti pa`nju sudionika na linijske sintagme

(linijske re~enice) i na njihove razli~itosti s obzirom na razli~ita na~ela na temelju kojih nastaju; usmjeriti
pozornost na polo`aj pojedinih linija u odnosu na format (okomitu i vodoravnu granicu pravokutnika);
usmjeriti pozornost na tvorbu ploha i njihova svojstva - na plo{ne re~enice; usmjeriti pozornost na
denotativnu ulogu linije, na glumu linije, na sli~nosti linija razli~itih denotativnih funkcija; omogu}iti
sudionicima izvo|enje idealne rekonstrukcije crte`a kojim se bave.
Ambijent: Stolovi su raspore|eni oko praznog sredi{ta. Sudionici i studenti-instruktori sjede kao i u
prethodnoj radionici. Potrebni su bo~ice bjelila i stroj za fotokopiranje.
Struktura doga|anja
1. Sudionici se pozivaju da rasprostru svoje linije iz prve radionice na stol i da dobro motre}i bilje`e
promjene koje primje}uju u vezama izme|u pojedinih likovnih znakova. Voditelj tra`i da prona|u linije
koje se vezuju modulacijom (npr. jednaka krivulja koja se ispravlja ili prelazi u nejednaku i sl.). Nakon
ustanovljavanja npr. vrlo u~estalog javljanja modulacije kod Kleeovih crte`a, tra`e se re~enice druk~ijeg
tipa npr. nastalih translacijom ili rotiranjem s ili bez pomaka, ove}anjem/umanjenjem, dilatacijom.
Nagla{ava se da su tim na~elima stvorene re~enice bitno linijske re~enice, jer nastaju nadovezivanjem
linijskih znakova jednog na drugi.
2. Sudionici se pozivaju da svoje izolirane linije postave u isti polo`aj kao u crte`u i da ga odrede u
odnosu na okomitu i vodoravnu grani~nu liniju, najprije grubo od oka, a onda istra`uju}i finije promjene.
Podsje}a ih se na petu radionicu P o ~ e l a i n a ~ e l a, i na tekst o Matisseu kojeg su nedavno dobili i
u kojem se istra`uje skala promjena polo`aja u odnosu na koordinatni sustav, odnosno strukturalne
mogu}nosti pravokutnika. Voditelj upu}uje na sli~nosti izme|u odnosa plesa~a i prostorije u kojoj plesa~
ple{e i odnosa crta~a i formata. Pounutrenje prostorije/formata preduvjet je nastajanja djela (ne
tumaranja i sudaranja). Navodi se primjer filma o Matisseu i Merleau-Pontyevu interpretaciju kao i
Matisseov odgovor.
3. Sljede}i je zadatak prona}i kako linije tvore ili sugeriraju plohe (obrisom - izvana, zgu{njavanjem iznutra) i kakvih su svojstava (razvedene/nerazvedene; savijene, probu{ene; otvorene/zatvorene; jednosmislene/dvosmislene). Kona~no, zadatak je shvatiti razliku izme|u linijske re~enice (linije se nadovezuju
na linije) i plo{nolinijske re~enice (linije se me|usobno pribli`uju, nagomilavaju i sugeriraju ili tvore
plohe).
4. Tra`i se da sudionici na crte`ima prona|u istovjetne/sli~ne linije koje glume razli~ite uloge:
prikazuju razli~ite stvari na razli~itim mjestima istog crte`a. Osvje{tava se odmaknu}e koje nastaje
kada uhvatimo na djelu liniju (formu) dok zna~i razli~ite stvari. Upozorava se na razliku izme|u
neukog pogleda koji vidi sinkreti~ki, otkrivaju}i samo poznato, dakle temu, ne osvje{tavaju}i dvojnost,
i odnjegovanog pogleda koji vidi istodobno i ono doslovno i glumljeno.
5. Nakon svih dosada{njih komparativnih istra`ivanja sudionici se pozivaju da pripreme idealnu
rekonstrukciju svoga crte`a. Rade bjelilom i uz pomo} instruktora. Upozoravaju se da europski crte`
zapo~inje naj~e{}e u lijevom gornjem uglu. Polaze}i od jedne linije crte` treba sve vi{e uslo`njavati
postupnim dodavanjem ostalih linija. Pritom se upozorava da se zapravo vje`baju u crta~kom
mi{ljenju. (Radovi }e se fotokopirati i dati sudionicima u sljede}oj radionici.)
6. Ovime zavr{ava prvi dio radionica posve}en istra`ivanju djela trojice modernih crta~a: P. Kleea,
H. Matissea i P. Picassa

DRAWING

The intention in the t h i r d workshop is to direct

the participants attention to linear syntagmas (linear
sentences) and the differences between them concerning the various principles on the basis of which
they are made; to direct attention to the place of a
particular line concerning the format (the vertical and
horizontal boundaries of the rectangle); to direct
attention to the making of the planes and their characteristics - to the planar sentences; directing
attention to the denotative role of the lines, to the
acting of the line, on the similarities of different
denotative functions, to give the participants the
opportunity to perform their ideal reconstruction of
the drawing they are exploring.
Ambience: The tables are arranged in a circle with
an empty space in the centre. The parti-cipants and
the instructors sit as in the former workshop. There
are white correcting pens and a photocopier available.
Structure of the Activity
1. The participants are invited to spread their lines
over the table in front of themselves and observing
them thoroughly to record the changes they notice
in the connections between the individual signs. The
workshop leader asks the participants to find the
lines which are connected by modulation (for example an equal curve which is straightened or transformed into an unequal curve). After ascertaining for
example that modulation is a very frequent event in
Klees drawings, a search is made for other types of
sentences made for instance by translation or rotation by shifting or not, or by augmentation/diminution, or by dilatation. It is accentuated that all the
sentences made by these principles are in essence
linear sentences because they are made by putting
linear signs one onto the other.
2. The participants are invited to place their isolated
lines precisely as the lines are situated in the drawing and to carefully define them as regards the vertical and horizontal boundary lines, first only roughly and later to explore the finer changes. They are
reminded of the fifth workshop in the series of
workshops Origin and Principles and of the text
about Matisse they have already received and
where they can find the gamut of line directions
concerning the coordinate system, or the structural
possibilities of the rectangle. The workshop leader
points out the similarities between the relationship
of the dancer and the room where the dancer is

DRAWING

CRTE@

dancing and the relationship between the drawer

and the format. Interiorisation of the room/format is
a prerequisite for the creation of an art work (not of
wandering and crashing). The example of a film
about Matisse is mentioned as well as MerleauPontys interpretation and Matisses response.
3. The next task is: to find out how the lines create
or suggest planes (with an outline - from the outside, with accumulation - from the inside) and what
their characteristics are (convoluted, bent, twisted
penetrated; open/closed, having one meaning/
ambigual). Eventually the task is to see the difference between a linear sentence (the lines add to
lines) and a planar linear sentence (the lines
approach each other, accumulate and suggest or
create planes).
4. The participants are asked to find equal/similar
lines which play various roles: represent different
things in various places of the drawing. An awareness of the detachment occurs when the line (form)
is caught while having different meanings. The differences are noted between an uncultivated gaze
which looking syncretically discovers only the
already known, this means the subject matter, the
non-awareness of the duality and of the cultivated
gaze which simultaneously sees what is literal
and what is acted.
5. After all these comparative explorations the participants are invited to prepare an ideal reconstruction of their drawings. They work with a correcting pen and with the help of the instructors. They
are told that a European drawing begins mostly in
the upper left corner. The task is to reconstruct the
whole, beginning at one line, adding the other lines
gradually making the drawing always more complex. They are told that in fact they are practising
drawing-thinking. (The drawings will be photocopied and given to the participants next time.)
6. Having done this we finished the first part of our
exploration dedicated to the modern artists: P. Klee,
H. Matisse, P. Picasso.

103

Studentica instruira/A student gives

Student instruira/A student gives

instructions

instructions

Istra`uje se individualno/Individual

Na temelju rezultata istra`ivanja vodi se rasprava/Discussion on the basis of the results of the

exploration

exploration

Rasprava: sudionik pokazuje svoj

rezultat/Discussion: the participant shows the

Rasprava: sudionik pokazuje svoj

rezultat/Discussion: the participant shows the

result

result

Okrugli stol o svojstvima linije/Round table about

Okrugli stol o svojstvima linije/Round table about

the characteristics of the lines

the characteristics of the lines

III/4 CRTE@
104

DRAWING

IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

DRAWING

CRTE@

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

SUBJECT - SCENE

TEMA - SCENA

WOMAN WITH CHILD

@ENA S DJETETOM

BOGORODICA,
DIJETE I MA^KA/
MADONNA, THE CHILD
AND THE CAT,

LEONARDO:

M. KRALJEVI]:
RAPHAEL:

BOGORODICA S DJETETOM/
VIRGIN AND CHILD,
PERO, OLOVKA-SREBRNA/
PEN SILVER POINT, ALBERTINA,
BE^/VIENNA

@ENA S DJETETOM/
WOMAN WITH CHILD,
1912., PERO/PEN,
31 X 23,8 CM,
PRIVATNA ZBIRKA/
PRIVATE COLLECTION,
ZAGREB,

OKO/APPROX. 1478., PERO,

STILUS/ PEN, STILUS, 13 X 8 CM,
BRITISH MUSEUM, LONDON

J. PONTORMO:

STUDIJA ZA RO\ENJE/
STUDY FOR BIRTHPLATE,
OKO 1528., CRNA I CRVENA
KREDA/ BLACK AND RED
CHALK, 40,7 X 27,8 CM,
UFFIZI, FIRENCA/FLORENCE

M. GRNEWALD:
REMBRANDT:

NEODGOJENO DIJETE/
AN ILL-MANNERED CHILD,
1635., PERO, BISTER, CRNA KREDA,
LAVIRANA BIJELA BOJA/ PEN, BISTER,
BLACK CHALK, WHITE COLOUR WASH
20,6 X 14,3 CM, DAHLEM
STADTMUSEUM, BERLIN

MICHELANGELO:

BOGORODICA I DIJETE/
VIRGIN AND CHILD,
1560.-64., CRNA KREDA/
BLACK CHALK, 26 X 11 CM,
LONDON, BRITISH MUSEUM

SV. DOROTEJA SA KO[ARI COM CVIJE]A/ ST.

DOROTHEA WITH
A BASKET OF FLOWERS,
OKO/APPROX. 1520., CRNA
KREDA, SIVA I BIJELA BOJA/
BLACK CHALK, GREY AND
WHITE PAINT, 35,8 X25,6CM,
STAATLICHE MUSEUM, BERLIN

J.F. MILLET:

@ENA
KOJA KUHA/
A WOMAN,
COOKING,
PERO/PEN

105

III/4 CRTE@
106

Namjera u ~ e t v r t o j radionici je do`ivjeti motori~ko-emotivni aspekt scene

(prizora) u`ivljavanjem u polo`aje tijela - re`ijom i glumom; omogu}iti razlikovanje emotivnosti prizora
i linija koje ga denotiraju; osvijestiti emotivnost prizora prola`enjem kroz nju; omogu}iti sudionicima
odabir crte`a koje `ele istra`ivati.
Ambijent: U prvom dijelu radionice potrebna je improvizirana pozornica (podij ili bar plahta na
podu). Sudionici su okrenuti prema pozornici i sjede u polukrugu. Isti razmje{taj ostaje i tijekom
projekcije. Projektor je na uobi~ajenom mjestu - iza. Jedna studentica je glumica. Osim nje rade jo{
i studenti-instruktori kao i u prethodnim radionicama. Pripremljene su fotokopije crte`a. Svi crte`i
prikazuju `enu s djetetom i nastali su u vremenu od 9. do 20. st.
Struktura doga|anja
1. Voditelj obja{njava {to }e se raditi. Sudionici dobivaju oko deset fotokopiranih crte`a s temom @ena i
dijete. Dr`e}i predlo`ak u ruci svaki sudionik odabere jedan crte` i postavlja glumicu u stav-polo`aj
sli~an onome koji je prikazan na crte`u. Voditelj sugerira da nakon svakog uspje{nog uspostavljanja
glumi~ina polo`aja, jedan trenutak sami poku{aju, bez pokreta tijela, samo u zamisli, zauzeti isti stav,
odglumiti ga iznutra. Klju~no je da osjete emocije vezana uz odre|ene polo`aje tijela. Osvje{tava se da se
radi o vje`bi - igri po-istovje}ivanja i od-istovje}ivanja.
2. Projiciraju se parovi crte`a. Parove sa~injavaju crte`i ~iji su se prizori glumili i njima pridru`eni
kontrastni primjeri. Voditelj uspore|uje scene (jo{ uvijek nije rije~ o crte`u) i iznova upozorava na
u`ivljavanje upravo samo u scenu (ne mo`e se naslikati lik ako nisi taj lik - dakle, prije rekonstrukcije crte`a potrebno je u`ivljavanje u ne{to {to nije crte`!). Ovo se poistovje}enje poduzima ne samo
radi proosje}anja nego i radi napu{tanja scene, ali ne jednostavnog odbacivanja onog stranog, drugomedijskog (scenskog) nego radi prolaska kroz njegovu emotivnost. Veoma se nagla{ava va`nost
toga da treba pro}i taj trenutak poistovje}enja, da jedan trenutak budemo stvarno to i da se onda {to
uspje{nije odmaknemo i do|emo do crte`a. Ve} se tijekom projekcija i razgovora o poistovje}ivanju
sudionici pozivaju da se odlu~e koji par crte`a namjera-vaju istra`ivati.
3. Radionica se zavr{ava tuma~enjem nekih bitnih crta~kih razlika izme|u crte`a kojima su se do
sada bavili i ovih koje su sada odabrali. Voditelj poziva sudionike da jo{ jednom dobro promotre
scenu i onda da krenu razgledavati linije. Svi su crte`i takve vrste da se linijama nastoji prevladati to
da su linije, jer daju iluziju ploha, volumena, prostora. Naj~e{}e se radi o pripremnim radovima, o
skicama, o studijama za slike, dakle o otvorenom htijenju da se prevlada crte`.

DRAWING

The intention in the f o u r t h workshop is to

experience the motoric-emotive aspect of the scene
(sight) by feeling the bodys positions by stage
management and acting; to enable the participants
to make a difference between the emotionality of
the scene and the lines which denote it; and by
passing through the emotionality of the scene to
become aware of it; to enable the participants to
choose the drawing they want to explore.
Ambience: In the first part of this workshop an
improvised stage (podium or at least a sheet on
the floor) is necessary. The participants face the stage and sit in a semicircle. The same arrangement is kept during the
projection. The projector is in its usual place behind the participants. One of the instructors is
an actress. There are the other students-instructors too as in the earlier workshops. Photocopies
of the drawings have been prepared. All the drawings represent a woman and child and they were
created between the 9th and 20th Centuries.
Structure of the Activity
1. The workshop leader explains what they will do.
The participants receive about ten photocopied
drawings with the subject Woman and Child.
Every participant with the specimen in hand chooses one drawing and directs the actress, putting
her into a position similar to that in the drawing.
The workshop leader suggests that after each successful placing of the actress into position for one
minute the participants try, without moving their
bodies, only in their imagination, to take the same
position, to act it from the inside. It is very important to feel the emotions connected with the definite
positions of the body. It is crucial to become aware:
the exercise is a game of identification and de-identification.

DRAWING

CRTE@

2. Pairs of drawings are projected. The pairs are the

same drawings whose scenes have been acted plus
some contrast pairs added to them. The workshop
leader compares the scenes (nothing is said about
the drawings) and again the participants are instructed to feel exactly only the scene (you cant draw a
fi-gure if you are not that figure - it means before
the reconstruction of a drawing it is necessary to
have the feeling of something that is not a drawing!).
We undertake this identification with the scene not
only because of these feelings but also because of
withdrawing from them, but not a simple one like
throwing them away as something strange, belonging to another medium (scene) but because of going
through their emotionality. The importance of being
able to go through a real identification is strongly
emphasized, we become that for a moment, and
then we withdraw succesfully, it means not escaping from the subject as not important but going
through it and then arriving at the drawing itself.
During the projections and discussion about the
identification the participants are invited to decide
what pair of drawings they want to investigate.
3. The workshop ends with an explanation of some of
the essential differences between the drawings which
the participants have already investigated. The workshop leader invites them to observe the scene once
more and then to begin to look at the lines. All the
drawings are of a kind that there is a tendency in
them to overcome the lines and give an illusion of
planes, volumes, space. They are mostly preparatory
works, sketches, studies for paintings, which means
that an uncovered tendency to overcome the medium
of drawing exists in them.

107

Sudionici re`iraju scene prikazane na

crte`ima/The participants direct the scenes represented in the drawings

III/5 CRTE@
108

DRAWING

IDEAL RECONSTRUCTION

IDEALNA REKONSTRUKCIJA
DENOTATIVNA ULOGA JE SLI^NA

DRAWING

CRTE@

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

THE DENOTATIVE ROLE IS SIMILAR

LINES DIFFERENT

LINIJE RAZLI^ITE

FLAT SYNTAGMAS (HOW THE MEDIUM IS OVERCOME)

PLONE SINTAGME (KAKO SE NADVLADAVA MEDIJ)

paralele
parallels

fraziranje
phrasing

zrcaljenje
reflection

fraziranje
phrasing

efekt konveksnosti
effect of convexity

RAPHAEL

KRALJEVI]

sjen~enje
shading

kri`anje
criss-cross shading

efekt akumulacije
REMBRANDT

MICHELANGELO

LEONARDO

effect of accumulation

prstenasto koncentri~no
bracelet shading

pentimento

toniranje razmazivanje
PONTORMO

GRNEWALD

MILLET

tonal hatching

pentimento

109

III/5 CRTE@
110

Namjera u p e t o j radionici je usmjeriti pozornost na sli~nu ulogu vrlo razli~itih linija na

crte`ima razli~itih autora koji prikazuju sli~ne prizore; osvje{tavati svojstva crte`a kojima se `eli
prevladati linijski zna~aj i posti}i privid drugog medija; upoznati razli~ite postupke (fraziranje, pentimento, sjen~enje, toniranje, laviranje) kojima se posti`u svijetle i tamne plohe koje stvaraju iluziju
volumena/prostora.
Ambijent: Sudionici sjede za stolovima razmje{tenim uokrug kao u tre}oj radionici, pokraj njih su
studenti-instruktori. Prire|ene su fotokopije (po 10 za svakog sudionika), a potrebni su bjelilo i stroj
za fotokopiranje.
Struktura doga|anja
1. Sudionici se pozivaju da u paru crte`a istra`e - prona|u i izdvoje linije koje su istih ili sli~nih
denotativnih funkcija ali posve razli~itih svojstava. Izdvajanje se radi bjelilom uz pomo} instruktora,
koji osim toga poma`u i fotokopiranjem gotovih radova. Upozorava se da dosada{nja iskustva s modernim crte`ima treba prilagoditi crte`ima u kojima se nadvladava medij.
2. Tuma~e se na~ini kojima se u crte`u nadvladava linijski, crta~ki karakter. Tuma~i se fraziranje nadovezivanje jednakih krivulja i njihovo zrcaljenje (efekt konveksnosti); akumulaciju bilo usporednih i
okomitih, bilo prstenasto-koncentri~nih linija u svrhu sjen~enja - chiaroscura; tonske efekte koji se
posti`u razmazivanjem linija ugljena i krede ili pak pranjem - laviranjem u slu~aju tu{a, tinte,
akvarela; pentimento (kajanje) - kada crta~ isku{ava vi{e polo`aja lika-predmeta i posti`e efekt akumulacije linija i sugerira plohu. Tuma~enje je popra}eno crtanjem na plo~i. Upozorenja slu`e tomu da
se ti na~ini otkriju u crte`ima i da se uzimaju u obzir pri izoliranju karakteristi~nih linija.
3. Polaznici se podsje}aju na knjigu o crte`u. Savjetuje im se da je komponiraju usporedno s odvijanjem rada u radionicama, kao neku vrstu doma}eg rada.

DRAWING

The intention in the f i f t h workshop is to draw

attention to the similar role of very different lines in
the drawings of different authors which represent
similar scenes; to become aware of the drawings in
which to overcome the linear characteristics and
attain an illusion of another medium is overwhelming;
to learn about the different procedure (phrasing, pentimento, toning, shading, washing) to accomplish
light and dark planes with an effect/illusion of volume/space.
Ambience: The participants sit at tables arranged
scattered all around as in the third workshop.
Beside them are the instructors. There are photocopies (10 for every participant), correcting pens, a
photocopier available.
Structure of the Activity
1. The participants are invited to explore - to find
and isolate the lines with the same or similar denotative function but with very different characteristics
in both drawings. Isolating is done with correcting
pens, the instructors help with that and with photocoping the final products. The participants are told
that it is necessary to adapt the experiences gained

DRAWING

CRTE@

with the modern drawings to the drawings in which

the medium is overcome.
2. It is explained how the linear, drawing
character is overcome in the drawings. The procedure of phrasing-adding equal curves one to
another and their reflection (the effect of convexity) is explained; the procedure of accumulation of
either parallel and vertical or bracelet types of
accumulation of the lines in order to shadow; the
tonal effects achieved by blurring the lines of charcoal or chalk or with washing them in Indian ink,
ink, or water-colour; the pentimento (remorse),
when the drawer tries out more than one position
of a figure or object but gets the effect of an accumulation of the lines and suggests a plane. The
explanation is followed by a drawing on the blackboard. The instructions are to find out these procedures in the drawings and to take them into
account while isolating the lines.
3. The participants are reminded to work on the
book about drawing. They are advised to do it as
a sort of homework in parallel with the workshops.

111

Sudionici rade individualno, voditelj

poma`e/The participants work individually, the

Sudionici rade individualno/The participants work

individually

workshop leader helps

Sudionici rade individualno, voditelj

poma`e/The participants work individually, the

Sudionici rade individualno/The participants work

individually

workshop leader helps

Voditelj crta i tuma~i na plo~i/The workshop

leader draws and explains on the blackboard

Voditelj obilazi/The workshop leader circulates

Vodi se razgovor o iskustvima/A discussion is

held about the experiences

III/6 CRTE@
112

IDEALNA REKONSTRUKCIJA
RAFAEL: BOGORODICA S DJETETOM

PARADIGMATSKA OS FOTOGRAFIJE

PARADIGMATIC AXIS OF PHOTOGRAPHY

SINTAGMATSKA OS FOTOGRAFIJE

DRAWING

IDEAL RECONSTRUCTION
RAPHAEL: VIRGIN AND CHILD
SYNTAGMIC AXIS OF PHOTOGRAPHY

CRTE@

ANALIZA - KOMPARACIJA

DRAWING

ANALYSIS - COMPARISON

113

III/6 CRTE@
114

Namjera u { e s t o j radionici je navesti sudionike na verbaliziranje iskustava, na formuliranje

razlika izme|u linija s istom denotativnom ulogom, razlika u plo{nim sintagmama koje su u usporedbama svojih istra`ivanja iz pro{le radionice primijetili - izdvojili; osvje{tavanjem kretanja pogleda
prirediti intencionalne zapise; idealno rekonstruirati crte` koriste}i sintagmatsku i paradigmatsku os
fotografije (simuliraju}i fotografske sintagme i paradigme putem fotokopiranja).
Ambijent: Isti je kao i u prethodnoj radionici (stolovi uokrug, uz dva polaznika po jedan instruktor).
Potrebni su bjelilo, ljepljivi papir prikladan za kadriranje (pravljenje maski) i stroj za fotokopiranje.
Struktura doga|anja
1. Voditelj obilazi i sa svima vodi razgovor o razlikama do kojih su do{li putem istra`ivanja (npr.
Pontormo - pentimento, Grnewald - obris, toniranje, razmazivanje, Millet - sjen~enje koncentri~nim
linijama, Leonardo - pentimento, Kraljevi} - kri`anje, Rafael - fraziranje, Michelangelo - izrazito
nejednake krivulje, Rembrandt - izrazito nejednake krivulje itd.).
2. Voditelj tuma~i sintagmatsku i paradigmatsku os fotografije, daje upute za kadriranje, dijeli ljepljivi
papir potreban za rad. Tuma~i i crta na plo~i. Tuma~i da dublje ula`enje u detalje zna~i uno{enje
dimenzije osvije{tenog vremena u vi|enje.
3. Sudionici se opet podsje}aju na svoj doma}i rad: knjigu.

DRAWING

The intention in the s i x t h workshop is to make

the participants verbalise their experiences, formulate
the differences they have noticed/isolated in their
comparisons; in becoming aware of gaze movements, to prepare intentional records; to make an
ideal reconstruction of the drawings using the syntagmic and paradigmatic axes of the photograph
(simulating photographic syntagmas and paradigmas
with photocopies).
Ambience: The same as in the former workshop
(the tables are spread all around, in between two
participants there is one instructor). Correcting pens.
Adhesive paper convenient for framing (making a
sort of mask).
A photocopier.

DRAWING

CRTE@

Structure of the Activity

1. The workshop leader circulates and talks to everybody about the differences that the participants
noticed during their investigations (for example
Pontormo - pentimento, Grnewald - outline tonal
hatching, Millet - bracelet shading, Leonardo - pentimento, Kraljevi - criss-cross shading, Raphael phrasing, Michelangelo - markedly unequal curves,
Rembrandt - markedly unequal curves etc.).
2. The workshop leader explains the syntagmic and
paradigmatic axes of the photograph, gives instructions for framing, hands out the adhesive paper
needed for working. He/she draws on the blackboard and explains that a deeper pe-netration into
detail means putting time awareness into seeing.
3. The participants are again reminded of the homework: the book of drawing.

115

Voditelj daje upute za kadriranje/The workshop

Sudionici se koriste maskama/The participants

leader gives instrucions for framing

using masks

Sudionici prire|uju fotokopijske sintagme i paradigme crte`a/The participants prepare photo-

Fotokopiranje/uve}avanje/Photocopying/
enlarging

copied syntagms and paradigms of the drawings

Voditelj obilazi, razgovara/The workshop leader

circulates, discusses

Re`u se fotokopirana pove}anja/The photocopied

enlargements are cut

III/7 CRTE@
116

DRAWING

IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

PALACE DOLFIN-MANIN AND RIALTO

F. GUARDI: PALA^A DOLFIN-MANIN I RIALTO

DRAWING

CRTE@

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

PIAZZA SAN MARCO THROUGH THE ARCH OF OROLOGGIO

F. GUARDI: TRG SV. MARKA KROZ LUK OROLOGGIA

rotacija
rotation

elementarni znak: jednaka krivulja

elementary sign: equal curve

obris se poklapa
s granicom mrlje
the outline overlaps
the dot boundary

nejednaka krivulja
unequal curve

nepoklapanje obrisa i granice

mrlje

val (rotacija s
pomakom)

the outline and dot

boundary do not overlap

wave (rotation
with shift)

modulacija
modulation

macchietta (mrlja - lik)

(dot - figure)

probuena ploha

granice mrlje

razvedena ploha

penetrated plane

boundary of the dot

convoluted plane

ravna linija
straight line

PROMJENA SINTAKTI^KOG PRAVILA U ISTOJ SEKVENCI

THE CHANGE OF THE SYNTACTIC RULE IN THE SAME SEQUENCE

samoodnosni karakter oblika

selfreferal character of the shapes

F. GUARDI:

F. GUARDI:

PALA^A DOLFINMANIN I RIALTO,

PERO NA SVIJETLOPLAVOM PAPIRU/
PEN ON LIGHT BLUE
PAPER,
22,5 (23,4) X 16 CM,
DETALJ,
MUSEO CORRER,
VENECIJA/VENICE

TRG SV.
MARKA KROZ
LUK
OROLOGGIA/
PIAZZA SAN
MARCO
THROUGH
THE ARCH OF
OROLOGGIO,
CAPRICCIO, PERO,
SIVI PAPIR/
PEN, GREY PAPER
26 X 17,4 CM,
MUSEO CORRER,
VENECIJA/VENICE

117

III/7 CRTE@
118

Namjera u s e d m o j radionici je voditi pozornost sudionika i zadr`avati je, {to je mogu}e dulje,
na vrlo finim aspektima jedne linije, na njenim govornim osobitostima u odnosu na promjene duljine,
{irine i naro~ito toka (zakrivljenja), na sintakti~kim pravi-lima modulacije, ponavljanja, zrcaljenja,
rotiranja i na razli~itim na~inima tvorbe ploha; suziti istra`ivanje na jednog autora (F. Guardi) i
izrazito pove}ati razlikovnu mo} sudionika u tom podru~ju; usmjeriti pozornost na dvosmislenosti na
razinama i elementarnih znakova i sintakse, da bi se bitna osobitost umjetni~kog djela do`ivjela kada
se o~ituje kao stilska osobitost; usmjeravanjem pozornosti na variranje oblika u Guardijevim crte`ima
osvijestiti samoodnosnost oblika.
Ambijent: Sudionici sjede za stolovima, uz njih su studenti-instruktori. Razmje{taj je polukru`an u
odnosu na zid na kojeg se projicira. Projektor je na uobi~ajenom mjestu.
Struktura doga|anja
1. Najavljuje se novi po~etak: istra`ivanje Guardijevih crte`a. Obrazla`e se izbor. Podsje}a se na izrazito
linijski karakter modernih crte`a iz prve tri radionice, iz ~ega proizlazi njihova prividna jednostavnost, i
na karakter nadila`enja medija vrlo slo`enih crte`a iz druge tri (slo`enost je proizlazila iz slojeva kroz koje
je trebalo pro}i da bi se doprlo do crte`a). Sada }e se istra`ivati tako|er vrlo slo`eni Guardijevi crte`i, koji
nisu toliko slo`eni zbog potrebe nadila`enja scene koja se ponekad jedva mo`e prepoznati, koliko zbog
maksimalne promjenljivosti linija u svim njihovim dimenzijama i zbog me|uodnosa linija i mrlja.
2. a) Voditelj analizira detalj Guardijeva crte`a, vedute Pala~a Manin i Rialto. Prvo se jednostavno vodi
pogled, a onda slijedi ra{~lanjivanje i imenovanje. Prate se promjene u elementarnim znakovima i u sintakti~kim pravilima. Primje}uje se dvosmislenost i u govornoj izvedbi samog elementarnog znaka i u
sintakti~kom pravilu. Upozorava se na modulaciju - prela`enje jednog znaka u drugi, i na promjenu
sintakti~kog pravila - npr. val (rotacija s pomakom) prelazi u translaciju i obrnuto. Upozorava se i na
promjenu {irine i na izrazitu duljinu analizirane linije u odnosu na kratke linije u okoli{u. Navodi se na
vi|enje plohe, na ponavljanje oblika, na samoodnosnost detalja crte`a (kao da se oblik ogledava u drugom obliku, kao da se vidi u zrcalu ali izobli~en, promijenjenih veli~ina itd.). b) Pali se svjetlo i sada se
tra`e sli~nosti izme|u linija ve} ranije analiziranih crte`a i Guardijeve linije. Pronalaze se sli~nosti s npr. Picassovim i Matisseovim na~inom crtanja
(dvosmislenost, mijenjanje sintakti~kog pravila). Sada se sudionici pozivaju da se usredoto~e na razlike.
Voditelj uspore|uje tendenciju za promjenom sintakti~kog pravila u crte`u s promjenom u verbalnoj re~enici i upozorava na to da profinjenjem na{e
osjetilnosti, odgajanjem na{e pozornosti, stje~emo mogu}nost uo~avanja tanahnih sli~nosti i neznatnih
razlika i da tako odgajamo na{u intuiciju za zahva}anje cjeline u kojoj je ponekad nebrojeno mnogo
odnosa. c) Projicira se drugi detalj istoga crte`a, na kojem se primje}uje akumulacija kratkih linija.
Naglasak je na prepoznavanju razli~itosti njihovih duljina. d) Slijedi razgovor: netko otkriva dvosmislenost jedne linije, netko vidi dva oblika koji su, idealno uzev{i, jedno drugome zrcalna slika itd.
e) Pokazuje se cjelina crte`a, sudionici prepoznaju detalje koji su se analizirali.
3. a) Pokazuje se detalj laviranog crte`a, fantasti~ne vedute, tzv. capriccia, dvije figure, tzv. macchiette.
Uz pra}enje linija sada se upozorava na pra}enje ploha-mrlja (radi se o sme|em tonu koji se pojavljuje
u ve}em broju valera). Prati se obris - granica izvu~ena bilo kao linija, koja se poklapa s granicom
mrlje, bilo kao pasivna linija - granica mrlje. Motre se plohe, njihova svojstva (razvedene, probu{ene),
njihova veli~ina, razmje{taj, poklapanje ili nepoklapanje s linijom-obrisom. b) Projicira se isti crte` iz
ve}e blizine (pove}anje). Upozorava se na stilsku osobitost pokazivanja bogatstva i raznolikosti. Bit
umjetni~kog je uvijek neka ravnote`a raznolikosti i jedinstva ali naro~ita o~itovanost jednog od dvoga
mo`e biti upravo stilska osobitost. Slijedi razglabanje o osjetljivosti za sve stilske osobitosti - ~arobnost
je u tome {to smo usmjereni tren na jedno, tren na drugo, tren smo glavom gore, tren dolje.
c) Projicira se detalj istog crte`a - izrazite mrlje sa skrivenim figurativnim elementom (maska) koji se
ne ~itaju otprve. Opa`aj se namjerno odr`ava {to otvorenijim ~itanjem ploha-mrlja i odugovla~enjem
prepoznavanja maske. d) Pokazuje se cjelina vedute i prepoznaju se detalji.
4. Sada se ide obrnutim redom. Pokazuje se prvo cjelina crte`a Pejsa` s tornjem a potom tri detalja.
Pita se o sli~nostima s linijama drugih majstora. Prepoznaje se sli~nost s Matisseovom linijom iz Mrtve
prirode kojom je zapo~elo istra`ivanje. Negiraju}i ritmiziranost u svom dugom toku linija rotira 180,
tvori krug i tako nastavlja dalje.
5. a) Projiciraju se detalji Galantne scene (Muzej Mimara). Ka`e se da je crte` nedavno atribuiran F.
Guardiju i neka sudionici pa`ljivo promatraju svaki detalj uzimaju}i u obzir sve aspekte dosada{njih
istra`ivanja. b) Pokazuje se cjelina zagreba~kog crte`a. c) Slijede ponovno detalji i vodi se razgovor o
razlici izme|u kontrastnog vi|enja, mi{ljenja u kontrastima i vi|enja kontinuiteta promjena ili
mi{ljenja u kontinuitetu. Na nekim se detaljima primje}uju tzv. skra}enice, naro~iti Guardijev postupak u odnosu na detalje onoga {to prikazuje. d) Pokazuju se izmije{ano detalji zagreba~kog i ostalih
Guardijevih crte`a i igra se igra poga|anja.
6. Najavljuje se samostalno istra`ivanje koje }e se poduzeti sljede}i put.
Namjera u o s m o j radionici je uglavnom ista kao i u sedmoj, ali mo`da s jo{ ve}im usmjeravanjem
pozornosti na fine razine i sli~nosti sada izme|u grupe tzv. sigurnih Guardijevih crte`a i tzv. nesigurnog
zagreba~kog; `eli se posti}i svjesnost sudionika da je to samostalno specijalizirano istra`ivanje - neka
vrsta kulminacija dosada{njih.
Ambijent: Isti je kao i u prethodnoj radionici. Sudionici dobivaju fotokopije pove}anja Guardijeva
crte`a iz Muzeja Mimara i fotokopije pove}anja ostalih crte`a (onih koji su se ve} zajedni~ki

DRAWING

The intention in the s e v e n t h workshop is to

guide the participants attention and to keep it as
long as possible on the very fine aspects of one line,
on its speech peculiarities concerning its changes in
length, width and especially inflexions (curves) as
well as on the syntactic rules of modulation, repetition, reflection, rotation and on the various modes of
creating a plane; it is also to reduce the investigation
of only one author (F. Guardi) and to augment the
discriminative power of the participants in this area;
to direct their attention to ambiguities on the level of
elementary signs and on the level of syntax in order
to experience the essential characteristic of the art
work when it manifests itself as styllistic peculiarity;
directing attention to the variations of shapes in
Guardis drawings and to become aware of the selfreferal character of them.
Ambience: The participants sit at the tables, beside
them are the instructors. They sit in a semicircle facing the wall where the projected slides will appear.
The projector is in its usual place.
Structure of the Activity
1. A new beginning is announced: an exploration of
Guardis drawings. The choice is explained in detail.
The workshop leader reminds the participants of the
markedly linear character of modern drawings in the
first section of the workshops which is the cause of
their seeming simplicity and of the character of overcoming the medium of the very complex drawings in
the second section (the complexity originates out of
the levels gone through to reach the drawing). Now
the exploration of the very complex drawings of
Guardi will take place. They are not so complex
because of the need to overcome the scene, which
sometimes is nearly unrecognisable, but because of
a maximum changeability of the line in all its dimensions and because of an interaction of the line and
the dots.
2. a) The workshop leader analyses: a detail of
Guardis drawing, of his veduta Palazzo Manin and
Rialto. First the gaze is simply led and then an analysis and the naming follow. The changes in elementary signs and in syntactic rules are followed. Some
ambiguity is noticed in the performance of the elementary signs and in the syntactic rules as well.
Instructions are given about the modulation - the
transition of one sign to another and about the
changes of the syntactic rule - for instance: a wave
(rotation with shift) goes into translation and vice
versa. The participants are also told about the
changes of width and about the accentuated length
of the line which is analysed in contrast to the very
short lines in the environment. The workshop leader
directs attention to the planes, to the repetition of the
shapes, and the selfreferal character of the shapes
(one shape seems to reflect in another, as if it were
seen in a mirror but it is deformed, has alterated
dimensions etc.). b) The electric light is switched on
and the participants examine the lines analysed earlier and Guardis lines. They find similarities, for
instance between Picassos and Matisses mode
(ambiguity, change of syntactic rule). The participants are then invited to concentrate on the differences. The workshop leader compares the tendency
to change the syntactic rule in a drawing with the
same phenomenon in the verbal sentences. He/she
says that by refining our sensitivity, and cultivating
our attention we gain the possibility of noticing very
subtle similarities and very slight differences and thus
cultivate our intuition to comprehend the totality
where there are sometimes numberless relationships.
c) Another detail of the same drawing is projected in

DRAWING

CRTE@

which an accumulation of the short lines is noticed.

d) Discourse: somebody reveals the ambiguity of a
line, somebody else sees two shapes like a reflection
of each other in an ideal way etc. e) The entirety of
the drawing is shown, the participants recognise the
details which have been analysed.
3. a) The workshop leader projects a detail of a
washed drawing, of a fantastic veduta, the so-called
capriccio; two figures the so-called macchiettes.
Besides following the lines instructions are given to
follow the planes-dots. Some brown value appears in
a great number of chroma. The outline is followed the boundaries either as lines which overlap with the
boundaries of dots, or as a passive line - along the
edge of the dot. The planes are observed, their characteristics are perceived (convoluted, perforated),
their dimensions, setting, their overlapping or a lack
of it with the line-outline. b) The same drawing nearer (enlargement) is projected. Instructions are
given about the stylistic peculiarities of showing richness and diversity. The essence of the artistic is
always some sort of balance between diversity and
unity, but the manifestation of one of the two can be
a styllistic peculiarity. Now a discourse about the
sensitivity to all the styllistic characteristics follows,
the magic is then in one moment we are directed to
something, in the next moment to something else,
one moment we are with our head up, the next
down. c) One detail of the same drawing is shown accentuated dots with hidden figurative elements
(mask), which are not read at first. We intentionally
keep our perception open while reading the dots and
postponing the recognition of the mask. d) The veduta is projected and the details are recognised.
4. Now we go inversely. First we show the whole of
the Landscape with a Tower; three details follow
then. Questions are asked about the similarities with
the lines of other masters. The similarity with
Matisses line in the Stillife from the beginning of our
exploration is recognized. Denying the rhythm in the
long flow the line rotates for 180 and creates a circle, and after that it continues further.
5. a) Now the details are projected from the Scne
Galante, from the Mimara Museum in Zagreb. The
participants are informed the drawing has recently
been attributed to F. Guardi. The task is to attentively
observe every detail taking into consideration all the
aspects of the exploration so far. b) The total of the
Zagreb drawing is projected. c) The details follow
and a discourse is lead about the difference between
contrast seeing, thinking in contrasts and seeing a
continuity of changes and thinking in continuity. In
some details some abbreviations are noticed, a
special procedure of Guardis concerning the details
of the subject. d) The details of the Zagreb drawing
and some other of Guardis drawings are shown and
a game of guessing is played.
6. An independent exploration is announced which
will take place next time.

119

of a detail of Guardis drawing

Voditelj tuma~i na projekcijama/The workshop

leader explains before the projections

Razgovor: usporedbe Guardijevih i Kleeovih linija/Discussion: comparison of Guardis and Klees

Razgovor: usporedbe Guardijevih i Kleeovih linija/Discussion: comparison of Guardis and Klees

lines

lines

Prepoznavanje sli~nih oblika/Recognition of simi-

Sudionik pokazuje/A participants shows

Analizira se detalj Guardijevog crte`a/ Analysis

lar shapes

III/8 CRTE@
120

DRAWING

IDEALNA REKONSTRUKCIJA

TRG SV. MARKA

KROZ LUK OROLOGGIA/
PIAZZA SAN MARCO
THROUGH THE ARCH OF
OROLOGGIO

F. GUARDI:

detalji
details

IDEAL RECONSTRUCTION

F. GUARDI: GALANTNA SCENA / SCENE GALANTE,

SME\A LAVIRANA TINTA, POTCRTE@ SANGUINOM I
OLOVKOM/BROWN INK WASH, UNDERDRAWING IN
BLACK PENCIL AND SANGUINA, 18,4 X 24,2 CM,
MUZEJ MIMARA, ZAGREB

DRAWING

CRTE@

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

PEJSA@ SA TORNJEM/
LANDSCAPE WITH TOWER,

F. GUARDI:

detalji
details

AKVARELIRAN CRTE@ PEROM, BIJELI PAPIR/

WATER COLOUR, PEN, WHITE PAPER,
31,2 X 22,8 CM,
MUSEO CORRER, VENECIJA/VENICE

121

III/8 CRTE@
122

istra`ivali), te fotokopije cjelina. Potrebni su bjelilo, paus-papir i stroj za fotokopiranje.

Struktura doga|anja
1. Obja{njava se da }e se, na temelju dosada{njih iskustava, samostalno istra`ivati linije s Guardijevog
zagreba~kog crte`a i uspore|ivati s linijama iz ostalih crte`a (studenti-instruktori su ipak na usluzi).
Koristit }e se svim postupcima koje su dosad upoznali (izolacija, paus, fotokopiranje) i, naravno, iznad
svega pomnim promatranjem. Upozorava se da ne treba o~ekivati spektakularne rezultate, vjerojatno ne}e na}i dvije posve istovjetne linije na dva razli~ita crte`a. Ono {to je va`no i {to je zaista spektakularan rezultat jest razvijanje osjetljivosti na specifi~ne promjene Guardijevih linija i njihovo prepoznavanje na skrivenijim, dubljim razinama.
2. Dok sudionici rade voditelj obilazi i razgovara, pita, upu}uje (da se sudionici ne bi nehotice zaveli
sli~no{}u motiva.)
3. Nakon oko sat vremena samostalno se istra`ivanje prekida i projiciraju se detalji. U razgovoru
pojedini sudionici prepoznaju svoje detalje i govore o tome {to su otkrili.
4. U me|uvremenu studenti-instruktori fotokopiraju radove sudionika.
5. Radionica zavr{ava dogovorom o odlasku u Muzej Mimara gdje }e se pogledati original i razgovarati s kustosicom M. imat koja je crte` atribuirala F. Guardiju.

DRAWING

The intention in the e i g t h workshop is mainly

the same as in the seventh but may be with an even
greater direction of attention to the fine levels and
similarities between the group of certain Guardis
drawings and the uncertain Zagreb one; that the
participants become aware this independent specialized exploration is some sort of culmination of
their work so far.
Ambience: The same as in the former workshop.
The participants receive photocopies of big enlargements of Guardis drawing from the Mimara
Museum in Zagreb, photocopies of enlargements of
all the other drawings they have already explored
and photocopies of the totals. There are correcting
pens, tracing paper, a photocopier.
Structure of the Activity
1. It is explained that on the basis of the experiences hitherto everybody will independently explore
(naturally the instructors are at hand) the lines in
Guardis Zagreb drawing and compare them with
the rest. They will use all the procedures they have
learned so far (isolation, tracing paper, photocopy)
and naturally, most important a very attentive

DRAWING

CRTE@

observation. It is mentioned that they cannot expect

specta-cular results, they will probably not find
two identical lines in two different drawings. What is
really important and what is really a spectacular
result is developing their sensitivity to the specific
changes of Guardis lines and recognizing them at
the hidden, deeper levels.
2. During the participants work the workshop leader
circulates and talks, puts questions, instructs, warns
against being mislead by the similarity of the
motives.
3. After about an hour individual exploration is
stopped and the details are projected. In conversation the participants, one by one, recognise their
details and speak about what they have discovered.
4. In the meantime the instructors make photocopies of the participants work.
5. An agreement is made about visiting the Mimara
Museum to study the original drawing and to talk to
the custodian M. [imat who attributed the drawing
to F. Guardi.

123

Sudionici studiraju Guardijeve crte`e/

Sudionici studiraju Guardijeve crte`e/

The participants study, Guardi's drawings

The participants study, Guardi's drawings

Rad na paus papiru/Working with tracing papir

Studenti-instruktori su pokraj sudionika/ The

students-instructors are beside

Uspore|uju se linije/Lines are compared

Rad na paus papiru/Working with tracing paper

Individualno istra`ivanje/Individual exploration

DRAWING

III/9 CRTE@
124

IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

DRAWING

CRTE@

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

RESEARCH OF M. IMAT

ISTRA@IVANJA M. IMAT

GALANTNA SCENA (SUSRET)/

SCENE GALANTE (MEETING)
18,4 X 24,2 CM, ZAGREB

DVOJE MLADIH U RAZGOVORU

(RAZGOVOR)/YOUNG COUPLE IN
CONVERSATION (CONVERSATION)

SEOSKI PAR U PLESU (PLES)/

VILLAGE COUPLE DANCING
(DANCE), 23 X 17,4 CM,

SEOSKI PAR U PLESU (BIJEG)/

VILLAGE COUPLE DANCING
(ESCAPE), 21 X 16,2 CM, PRIVATNA

24,8 X 17,8 CM, TRURO

MUSEO CORRER, VENECIJA/VENICE

ZBIRKA/PRIVATE COLLECTION,
LONDON

infracrvena snimka, 1990.

pole|ina crte`a

infrared photograph

the reverse of the drawing

Crte` je nedostupan ali je opisana

Studija brodova na pole|ini
(T. Pignatti)
The drawing is out of sight but
there is on the reverse a Study of
ships (described by T. Pignatti)

(ART RESEARCH VIDEO

SYSTEM M. BLA@EVI])

VEDUTA SAN GIORGIO MAGGIORE VI\ENA S OTOKA GIUDECCA S RIVOM DEI SCHIAVONI U DRUGOM PLANU, ^IJA JE POLE\INA, MO@DA
RAZREZANA, POSLU@ILA ZA CRTANJE ^ETIRI GALANTNE SCENE

VEDUTA SAN GIORGIO MAGGIORE SEEN FROM THE ISLAND OF GIUDECCA WITH RIVA DEI SCHIAVONI IN THE BACKGROUND WHICH
REVERSE PROVIDED, MAYBE CUT UP, AS A GROUND FOR A CYCLE OF SCENES GALANTES.

125

III/9 CRTE@
126

Namjera u d e v e t o j radionici je upoznati sudionike s originalom crte`a atribuiranog F.

Guardiju i ste}i uvid u rad stru~njaka na atribuiranju.
Ambijent: Muzej Mimara, kabinet kustosa. Sjedi se oko stola na kojem su originalni crte`i.
Struktura doga|anja
1. Kustosica M. imat postavlja crte`e na stol (sudionici vide kako se ~uvaju crte`i). Ukratko pri~a
o F. Guardiju i njegovoj radionici u Veneciji, o literaturi o Guardiju i o klasifikaciji crte`a koja se
uglavnom radi prema motivima. U zbirci Mimara postoje tri crte`a s atribucijom F. Guardiju, iz tri
grupe motiva: jedna veduta, jedan capriccio i jedna galantna scena - macchietta. M. imat daje
osnovne podatke o Galantnoj sceni.
2. Dijele se fotokopije triju crte`a sa sli~nom temom: iz Trura, Londona i Venecije. Upozorava na istu
vrstu papira (ista tekstura - istih usmjerenja niti), na isti na~in obrezivanja, na vrlo sli~ne dimenzije.
Pokazuje potcrte` crnom olovkom i sanguinom i tzv. pentimento koji se mo`e na}i u sva tri crte`a.
3. Dijeli fotokopije dva Guardijeva crte`a, jednog koji prikazuje parlatorij, a T. Pignati ga je datirao u
rano Guardijevo razdoblje, i drugog, Dvori{te Ridotto, kojeg je datirao u zrelu fazu. Usporedbom
ukazuje na to da se zagreba~ki crte` vjerojatno mo`e vezati za taj kasniji, dakle pripadao bi kasnijem
razdoblju.
4. Kustosica iznosi klju~ni argument: istra`ivanje infracrvenim zrakama okrilo je vedutu ispod,
odnosno s druge, prelijepljene, strane crte`a. I crte` iz Trura ima s druge strane vedutu, crte` iz
Londona studiju brodova, dok se za onaj iz Venecije ne zna, jer je druga strana tako|er prelijepljena,
a crte` se jo{ nije istra`ivao infracrvenim zrakama. Iznosi pretpostavku da se mo`da radi o istoj
veduti: ve}i, desni kraj je na crte`u iz Trura, a manji, lijevi na zagreba~kom crte`u. Sama veduta je
{iroka, u stilu Canaletta, i prikazuje raspon od San Giorgia do Rive dei Schiavoni. Mo`da je nastala
pedesetih godina, kad je Guardi imitirao takve Canalettove vedute. Zavr{ava izno{enjem svojega
uvjerenja da se radi o autenti~nom crte`u F. Guardija.
5. Kustosica sprema prvi i pokazuje drugi crte` pripisan Guardiju jo{ od donatora: vedutu Santa
Maria della Salute. Uspore|uje ga sa slikom iste teme F. Guardija koja se nalazi u National Gallery u
Londonu. Upozorava na tematske gre{ke koje navode na misao da je crta~ vjerojatno kopirao i da
nije razumio Guardijevu sliku, a da u Veneciji uop}e nije ni bio i tako nije znao kako to~no izgleda to
{to prikazuje. Analizira linije (kolebljive, na mnogim mjestima nespretne, suhe mrlje i nategnuti odnos
izme|u obrisa i mrlja). Svemu tomu dodaje kvalitetu papira (tanak, svojstven devetnaestom stolje}u)
kao objektivnu ~injenicu. Po njezinom uvjerenju radi se o kopiji Guardijeve slike koja je izvedena u
Engleskoj po~etkom 19. st. gdje se nalazi i original.
6. Tre}i crte` prikazuje rusti~ni prizor - capriccio. Papir (vodeni znak koji se rabi krajem 18. i
po~etkom 19. st. u okolici Trenta) i `ig Galerije Simonetti, rimske antikvarnice s kraja pro{log i
po~etka ovoga stolje}a, gdje je crte` o~ito bio, va`ni su pokazatelji. Kustosica analizira kompoziciju za
koju nalazi da je ra|ena odvi{e po recepturi 18. st., a da bi pripadala tako velikom i originalnom
crta~u kao {to je F. Guardi. Ina~e, s obzirom na karakter linije name}u se sli~nosti s kasnijim
Guardijevim crte`ima, npr. s Teatro Fenice. Ali ujedna~eni tok linije, koji mo`da dolazi od metalnog
pera poprili~no je stran Guardiju. Upozorava na sli~nost u kompoziciji sa slikom koja je pripisana
G. Guardiju (Francescovu sinu koji je od oca preuzeo radionicu) i da pomi{lja na to da taj crte`
atribuira njemu.

DRAWING

The intention in the n i n t h workshop is to get

acquainted with the original of the drawing attributed
to F. Guardi and to get an insight into the work of an
expert who makes the attribution.
Ambience: The Mimara Museum, the Custodians
cabinet. We sit around a table on which the original
drawings are displayed.
Structure of the Activity
1. The custodian M. [imat places the drawings on
the table (the participants can see how the drawings are kept and protected). In brief she talks about
F. Guardi, and about his workshop in Venice, about
the literature concerning Guardi, and about the classification of his drawings which has mostly been
according to motifs. Three drawings were found in
the Mimara collection and attributed to F. Guardi,
with three different motifs: a veduta, a capriccio and a scne galante - macchietta. She gives the
basic data about the Scne Galante.
2. Mrs M. [imat hands out the photocopies of the
three drawings with similar subjects, one from
Truro, one from Venice and one from London. She
talks about the sort of paper used (the same texture
- the threads are directed in the same way), about
the similar dimensions and the same way of cutting
the edges. She shows the underdrawing done in
pencil, in sanguina and black pencil, and the so
called pentimento, which can be found in all three
drawings.
3. Mrs M. [imat gives the participants photocopies of
two of Guardis drawings, the subject of one is a parlatorium which was dated by
T. Pignati to Guardis early phase, and the other, The
Courtyard of Ridotto, was attributed by the same
expert to Guardis mature phase. By comparison it
points out the fact that the Zagreb drawing probably
belongs to the mature phase.
4. She explains the key argument: the research done
with infrared rays discovered a veduta under the
drawing on the back of the paper. There is also a
veduta on the opposite side of the Truro drawing and
a study of ships on the London one. The back of the
Venice drawing also pasted on cardboard, like the
Zagreb drawing but was not treated with infrared
rays. She puts forward the hypothesis that it is the
same veduta, the larger right end is in the drawing
from Truro and the smaller, left one on the Zagreb
drawing. The veduta itself is wide, in Canalettos
style, representing the span from San Giorgio to the
Riva dei Schiavoni and maybe it was made in the

DRAWING

CRTE@

fifties when Guardi was imitating Canalettos vedutas.

She ends her explanation with her conviction that the
Zagreb drawing is an authentic drawing made by F.
Guardi.
4. She puts away the first drawing and shows the
second one from the collection formerly attributed to
Guardi by the donor: a veduta of Santa Maria della
Salute. She compares it with a F. Guardis painting
on the same subject in the National Gallery in
London. She calls the participants attention to the
shortcomings in the subject which makes us think
that the drawer probably made a copy and did not
understand Guardis painting. As he had never been
to Venice, he did not know what the things he wanted to represent looked like. Now she analyses the
lines, (often hesitating, clumsily) the dry spots and
the forced relationship between the outline and the
spots. To all this she adds the information about the
quality of the paper (thin, characteristic of the 19th
Century) as an objective fact. Her conviction is that
the drawing is a copy of a painting of Guardis and
that it was made in England (where the original is) at
the beginning of the 19th Century.
6. The third drawing represents a rustic scene - a
capriccio. The paper (the watermark which was in
use at the end of the 18th Century and the beginning
of the 19th Century in the area of Trento) and the
seal of the Simonetti Gallery in Rome from the end
of the 19th Century or beginning of the 20th
Century, where the drawing obviously was, are
important indicators.
She analyses the composition which she thinks
was made too much according to some prescriptions of the 18th Century and could not have been
done by such an great and original drawer as F.
Guardi. Concerning the characte-ristics of the lines
there are some similarities with Guardis later drawings for instance the Teatro Fenice. But the even
flow of the line which may have come from a metal
pen was very strange to Guardi. She attracts the
attention of the participants to the similarities in
composition with a painting attributed to Giacomo
Guardi (Francescos son who inherited his fathers
workshop), and suggests attributing the drawing to
him.

127

Na stolu su tri crte`a pripisana

F. Guardiju/On the table there are three drawings

Vodi se rasprava/A discussion around the table

attributed to F. Guardi

Kustosica M [imat obja{njava/The custodian M.

Sudionici uspore|uju/The participants make com-

[imat explains

parisons

Originalni crte` se pomno gleda/The original

Argumenti su na stolu/The arguments are on the

drawing is looked at with attention

table

Originalni crte` se pomno gleda/The original

drawing is looked at with attention

III/10 CRTE@
128

Namjera u d e s e t o j radionici je dvojaka. Jedna je posve utilitarna, da sudionici prirede atraktivne omote za svoju knjigu o crte`u i druga, mnogo va`nija, da na kraju radionica, u kojima su
se sustavno bavili vizualnim metodama istra`ivanja crte`a, steknu neposredno - taktilno iskustvo o
svojim crta~ko-slikarskim mogu}nostima (svi umijemo crta~ko-slikarski ne{to re}i, samo se ne
usu|ujemo!).
Ambijent: Stolovi su razmje{teni u dva usporedna niza u sredini prostorije. Potrebni su voda za pranje kistova, boje (za tkaninu, u prahu), pripremljeni skuhani {krob ({tirka), kistovi i papiri A3 formata.
Struktura doga|anja
Svi sudionici (odjeveni u kute) dobivaju papire A3 formata. Boje se pomije{aju u malim zdjelicama sa
{krobom, dok u ve}oj posudi ostaje bijeli {krob. Voditelj pokazuje osnovni postupak. Papir se premazuje
{krobom {irokim kistom. Kistom razli~ite {irine (po izboru) nanosi se boja i slika se, ili se dr{kom kista
crta, ili se razli~itim predmetima ili samim papirom otiskuje, dok se ne dobije oku izvo|a~a-promatra~a
zadovoljavaju}a povr{ina. Papiri se su{e do jutra i tada ih se izgla~a. Sudionici ih dobivaju na proslavi
(na jedanaestoj, posebnoj radionici) i tada u njih umotavaju svoju dovr{enu knjigu o crte`u.

DRAWING

The t e n t h workshop has two kinds of

intention. One is quite utilitarian: it is to prepare
attractive covers for the book about drawing by
the participants and the other, more important one,
that at the end of these workshops when they have
systematically applied visual methods of investigation to achieve some kind of directly tangible experience about their own drawing-painterly possibilities
(we are all able to say something by drawing-painting but we dare not!)
Ambience: The tables are arranged in two parallel rows in the middle of the room. Water is available for washing the brushes, powder paints (for
textile) prepared boiled starch, brushes, papers of
A3 format.

DRAWING

CRTE@

Structure of the Activity

The participants (wearing aprons) have A3
papers. The paints are mixed with some starch in
little pots, a larger vessel contains white starch.
The workshop leader demonstrates the basic procedure. The paper is
covered with starch using a wide brush.
The paint is put on with brushes of various widths
or with the handle of the brush
drawn or with objects or the paper itself printed
till to the eyes of the performer-observer a satisfactory surface is created. The papers have to be
dried and ironed flat after that. The participants
receive them in the eleventh, special workshop
celebration and then they can bind their completed book of drawings.

129

Prire|uju se boje/The paints are prepared

Voditelj pokazuje osnovni postupak/

The workshop leader demonstrates the basic procedure

Sudionici rade/slikaju/The participants work/paint

Sudionici rade/slikaju/The participants work/paint

Sudionici rade/slikaju/The participants work/paint

Papiri se su{e/The papers are dried

Papiri se su{e/The papers are dried

Na kraju se ~iste stolovi/At the end the tables are

cleaned