IV/1 SLIKARSTVO

130

PAINTING

IDEALNA REKONSTRUKCIJA
SLIKA JE VIDLJIVA SVJETLOST - PLOHA

IDEAL RECONSTRUCTION
A PICTURE IS VISIBLE LIGHT - PLANE

PAINTING

SLIKARSTVO

ANALYSIS - COMPARISON

ANALIZA - KOMPARACIJA

zlato = ~ista nadnaravna bespredmetna SVJETLOST (LUX)

PODLOGA = neutraliziranje odnosa mase i prostora = PLOHA = SVJETLOST

gold = pure supernatural objectless LIGHT (LUX)

GROUND = neutralised relation between mass and space = PLANE = LIGHT

staklo SVJETLOST = Bogorodica

glass LIGHT = Virgin

podloga: gesso
ground

zlatni listi}i
gold leaves

SVJETLOST (LUMEN)
LIGHT

titranje - SVJETLOST
glittering - LIGHT

zasjenjenje boja
reflektiranom SVJETLO]U
shadowed colours
by reflected LIGHT

BOGORODICA
NA PRIJESTOLJU/
VIRGIN ON THE THRONE,

BOGORODICA
S DJETETOM I AN\ELIMA/
VIRGIN AND CHILD WITH ANGELS ,

6. ST./6TH C., MOZAIK/MOSAIC,

VISINA APSIDE/HEIGHT OF THE
ABSIS: 11 M, EUFRASIANA,
PORE^

8.-9. ST./8 TH -9 TH C., MINIJATURA, AKVAREL NA

PERGAMENTU/ WATER-COLOUR, ILLUMINATION
ON PARCHMENT, 33 X 25 CM, BOOK OF KELLS,
TRINITY COLLEGE, DUBLIN

SKALA BOJA PO DIN 6164 SUSTAVU

(za obja{njenje vidi str. 28 i 29)

BOGORODICA S DJETETOM/
VIRGIN AND CHILD,

GOSPA OD ZVONIKA
(BOGORODICA NJE@NA)/
THE VIRGIN OF THE BELLTOWER
(GLYKOPHILOUS - THE TENDER) ,

13. ST./13 TH C., VITRAJ/STAINED

GLASS,
PROMJER CJELINE/DIAMETER OF THE
WHOLE: 13 M, ROSE DE FRANCE,
KATEDRALA/CATHEDRAL CHARTRES

13. ST./13 TH C., TEMPERA NA DASCI/

TEMPERA ON WOOD, 87 X 57 CM, RIZNICA
KATEDRALE/ CATHEDRAL TREASURY, SPLIT

COLOUR GAMUT ACCORDING TO DIN 6164 SYSTEM

(for explanation see page 28 and 29)

3:4:4

3:5:1

5:5:3

3:5:4
kontrast

9:3:5

9:3:4

contrast

2:5:3
8:5:3

11:1:7

9:1:2

17:5:3

6:4:5
3:5:1

18:3:4

17:4:5

7:3:5

20:2:4

21:5:4

18:2:3

prozirnost
transparency

SVJETLOST
(LUMEN)

BOJA
(SPLENDOR)

LIGHT

COLOUR

131

IV/1 SLIKARSTVO
132

PAINTING

Prva izvedba radionica: 1994.-95.

First performance of workshops: 1994.-95.

Radionice S l i k a r s t v o sline su radionicama C r t e ` utoliko to su specijalistike. Sudionici se

bave iskljuivo upoznavanjem slikarskih djela, pristupaju im na svestran nain, razliitim metodama i
povezuju ih s drugim podrujima.
I u ovim je radionicama, kao i u radionicama C r t e `, naglasak na individualnom istra`ivakom
radu svakog sudionika, pri emu im poma`u studenti-instruktori.
Struktura radionica je slina strukturi radionica C r t e ` jer su tako|er podijeljene u tri dijela. Svaki
dio ima jednu glavnu temu s etiri odabrana slikarska djela kao temeljna za upoznavanje.
Temeljna je namjera, kao i u svim drugim radionicama, pove}ati razlikovnu mo} u sudionika. Pritom
se, jo vie nego u ranijim radionicama, koriste usporedbe povijesnih i modernih djela. Uz pripremanje
raznolikih osjetilnih iskustava za sudionike, u ovim je radionicama ve}i naglasak na nadosjetilnoj biti
umjetnikog djela, pa bi podnaslov radionica mogao glasiti: Fizika i metafizika slikarstva.

The workshops entitled Painting are similar to the

workshops entitled Drawing because they are specialized. The participants are occupied exclusively in
getting acquainted with paintings, they approach
them in various ways using different methods and
connect the paintings with some other subjects. As
in the workshops entitled Drawing, in these workshops too, the accent is on the individuals
exploratory work helped by students-instructors.
The structure of these workshops is also similar to
the structure of the workshops entitled Drawing
because they are divided into three parts with one
main theme in each part and each time with four
chosen paintings as the bases. The main intention
is, as in all the other workshops, to increase the
discriminative possibility of perception.
Comparisons of historical and modern artworks are
used in these workshops more than in the other
ones. Besides the preparation of various kinds of
sensory experiences for the participants in these
workshops a greater accent is put on the super
sensory essence of art work, so the subtitle the
physics and methaphysics of painting could also
be used

U p r v o j radionici namjera je ste}i individualno i neposredno iskustvo o izboru boja i sintakse

pred slikarskim djelima razliitih tehnika, vrsta, formalno-stilskih osobina putem identifikacije boja i
prire|ivanja skala mijeanjem boja, optiki i tvarno.
Ambijent: Sudionici sjede oko dva velika stola, optimalni je broj po est sudionika i isti broj studenata-instruktora. Projektor je u sredini i projicira se na suprotni zid. Sudionici sjede uz stolove tako
da se lako mogu okrenuti bilo prema zidu bilo prema stolu (grupi). Na jednom su stolu uzorci boja
DIN 6164 sustava, aparat za optiko mijeanje boja i atlas boja H. Kppersa. Na drugom su stolu
uljene boje, kistovi, razrje|iva, krpe, trake kartona, plastine vre}ice za zatitu uzoraka boja i
maske od kartona. Uz svakog sudionika je po jedan student-instruktor.
Struktura doga|anja
1. Voditelj objanjava program i strukturu radionice. Za sudionike koji nisu sudjelovali ni u jednoj od
uvodnih radionica ukratko tumai trodimenzionalni karakter boja i nain identifikacije putem DIN
6164 sustava, te ulogu strukturalnih mogu}nosti kadra u kompoziciji slike.
2. Projiciraju se cjeline i detalji etiriju slika koje }e biti glavna `arita zanimanja u prvom dijelu
radionica. Pokazuju se kronolokim redom, istiu}i kod svake slike temu, vrijeme, tehniku, vrstu i
specifini trenutak nastanka: a) Bogorodica na prijestolju, detalj apside bazilike u Poreu, 6. st., visina apside oko 11m, mozaik, vezanost za arhitekturu, prijelaz iz kasnoantike u bizantsku umjetnost;
b) Bogorodica s djetetom i an|elima, iz Book of Kells, fol. 7, 8.-9. st., 33 x 25 cm, akvarel na pergamentu, minijatura, Trinity College, Dublin, moment susreta kasnoantikog kr}anstva i kasne pretpovijesne keltske umjetnosti; c) Gospa od zvonika (Bogorodica nje`na), romanika ikona iz Splita,
kraj 13. st., 87 x 57 cm, tempera na dasci, samostalna slika, Riznica katedrale, Split, moment utjecaja bizantskog slikarstva ikona na zapadno, tzv. maniera greca. d) Bogorodica s djetetom u sreditu
velike sjeverne rozete Rose de France u katedrali u Chartresu, sredina 13. st., promjer: 13 m, vitraj,
vezanost za arhitekturu, svojevrsni vrhunac dostignu}a zapadnoeuropske kulture.
3. Nakon sumarnog upoznavanja slijedi glavni sadr`aj radionice: individualni/grupni rad na identifikaciji i mijeanju boja, odnosno pripremanju skala. Sudionici biraju `ele li raditi u grupi gdje se boje
identificiraju ili uz stol gdje se mijeaju, te kojom se slikom `ele baviti. Poma`u im studenti-instruktori. (Oni koji mijeaju boje prave uzorke veliine dostatne za toliko skala koliko se sudionika bavi
odre|enom slikom.)

The intention of the f i r s t workshop is to gain

individual and direct experience of the choice of
the colours of the paints and syntax in paintings of
different techniques, types, formal-stylistic characteristics through the identification of the colours
and preparing the colour gamuts mixing the paints
(material) and colours (optical).
Ambience: The participants sit at two large tables,
approximately six participants at each table, and the
same number of students-instructors. The projector
is in the centre and projects on to the opposite wall.
The participants are seated at the tables so that
they can easily turn either to the projections or to
the group. On one table there are chips of the DIN
6164 system, an apparatus for the optical mixing of
colours and the Atlas of colours by H. Kppers. On
the other table there are oil paints, brushes, a
diluter, clothes or rags, cardboard bands, plastic
bags for the protection of the colour chips and the
so cold masks made of cardboard. Beside every
participant there is an instructor.

PAINTING

SLIKARSTVO

Structure of the activity

1. The workshop leader explains the program and
the structure of the workshops. To the new participants who did not take part in either of the introductory workshops he/she explains in brief, the threedimensional character of colours and the way to
use the DIN 6164 system for identification and also
the role of the structural possibilities of the frame in
the composition of the pictures.
2. The wholes and details of the four pictures which
will be the focus of interest in the first part are projected. They are shown in chronological order, with
an emphasis on the specific moment in each picture, when it was created, the subject, the technique
and the type; a) the Virgin on the Throne, a detail of
the apsis in the Pore Basilica, 6th Century; the
height of the absis approx: 11 m; technique: mosaic;
connection with architecture; time: the transition
from the late antique to Byzantine art.
b) The Virgin and Child with Angels, from the Book
of Kells, fol. 7., 8th-9th Century., watercolour on
parchment (vellum); illumination; dim: 33 x 25 cm;
Trinity College, Dublin, the moment of encounter of
the late antique Christianity and the late prehistoric
Celtic art.
c) The Virgin of the Belltower, Glykophilousa - the
tender one, a Romanesque icon from Split, the end
of the 13th Century, tempera on wood; dim: 87 x 57
cm; an independent painting; Split, the Cathedral
Treasury, the moment of influence of the Byzantine
icons on western painting, the so called maniera
greca. d) The Virgin and Child in the centre of the
great north rose window - Rose de France in the
Chartres Cathedral, middle of the 13th Century,
stained glass, diameter of the whole 13 m; connection with architecture; a distinctive peak of achievement of the western European culture.
3. After brief instructions the main content of the
workshop follows: individual/group work on colour
identification, on mixing paints and preparing a colour
gamut. The participants choose a picture and decide
whether they want to work in the group where
colours are identified or at the table where paints are
mixed. The students-instructors help the participants
who mix paints and prepare samples large enough
for as many colour gamuts as there are participants
who work with a particular picture.

133

Uzorci boja (DIN 6164)/Colour chips

(DIN 6164)

Rad na identifikaciji boja mozaika u

Poreu/Colour identification - working on the Pore
mosaic

Rad na identifikaciji boja mozaika u

Poreu/Colour identification - working on the Pore

Rad na identifikaciji boja Book of Kells/ Colour

identification - working on the Book of Kells

mosaic

Rad na identifikaciji boja Gospe od

Zvonika/Colour identification - working on the
mosaic the Virgin of the Belltower

Prire|uju se skale boja za svaku sliku/ Colour

gamuts are prepared for every picture

Mije{aju se boje/Paints are mixed

IV/2 SLIKARSTVO
IDEALNA REKONSTRUKCIJA

THE ROLE OF THE GAP

GOLDEN SECTION

ZLATNI REZ

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

GOLDEN SECTION

ZLATNI REZ

konstrukcija zlatnog reza

construction of Golden Section

b
BOGORODICA NA
PRIJESTOLJU/VIRGIN
ON A THRONE,
DETALJ/DETAIL,
MOZAIK/MOSAIC,

spiralna konstrukcija
spiral construction

a : b = b : (a + b) = 0,618

konstrukcija glave
construction of the head

iz motiva
from a motive

tematski element
thematic element
a

ULOGA RAZMAKA

IDEAL RECONSTRUCTION

PAINTING

SLIKARSTVO

2a

134

PAINTING

3a

rotacija kvadrata
a

rotation of the square

2 x nos (a) = polumjer

2 x nose (a) = radius
(CAVEN)

135

IV/2 SLIKARSTVO
136

U d r u g o j radionici namjera je, putem individualnih vje`bi, ste}i neposredno iskustvo o zlatnoreznom proporcioniranju kadrova (pravokutnik, kru`nica) razliitih strukturalnih mogu}nosti; o
modularnom proporcioniranju ljudskog lika; o rasteru (unutar-njim linijskim granicama u tehnikama mozaika i vitraja); o osobitostima linijskih tokova.
Ambijent: Oko dva stola sjede sudionici i studenti-instruktori kao i u prethodnoj radio-nici.
Sudionici dobivaju fotokopije slika, paus-papir, olovke, flomastere, estare, ravnala.
Struktura doga|anja
1. Sudionicima se dijele skale boja, koje su pripremili studenti, s elementima dobivenim istra`ivanjem
u proloj radionici.
2. Ponovno se projiciraju slike i skra}eno daju podaci radi ponavljanja i radi obavjetavanja onih koji
mo`da nisu bili na prvom sastanku.
3. Sudionici se pozivaju da provjere svoje skale boja.
4. Individualni/grupni rad, uz studente-instruktore, odvija se opet oko dva stola. Prva grupa:
a) istra`uje strukturalne mogu}nosti kadra Gospe od zvonika na fotokopiji;
b) istra`uje zakonitost u proporcioniranju glave - Bogorodiine i djetetove - po predloku E.
Panofskoga; c) preko pausa izvlai unutarnje granice kameni}a na fotokopiji detalja mozaika iz
Porea.
5. Istodobno sudionici u drugoj grupi: a) istra`uju razmjere sjeverne rozete u Chartresu (kvadrati
rotiraju; sve manji i manji kvadrati tvore spiralu - za otkrivanje konstrukcije slu`i interpretacija
P. Cavena); b) na fotokopiji sredinjeg detalja rozete preko pausa izvlae unutarnje granice stakalaca
(raster olovnih okvira); c) preko paus-papira prate linijski motiv na jednom ornamentalnom detalju
slike Bogorodica s djetetom i an|elima iz Book of Kells; d) slobodnom rukom crtaju zrcalnosimetrini
motiv.
6. Ponovno se projiciraju sve slike, pronalazi se detalj mozaika i sudionici se pozivaju da poka`u rezultate svojih istra`ivanja (iz svake grupe za svaki zadatak barem jedan sudi-onik). Linijske oblike s Gospe
od zvonika i sa slike iz Book of Kells sudionici izvlae na papiru privr}enom na zid na koji se projicira
pove}ani detalj. Slijedi analiza-razgovor.

PAINTING

The intention of the s e c o n d workshop is that

the participants, through individual training, gain
direct experience of the Golden proportions of
frames (rectangle, circle) of different structural possibilities; of the modular proportions of the human
figure; of the network (the inner linear boundaries in
the technique of mosaic and stained glass); of the
peculiarities of linear inflexion.
Ambience: The projector and the two tables with
the participants and the instructors sitting as in the
former workshop. The participants receive photocopies of pictures, tracing paper, pencils, felt-tip
pens, callipers and rulers.
Structure of the activity
1. The colour gamuts are distributed. The students
have prepared them with the elements obtained
from the explorations during the former workshop.
2. The pictures are projected again and the data is
given in brief to remind or to inform those who
missed the first meeting.
3. The participants are invited to check their colour
gamuts.
4. The individual/group work with instructors is performed again at the two tables. The first group: a)
explores the structural possibilities of the frame The
Virgin of the Belltower (on the photocopy); by means
of E. Panofskys specimen; b) explores the rules in the
proportions of the head, the Virgins and the childs;

PAINTING

SLIKARSTVO

c) using tracing paper they trace the lines of the inner

boundaries of the small stones onto a photocopy of
the Pore mosaic detail.
5. At the same time the other group explores: a) the
proportions of the north rose window in Chartres
(the squares rotate; or the smaller and smaller
squares create spirals). For the discovery of the
spiral construction P. Cavens interpretation is used;
b) they trace the lines of the inner boundaries of the
glass pieces (the network of the lead frame) onto
the photocopy of the central detail of the rose window through tracing paper; c) using tracing paper a
linear motive, an ornamental detail of the painting
The Virgin with Child and Angels from the Book of
Kells is followed; d) the motive in reflex symmetry
has to be drawn, as well, freely by hand.
6. All the pictures are projected again, the detail of
the mosaic is found and the participants are invited
to show the results of their exploration (from each
group, for each task at least one participant).
The participants trace the lines of the Virgin of the
Belltower and the illumination from the Book of
Kells onto papers fixed on the wall where the
enlarged details are projected. Analysis - discussion.

137

Analizira se Rose de France/The Rose de France is

analysed

Izvlae se granice kameni}a na mozaiku iz

Porea/The boundaries of the stones in the Pore
mosaic are drawn

Vide se spiralna konstrukcija Rose de France i

skala boja/The spiral construction of the Rose de
France and the colour gamut are seen

Rose de France/The boundaries of glass are drawn

in a detail of the stained glass window Rose de
France

Granice stakalaca se izvlae na detalju vitraja

Istra`uju se razmjeri slike Gospe od

Zvonika/The proportions of the painting Virgin of

Istra`uje se ornament iz Book of Kells/

The ornament from the Book of Kells is explored

the Beltower are explored

Istra`uje se ornament iz Book of Kells/

Istra`uje se ornament iz Book of Kells/

The ornament from the Book of Kells is explored

The ornament from the Book of Kells is explored

IV/3 SLIKARSTVO
138

PAINTING

IDEALNA REKONSTRUKCIJA

ULOGA RAZMAKA

IDEAL RECONSTRUCTION

PRIPREMNI CRTE@I ZA NASTAJANJE IZRA@AJNOG OBLIKA

THE ROLE OF THE GAP

PREPARATORY STUDIES FOR AN EXPRESSIVE SHAPE

PAINTING

SLIKARSTVO

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

od teme

SLIKA JE VIDLJIVA SVJETLOST

THE PICTURE IS VISIBLE LIGHT

from a theme
TRANSPARENCY

PROZIRNOST
TEMA: USTA

SUBJECT: THE MOUTH

GENERIRANJE PLOHE

GENERATING PLANE

iluzija prozirnosti
the illusion of
transparency

ukidanje prozirnosti
abolishing
transparency
P. KLEE:

AD PARNASSUM,
DETALJ/DETAIL, 1932.,
ULJE/OIL, 100 X 126 CM,
BERN

tematizirani razmak

formalna bit

thematised gap

formal essence
P. KLEE:

ZA[TITNICA/
THE PROTECTRESS,
1932., AKVAREL/
WATER-COLOUR,
31,5 X 48 CM,
PARIS/PARIZ

UMJETNOST I PRIRODA

ART AND NATURE

do motiva
to motive

konstrukcija suncokreta po
zlatnom rezu

P. MONDRIAN:

ROMB SA SIVIM
LINIJAMA/
RHOMBUS WITH
GREY LINES,

construction of a sunflower according to the

Golden Section

1918., ULJE/OIL,
HAG/THE HAGUE
P.PICASSO:

tematizirani razmak

oblikovana granica

thematised gap

designed boundary

PRIPREMNI CRTE@I ZA GUERNICU

IZME\U 8. 5. I 22. 6. 1937./
PREPARATORY DRAWINGS FOR
GUERNICA BETWEEN 8 TH MAY
AND 22 ND JUNE 1937.

P. PICASSO: GUERNICA ,
DETALJ/DETAIL, 1937., ULJE/OIL,
MADRID

(L A N T O S)

139

IV/3 SLIKARSTVO
140

Namjera u t r e } o j radionici je ste}i iskustvo o slikarskom djelu kao vidljivoj svjetlosti - plohi, bilo
neutraliziranjem odnosa mase i prostora na oploju podloge, bilo odvajanjem svjetlosti (lumen) od boje
(splendor) putem vitraja ili mozaika, bilo iluzioniranjem prozirnosti tvari i njenog ukidanja, bilo putem
zlatnih listi}a/ploica koje oznaavaju nadnaravnu, prvotnu, bespredmetnu i istu svjetlost (lux); osvijestiti povezanost umjetnosti i prirode putem zlatnorezne mjere koja vra}a jedinstvu; osvijestiti ulogu
razmaka u tehnikom i formalnom smislu; pratiti nastajanje oblika - iz motiva tematski element i,
obratno, iz tematskog elementa motiv; osvijestiti slinosti i razlike izme|u povijesnih i modernih djela.
Ambijent: Isti je kao i u prethodnoj radionici. U omotnicama su za svakog sudionika pripremljeni
izrezani oblici akvarela P. Kleea Zatitnica od prozirne folije. Pripremljene su tako|er i fotokopije spiralne konstrukcije suncokreta (prema F. Lantosu) i fotokopije detalja Picassove Guernice.
Struktura doga|anja
1. Projicira se snop svjetla na zid i podsje}a/objanjava pojam apsolutne plohe. Upu}uje se na razliku
izme|u svakodnevnog funkcionaliziranja kozmike pojave, kada svjetlost koristimo da bismo vidjeli
povrine, i umjetnosti koja, obrnuto, koristi povrine da bi svjetlost uinila vidljivom (A. Malraux:
Umjetnost slu`i da se poka`e ono to se ne mo`e vidjeti).
2. Projicira se snimak Gospe od zvonika, cjelina i detalji i objanjava: a) pripremanje podloge daske
(7 slojeva gessa) da se to ve}om neutralizacijom odnosa mase i prostora dobije to savrenija
imitacija apsolutne plohe; b) upotreba zlatnih listi}a (zlato nije boja!) da bi se oznaila svjetlost (lux)
i c) asistka - linije zlatnih listi}a koje prikazuju nabore, a zapravo tokove svjetlosne/duhovne energije.
3. Projicira se snimak Bogorodice s djetetom i an|elima iz Book of Kells i upu}uje se na pripremanje
pergamenta kao podloge.
4. a) Sudionici dobivaju pet, kako im se ka`e, ne sluajna oblika izrezana iz prozirne folije (Kleeov
akvarel Zatitnica) i tra`i se da ih superponiraju}i slo`e u kompoziciju kojom }e generirati plohe.
b) Projicira se Kleeov akvarel Zatitnica, 1932., akvarel, 31,5 x 48, Pariz. Uspore|uje se s radovima
sudionika i analiziraju se razliiti naini postizanja iluzije: prozirnosti, ukidanja prozirnosti, generiranja plohe.
5. Projicira se detalj mozaika Bogorodice s djetetom, iz apside u Poreu i govori se o:
a) dematerijalizaciji zida uslijed titranja koje je poput same svjetlosti; b) o zasjenjivanju boje (reflektirane svjetlosti) svjetlo}u (lumen) i potrebi kretanja da bi se vidjele boje na mozaiku; c) o zlatu kao
znaku nadnaravne svjetlosti (lux).
6. Pokazuju se snimci vitraja u Chartresu: a) detalj Crveni David da bi se steklo neko iskustvo o crvenom
koje najmanje proputa svjetlost i zato skoro ima nadnaravnu snagu (govori se o metafori stakla prema
Bernardu od Clairvauxa i o svjetlsti i tami prema Pseudo Dioniziju); b) cjelina zida, da bi se vidjela igra
raznobojnih svjetlosti - razlaganje svjetlosti (lumen) na boje (splendor) iz ega proizlazi svjetovnost, ali i
zahtjev za nadila`enjem osjetilnog u apstrakciji apsolutne plohe; c) lumino-dinamika konstrukcija
N. Schffera Lux 1 obojene mobilne projekcije, 1957., aluminij, elik, plastika, Muzej moderne umjetnosti, Pariz, zbog fluidnog prostora dematerijaliziranog svjetlo}u; d) G. Rouault Klaun, 1938.-1939.,
ulje, 62,5 x 42,5 cm, radi slinosti kompozicijskog naela i tehnikih osobitosti vitraja (mre`a).
7. Pokazuje se detalj mozaika u Poreu na kojem su sudionici radili u proloj radionici i osvjetavaju se
porijeklo i uloga razmaka me|u kameni}ima. Uspore|uje se s: a) detaljem Ad Parnassum P. Kleea gdje
se tehnika osobitost mozaika - razmak - osvjetavaju}i bojom uzdi`e do formalne biti (naroita prostornost); b) Rombom sa sivim linijama P. Mondrianovim, 1918., ulje, Hag, gdje se razmak tematiziran
kao oblikovana granica osvjetava u svojoj dvosmislenosti (oblikovana granica tren razdvaja tren
povezuje).
8. Projiciraju se cjelina sjeverne rozete iz Chartresa i snimak suncokreta. Naelo usporedbe je zlatnorezni razmjer i u jednom i u drugom sluaju. Podsje}a se na mjere Gospe od zvonika.
9. Pokazuju se detalji Bogorodica s djetetom i an|elima iz Book of Kells i podsje}a se na iskustva koja
su sudionici stekli prate}i linije motiva iz koje se ra|a tematski element.
10. a) Pokazuje se slijed Picassovih pripremnih crte`a za Guernicu (glava `ene koja plae i mrtvo
dijete) koji su nastali izme|u 8. 5. i 22. 6. 1937. god. Koncentriramo se na traganje za izra`ajnim
oblikom - u prvome redu usta, nos, oi, i na stjecanje iskustva o tome kako se iz teme ra|a motiv.
Na slijedu crte`a prati se bujanje oblika i povremeni energini rezovi. b) Sudionici dobivaju zadatak
da izvedu motiv usta onako kako im se ini da ga je Picasso, postupno otkrivaju}i, konano naao.
c) Pokazuje se detalj dovrene Picassove slike i uspore|uje se s pokuajima sudionika.

PAINTING

The intention of the t h i r d workshop is to gain

experience of a painted work of art as if it were
about a visible light - plane, either a) as a neutralised relation between mass and space on the
surface of the ground, or b) as a separation of the
light (lumen) from the colour (splendor) through
stained glass or mosaic, or c) through an illusion of
transparency of the material and its abolition, or
d) through golden leaves/stones which denote the
pure supernatural primordial, objectless light (lux).
It is also to become aware of the role of a gap in a
technical and formal sense; to follow the creation of
a form - from the motive to the thematic element
and vice versa; to become aware of the similarities
and differences between the historical and modern
artworks.
Ambience: As in the former workshops. The shapes
of P. Klees water-colour The Protectress is cut out
of transparent foil and put in envelopes for each participant along with photocopies of a) a spiral construction according to F. Lantos and b) a detail of
Picassos Guernica.
Structure of the activity
1. A beam of light is projected onto the wall and
the participants are reminded of the concept of the
absolute plane or it is explained to them. The
attention is directed to the difference between the
everyday use of the cosmic event to see surfaces and the intention of art to make light visible
(Malraux: The intention of art is to show the invisible)
2. The Virgin of the Belltower is projected, the
whole and the details and an explanation is given:
a) preparing the panel (7 layers of gesso) to neutralize the relation between mass and space and to
get a perfect imitation of the absolute plane;
b) using gold leaves (gold is not a colour) to sign
the light (lux) and
c) asistka - the lines are made of gold leaves which
represent the drapery, but really the flow of the
light/spiritual energy
3. The Virgin with Child and Angels from the Book
of Kells is presented and instructions are given
about the preparation of vellum as a ground.
4. The participants get five specifically chosen
shapes, cut out of transparent foil (Klees watercolour The Protectress) and the task is to make a
composition superposing them and generating a
plane. Klees The Protectress, 1932., watercolour, 31,5 x 48 cm, Paris, is projected. A comparison is made between the participants work
and Klees and an analysis of the different modes
of achieving an illusion: transparency, abolishing
transparency, generating a plane.
5. The Virgin and Child, a detail of the mosaic from
Pore taken from the apsis is projected and the talk
is about: a) the dematerialisation of the wall as an
effect of glittering which is like light; b) the shading
the colours (reflected light) by light (lumen) and the
necessity of moving to see the colours in the
mosaics;
c) about gold as a sign of supernatural light (lux).
6. Slides of the stained glass windows in Chartres
are shown: a) a detail of the Red David to gain
some experience of the redness which allows the
least light to pass through and because of that has

PAINTING

SLIKARSTVO

a nearly supernatural strength (here we speak about

the metaphor of glass according to Bernard de
Clairvaux and about the light and darkness according to Pseudo Dionysius); b) the whole wall in order
to see the play of polychromatic light - the disintegration of light (lumen) into colours (splendor)
resulting in a secularisation but also in the demand
to overcome the sensory in the abstraction of the
absolute plane; c) the lumino-dynamic construction
of N. Schffer Lux 1 colored mobile projections,
1957, aluminium, steel, plastic, Museum of Modern
Art, Paris, because of the fluidity of the space as a
result of the dematerialisation by light;
d) G. Rouault: Clown, 1938-39, oil, 62,5 x 42,5 cm,
because of the similarity of the compositional principle and technical peculiarities of stained glass (the
network).
7. A detail of the Pore mosaic is projected, the
same one the participants worked with in the former workshop. They become aware of the origin
and the role of the gap between the small stones.
A comparison is made with: a) a detail of P. Klees
Ad Parnassum where the technical particularity of
the mosaic - the gap is consciously, by colour,
lifted to the level of formal essence (a specific
space);
b) with P. Mondrians Rhombus with grey lines,
1918., oil, the Haue, where the gap becomes conscious by thematisation as a shaped boundary in
its ambiguity (the shaped boundary divides one
moment, gathers other).
8. The whole of the north rose window from
Chartres is projected and a slide of a sunflower.
The principle of comparison is the Golden
Proportion in both. The participants are reminded of
the measures in the Virgin of the Belltower.
9. Details of the painting The Virgin with Child and
Angels from the Book of Kells are shown to
remind the participants of the experience they
have gained following the lines of the motive from
which the thematic element was born.
10. a) A sequence of slides about P. Picassos preparatory drawings for Guernica (the head
of a crying woman and a dead child) which were
created between 8th May and 22nd June 1937.
We concentrate on searching for an expressive
shape - in the first place mouth, nose, eyes and
on gaining the experience of how the motive is
born from a thematic element. We follow the
swelling of shapes and periodical energetic cuts
on a sequence of drawings. b) The participants
are asked to perform the motive of the mouth as
they suppose Picasso did, gradually discovering
and eventually finding it. c) A detail of Picassos
finished painting is shown and comparison is
made with the participants attempts.

141

Ispred projekcije govori se o iskustvima

istra`ivanja/Before the projection we talk about the

Na projekcijama se prati ornament/

The ornament is followed on the projections

experiences of explorations

Igra s prozirnim Kleeovim oblicima/Playing with

Klees transparent shapes

Vidi se prozirni oblik. Od teme se poku{ava dobiti motiv/The transparent shape is seen.
From the theme a motive is made

Od teme motiv/From the theme the motive

Od teme motiv/From the theme the motive

IV/4 SLIKARSTVO
142

PAINTING

IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

PAINTING

SLIKARSTVO

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

podloga (svijetlosiva):
kreda + olovno bjelilo
+ ugljen + ljepilo
+ ulje+umbra
ground (white grey):
chalk + lead white
+ charcol + glue
+ oil+umbra

sivi crte`
hatching strokes

podloga (tamnosme|a):
oker + lak + ljepilo

sfumato

ground (deep brown):

ochre + resin + glue
G. BELLINI:
PIETA,
1460., TEMPERA NA
DASCI/, TEMPERA ON
WOOD, 86 X 107 CM,
BRERA, MILANO

podloga: gesso
ground

LEONARDO:

VERMEER VAN DELFT:

REMBRANDT VAN RIJN:

BOGORODICA U STIJENAMA/
VIRGIN OF THE ROCKS,

GEOGRAF/THE GEOGRAPHER,

POVRATAK IZGUBLJENOG SINA/

THE RETURN OF THE PRODIGAL SON ,

1503-8., ULJE NA DASCI/OIL ON WOOD,

189,5 X 120 CM, NATIONAL GALLERY,
LONDON

SKALA BOJA PO DIN 6164 SUSTAVU

(za obja{njenje vidi str. 28 i 29)

1668., ULJE NA PLATNU/OIL ON CANVAS,

262 X 205 CM, ERMITAGE, ST. PETERSBURG

COLOUR GAMUT ACCORDING TO DIN 6164 SYSTEM

(for explanation see page 28 and 29)

3:5:2 olovno `uto

5:4:3

1668., ULJE NA PLATNU/OIL ON

CANVAS, 53 X 46,5 CM,
FRANKFURT/MAIN

2:5:1

lead yellow

5:4:5

7:4:3 cinober
vermilion

4:6:1

2:6:1

1:3:1 olovno `uto

6:4:5

2:6:2

4:4:1

19:2:6 ultramarin (lapis lazuli)

17:5:3 ultramarin (lapis lazuli)

ultramarine

ultramarine

20:3:4 bakreno zeleno

18:4:3 azurit

copper green

22:3:6 zelena zemlja

green earth

azurite

20:4:4

lead yellow

6:3:4 bister

6:6:2

bistre

6:5:2 cinober

8:2:3

vermilion

17:5:3 ultramarin (lapis lazuli)

ultramarine

6:5:3 crveni oker

red ochre

143

IV/4 SLIKARSTVO
144

U e t v r t o j radionici namjera je ste}i individualno i neposredno iskustvo o izboru boja i sintakse pred slikarskim djelima (identifikacijom boja pomo}u uzoraka i izrade skala mijeanjem boja
optiki i tvarno) koja pripadaju europskom slikarstvu 15., 16. i 17. st., a odabrana su na temelju
razliitih formalno-stilskih karakteristika.
Ambijent: Isti je kao i u prvoj radionici.
Struktura doga|anja
1. Projiciraju se cjeline i detalji etiriju slika koje }e biti temelj za rad u ovom bloku. To su: a) Pieta
Giovannija Bellinija, nastala oko 1460., ranorenesansna venecijanska slika, koja se nalazi u Breri u
Milanu, 86 x 107 cm; b) Leonardova Bogorodica u stijenama, nastala vjerojatno 1503.-1508., visokorenesansna firentinska slika s elementima manirizma, koja se nalazi u National Gallery u Londonu,
189,5 x 120 cm; c) i d) tre}a i etvrta slika su nastale vjerojatno iste, 1668. godine, prva, Geograf
Vermeera van Delfta u Delftu, druga Rembrandtov Povratak izgubljenog sina u Amsterdamu.
Dimenzije Vermeerove slike, koja se danas nalazi u Frankfurtu su 53 x 46,5 cm, a Rembrandtove, koja
je u Sankt Petersburgu, 262 x 205 cm. Opet se radi o slikama koje su u nekom smislu prijelomne.
U Bellinijevoj slici susre}emo zaokret od naina ikone prema novom, renesansnom shva}anju scene,
Leonardova je na granici dvaju stilova, visoke i kasne renesanse, Vermeerova je realistina usred
baroknog vremena, i Rembrandtova je prijelomna u osobnom smislu, jer je vjerojatno njegova posljednja slika.
2. Upu}uje se na tehnike osobitosti pojedinih slika. Bellinijeva je slika slikana temperom na dasci,
daska je pripremljena gessom, kao to je to bilo uobiajeno za ikone, ali se na detaljima primje}uje kako
Bellini prilago|ava temperu - tonskom slikanju neprikladnu tehniku - novim htijenjima. I Leonardo
priprema drvenu podlogu gessom, ali ve} slika uljem. Izbor je boja: ultramarin (lapis lazuli), azurit i
olovno`uto. Iako se ugovorom Leonardo obvezao za odre|enu koliinu dragocjenog ultramarina, ipak je
za doljnje slojeve koristio azurit. I Vermeer i Rembrandt slikaju na platnu. Vermeer ga priprema
mjeavinom krede, olovnog bjelila, umbre, ugljena, ljepila, ulja, i dobiva bijelosivkastu podlogu.
Rembrandt priprema mjeavinom oker boje, laka i ljepila, i dobiva tamnosme|u podlogu. Oba slikara
raunaju na mijeanje boja i u oku promatraa, Vermeer mrljastim namazom, Rembrandt impastom.
Va`na razlika prema srednjovjekovnom slikarstvu je i u tome to Rembrandt ne koristi zlato, nego
bojom posti`e uinak zlata.
3. Kao i u prvoj radionici, nakon prvih kratkih uputa, sudionici se opredjeljuju u kojoj }e grupi raditi i
kojom }e se slikom baviti. Slijedi individualni/grupni rad na identifikaciji boja pomo}u uzoraka DIN
6164 sustava, i na mijeanju odnosno pripremanju skala.

PAINTING

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

gain, individually and directly, experience of the
choice of colours and the colour-syntax in front of
art works (by identification of colours using colour
chips and preparing colour gamuts mixing colours
optically and mixing paints) which belong to
European painting of the 15th, 16th and 17th
Centuries and are chosen according to their different formal-stylistic characteristics.
Ambience: The same as in the first workshop
Structure of the activity
1. The wholes and details of the four paintings which
will be the basis for the work in this part are projected. These are a) Giovanni Bellinis Pieta, painted
around 1460, an Early Renaissance painting from
Venice, which is now in Brera, Milan, dimensions: 86
x 107 cm; b) Leonardos Virgin of the Rocks, painted
probably between 1503 and 1508, a Florentine painting of High Renaissance with some elements of
Mannerism, displayed in the National Gallery in
London, dim: 189,5 x 120 cm; c) and d) the third
and fourth paintings were probably painted in the
same year 1668; the former picture The Geographer
by Vermeer van Delft in Delft and the latter
Rembrandts, Return of the Prodigal Son, in
Amsterdam. The dimensions of Vermeers painting,
which is today displayed in Frankfurt are: 53 x 46.5
cm and those of Rembrandts, which is in Saint
Petersburg, 262 x 205 cm. Again these paintings
represent some breaking point. Bellinis painting is a
turning point from painting icons to a new,
Renaissance understanding of the scene, Leonardos
is on the border of the two styles, the High and Late
Renaissance, Vermeers is a realistic one amidst a
Baroque time and Rembrandts is crucial in a personal way, probably being his last painting.

PAINTING

SLIKARSTVO

2. Instructions are given about the technical characteristics of each painting: Bellinis is painted with
tempera on wood, the panel is prepared with gesso
as was the custom in painting icons, but we can
notice in the details how Bellini adapted the tempera, which is an inadequate technique in tonal
painting, to new tasks. Leonardo also prepared the
wooden ground with gesso, but he painted with oil.
The choice of colours: ultramarine (lapis lazuli),
azurit and lead yellow. Although Leonardo had a
legal obligation to use a certain quantity of very
precious ultramarine he used azurite for the lower
layer. Both Vermeer and Rembrandt painted on
canvas. Vermeer prepared it with a mixture of
chalk, lead white, charcoal, umbra, glue and oil
and obtained a white-grey base. Rembrandt prepared it with a mixture of ochre, resin and glue and
obtained a deep brown ground. Both painters
counted on the optical mixture of colours in the
eyes of the observer, Vermeer by the dots and
Rembrandt by the impasto. Also an important difference from medieval painting is that Rembrandt
did not use gold but obtained the impression of
gold with the paints.
3. In the same way as in the first workshop, after
these brief instructions the participants decide which
group they will work in and with which painting.
Then individual/group work on colour identification
follows using colour chips of the DIN 6164 system
and mixing paints and preparing colour gamuts.

145

Identificiraju se boje na Rembrandtovoj slici uz

pomo} uzoraka DIN 6164/

Identificiraju se boje na Rembrandtovoj slici uz

pomo} uzoraka DIN 6164/

The colours are identified on Rembrandts painting

with chips of the DIN 6164

The colours are identified on Rembrandts painting

with chips of the DIN 6164

na Leonardovoj slici/on Leonardos painting

na Leonardovoj slici/on Leonardos painting

Mije{aju se boje i prire|uju skale boja/ Paints are

mixed and colour gamuts are
prepared

IV/5 SLIKARSTVO
146

PAINTING

IDEALNA REKONSTRUKCIJA

ZLATNI REZ

GOLDEN SECTION

IDEAL RECONSTRUCTION

Paralelna u kosoj
projekciji sa ravninom
stra`nje strane piramide i
ravninom osnovice gornje
piramide

PAINTING

SLIKARSTVO

ANALIZA - KOMPARACIJA

REKONSTRUKCIJA PROSTORA (geometrijska)

ANALYSIS - COMPARISON

TAMA = NEPRISTUPA^NA SVJETLOST = BO@ANSKA SVJETLOST =

NEDODIRLJIVA I NEVIDLJIVA TAMA (PSEUDO DIONIZIJE, 6. ST.)

SPACE RECONSTRUCTION (geometric)

REKONSTRUKCIJA SOBE S VERMEEROVE SLIKE

RECONSTRUCTION OF THE ROOM OF VERMEER'S PAINTING

DARKNESS = UNAPPROACHABLE LIGHT = DIVINE LIGHT =

INTANGIBLE AND INVISIBLE DARKNESS (PSEUDO DIONYSIUS, 6TH C.)

Parallel in slant projection

to the plane of the side of
the pyramid and to the
plane of the base of the
upper pyramid

spirala, temeljni
kompozicijski zakon

Paralelni sa ravninom
strane piramide

spiral, basic
compositional rule

Parallel to the plane

of the side of
the pyramid

Haec ferre quum gemitus turgentia lumina proneant / Bellini

poterat flere Ioannis opus.

U ravnini strane piramide

i paralelna sa stranom
manje piramide

(SWILENS)

In the plane of the side

of the pyramid and
parallell to the side of
the smaller pyramid

(SMOKVINA-KORBAR)

THE PAINTING BECOMES HOLY

SLIKA POSTAJE SVETA

camera obscura

KOJA SLIKA?

KOJA SLIKA?

WHICH PAINTING?

WHICH PAINTING?

piramidalna kompozicija = opti~ka piramida

spu{tena na svoju osnovicu
pyramidal composition = optical pyramid
descended on the basis

^im su te od suza nabrekle o~i izazvale uzdahe djelo Giovannija Bellinija je umjelo plakati.
^IJE? Bogorodice i Ivana
^IJE? na{e
TKO PLA^E?
TEMA
GLEDATELJ
SLIKA
A s t h e e y e s s w o l l e n w i t h t e a r s c a u s e d s i g h s ( i t w a s c l e a r ) t h a t G i o v a n n i B e l l i n i ' s w o r k k n e w h o w t o c r y.
WHOSE? the Virgins and St. Johns
THE SUBJECT

WHOSE? ours
THE OBSERVER

WHO CRIES?
THE PICTURE

147

IV/5 SLIKARSTVO
148

Namjera u p e t o j radionici je istra`iti kompozicijske osobitosti odabranih slika: zlatnorezno proporcioniranje, prostornu konstrukciju i vezu slikarskog i verbalnog medija.
Ambijent: Isti je kao i u drugoj radionici, osim to je za scensku igru potreban slobodan prostor
ispred zida na koji se inae projicira, podij (po mogu}nosti stepeniast) i stolac. Sudionici dobivaju
fotokopije slika i teksta s Bellinijeve slike. Osim uobiajenih postupaka, koriste se jo i audio-zapis i
scenska igra.
Struktura doga|anja
1. Pokazuje se Bellinijeva slika i ita se tekst koji je na njoj napisan (Haec ferre quum gemitus turgentia lumina proneant / Bellini poterat flere Ioannis opus), i prevodi se. ^im su te od suza nabrekle
oi izazvale uzdahe / djelo Giovannija Bellinija umjelo je plakati. Postavlja se pitanje: to znai da
slika umije plakati? U mraku, bez projekcija, puta se nekoliko minuta audio-zapis plaa (glumica
B. Ipa). Nakon postignutog uinka (blagog oka) pita se: plae li slika na ovaj nain? Koja je razlika
izme|u plaa glumice i plaa slike? Predstoji da se istra`i.
2. Pokazuje se Rembrandtova slika i najavljuje se druga predstava koju izvode studenti. Studentiglumci, jedan po jedan, zauzimaju polo`aje likova na Rembrandtovoj slici, polaze}i od `enskog lika u
pozadini s lijeva, do lika koji klei naprijed, le|ima okrenut promatraima. Tako svojim silaskom, kretanjem, zaokretom, sjedenjem, kleanjem, stav-ljanjem ruku, sve u slijedu, upu}uju na likove u slici i
pokuavaju odigrati spiralu.
3. Sudionici se opet dijele u dvije grupe, jedni rade na tlocrtu plesa koji su izveli studenti i diskutiraju
o tome, a drugi na zlatnoreznoj podjeli Bellinijeve slike, provjeravaju}i najprije po osje}aju, a potom
mjerenjem.
4. Pokazuju se Leonardova i Vermeerova slika i postavljaju zadaci. Jedna grupa crta tlocrt sobe koju
je prikazao Vermeer, i tako pokuava rekonstruirati prostornu iluziju koju je slikar postigao upotrebom camere obscure. Druga grupa razglaba pred prostornom rekonstrukcijom Leonardove slike (priredila R. Smokvina-Korbar).
5. Na kraju se jo jednom pokazuju sve slike i sudionici govore o rezultatima svojih istra`ivanja (istie
se npr. uloga mjere - razmak izme|u Bogorodiinog i Kristovog lica na Bellinijevoj slici).

PAINTING

The intention of the f i f t h workshop is to

explore the compositional characteristics of the
chosen paintings: the Golden Section Proportions,
space construction, the connection between the
paint and verbal media.
Ambience: As in the second workshop except for
the scene of the play there is a free space in front
of a wall for the projections and a podium (if possible with steps) with a chair. The participants
receive photocopies of the paintings and the text
on Bellinis painting. Besides the usual procedure
we use a sound record and perform a play.
Structure of the activity
1. Bellinis painting is projected onto the wall and
the text written on it is read (Haec ferre quum genitus turgentia lumina proneant / Bellini poterat flere
/ Ioannis opus) and the translation: As the eyes,
swollen with tears, caused sighs (it was clear)
that Giovanni Bellinis work knew how to cry.
The question is posed: What does it mean that the
painting is able to cry?. In the darkness without
projections we play a few minutes of the sound of
someone crying (the actress: B. Ip{a). After the
effect (a mild shock) the question is posed: Does
the painting cry in this way? What is the difference
between the actresss crying and the crying of the
picture? An exploration results.
2. We project Rembrandts painting and anno-unce
the second performance done by the students. The
students-actors, one by one, occupy the positions

PAINTING

SLIKARSTVO

of the figures in Rembrandts painting starting from

the womans figure in the background left, to the
figure who is kneeling in front, with his back to the
obser-vers. So by descending, moving, turning,
sitting, kneeling, making gestures of the hands, all
in sequence, attention is directed at the figures in
the painting and the actors try to play the spiral.
3. The participants are again divided into two
groups, one group works on the ground plan of the
students performance and discusses it and the
other on the division of Bellinis painting according
to the Golden Section, first checking it according to
their feelings and afterwards by measuring it.
4. Leonardos and Vermeers paintings are projected and the tasks are set. One group draws a plan of
the room Vermeer represented in his painting, trying
to reconstruct the illusion of space the artist
achieved using the camera obscura. The other
group analyses and discusses the spacial reconstruction of Leonardos painting (prepared by
R. Smokvina-Korbar).
5. Finally we project all the paintings again and the
participants talk about the results of their exploration (the role of measures is emphasised - especially the gap between the faces of the Virgin and of
Christ in Bellinis painting).

149

Istra`uju se mjere Bellinijeve slike/

Istra`uju se mjere Bellinijeve slike/

The measures of Bellinis painting are explored

The measures of Bellinis painting are explored

Istra`uje se prostorna kompozicija Leonardove

slike/The space construction of Leonardos painting

Rekonstruira se prikazana soba na Vermeerovoj

slici/The reconstruction of the room represented in

is explored

Vermeers painting

Studenti izvode predstavu spiralne

postave likova na Rembrandtovoj slici/
The students-instructors perform the spiral composition of the figures in Rembrandts painting

Crta se tlocrt njihovog kretanja (spiralna

kompozicija slike)/A plan of their movement is
drawn (the spiral composition of the painting)

IV/6 SLIKARSTVO
150

PAINTING

IDEALNA REKONSTRUKCIJA

RAZGOVOR IZMEU G. BELLINIJA I A. DA MESSINE

TEMA: INVENTIONE (PRIZOR)

IDEAL RECONSTRUCTION

DISCOURSE BETWEEN G. BELLINI AND A. DA MESSINA

THE SUBJECT: INVENTIONE (SCENE)

PAINTING

SLIKARSTVO

ANALYSIS - COMPARISON

ANALIZA - KOMPARACIJA

RAZGOVOR ORIGINAL - FALSIFIKAT IZMEU VERMEERA I VAN MEEGERENA

DISCOURSE OF ORIGINAL - FORGERY BETWEEN VERMEER AND VAN MEEGEREN

VAN MEEGEREN

VERMEER

odgovor/answer: Bellini

odgovor/answer: da Messina

Bellini

(BELTING)

RAZGOVOR IZME\U REMBRANDTA I DE CHIRICA O BITNIM ODREDBENIM SADR@AJIMA SLIKE,

O BITI SLIKARSTVA
A DISCOURSE BETWEEN REMBRANDT AND DE CHIRICO ABOUT THE ESSENTIAL DETERMINING CONTENTS OF PAINTING,
ABOUT THE ESSENCE OF PAINTING

Pittura metaphisica
STILSKI RAZGOVOR LEONARDA S LEONARDOM

radosno djelovanje =
izlazak (ples)

STYLISTIC DISCOURSE OF LEONARDO WITH LEONARDO

tematizacija kontemplacije

joyful action =
exit (dance)

the thematisation
of contemplation

nadosjetilno ovanjteno
povratak = izlazak (spirala)
return = exit (spiral)

externalization
of the supersensory

bezosjetilno = grubo
senseless = rough

tematizacija kontemplacije
thematisation of contemplation
G. DE CHIRICO:

POVRATAK IZBUGLJENOG
SINA/THE RETURN OF THE
PRODIGAL SON,
REMBRANDT

1483.-86., Pariz/Paris

1503.-08., London

1922., ULJE/OIL, 87 X 59 CM,

MILANO/MILAN

TO^KA (znak zaustavljanja)

OKVIR (slo`eniji znak zaustavljanja)

PRI^A

PRIZOR

POINT (the halt sign)

FRAME (more complex halt sign)

STORY

SCENE

LINIJA (znak toka)

PRI^A (tok u drugom mediju)

OKVIR

KONTEMPLACIJA

LINE (the sign of flow)

STORY (flow in another medium)

FRAME

CONTEMPLATION

151

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152

Namjera u e s t o j radionici je osvijestiti razliku izme|u slike shva}ene kao vidljive svjetlosti, to
se zbivalo pred djelima u prve tri radionice, i osvjetljenja u slikama koje, hine}i uobiajeno, svjetlost
koriste da doaraju masu i prostor; osvijestiti opreku izme|u shva}anja nadnaravne svjetlosti kao
svjetlosti ili kao tame; ste}i iskustvo o razgovorima odabranih slikarskih djela s nekim njima suvremenim, ili ak istog autora, i o razgovorima koje kasnija djela pokuavaju voditi s njima, iz razliitih razdoblja i pobuda.
Ambijent: Stolice su okrenute prema zidu i prostoru ispred zida, gdje se odvija scenska igra.
Potreban je projektor i veliki drveni okvir.
Struktura doga|anja
1. Projicira se Bellinijeva, potom Vermeerova slika i analiziraju se privid daljnje difuzne svjetlosti i
uinci osvjetljenja u obje slike.
2. Pokazuje se apsidalni mozaik iz samostana sv. Katarine na Sinaju, 6. st., s temom Transfiguracije.
Ukazuje se na shva}anje koje je komplementarno onom koje se ve} upoznalo o svjetlosti. Potjee
tako|er od Pseudo-Dionizija, 6. st.: Bo`anska svjetlost se shva}a kao nedodirljiva i nevidljiva
tama, nepristupana svjetlost gdje Bog obitava. Upozorava se da je na prikazu Krista u tamnoj
mandorli, tama gu}a to je bli`a Kristovom tijelu. Ovo je uvod u pokazivanje Leonardove i
Rembrandtove slike, u Leonardov svepro`imaju}i sfumato, a i u Rembrandtov mrak iz kojeg izranjaju
likovi.
3. Uspore|uje se Bellinijeva Pieta iz Brere, koja je po op}oj frontalnoj postavi likova jo nalik ikoni, s
Pietom iz Madrida A. da Messine, 1475., ulje na dasci, 74 x 51 cm, Prado, te s Bellinijevim Kristovim
pomazanjem, Pale Pesaro u Vatikanu, 1475., ulje na dasci, 106 x 84 cm. Prema tezi H. Beltinga rije
je o likovnom razgovoru izme|u dva autora, o da Messininom odgovoru i Bellinijevom protuodgovoru. Sve se vrti oko renesansne inventione - scene, shva}ene hijeratski frontalno, ili iz dramatine kosine, te razliitog broja likova. Jo jedna razlika: nije vie slika po tome sveta to prikazuje,
ve} po tome to je slika.
4. U drugi razgovor ulazimo gledaju}i dvije Leonardove varijante Bogorodice u stije-nama, parike i
londonske. Pokazuju se detalji i igrom odgonetavanja - kojoj slici pripada koji detalj - osvjetava se
razlika me|u slikama, osvjetava se stilski razgovor dviju slika istog autora, iste teme i naizgled
vrlo sline invencije.
5. Zadaje se vizualna zagonetka koja dalje iskuava osjetljivost sudionika. Prikazuju se: a) Van
Meegeren Krist u Emausu (nastao 1936.-1937., falsifikat); b) M. Caravaggio Krist u Emausu, 1596.,
Milano; c) M. Caravaggio Krist u Emausu, 1603., London;
d) Z. ulenti} Krist u Emausu, 1965., Zagreb; e) I. Mcsai Slikar i njegov model, 1981.,
Budimpeta; f) Vermeer Sat glazbe, 1660., London. Vodi se razgovor i pokuava otkriti koja je
Vermeerova slika, koja vodi razgovor, kakav i na temelju ega. Osvjetava se promjena kvalitete
(original - prijevara/falsifikat) u sluaju odnosa Vermeer - Van Meegeren, i promjena namjere, da se
scena razotkrije kao prijevara (Vermeer - Mcsai).
6. Scenskom igrom pokuava se tematizirati odredbeni sadr`aj slike. Studenti izvode predstavu. Na
sceni se neki studenti-glumci kre}u manje vie u krug, dok drugi nose veliki okvir. Kada se okvir
zaustavi, zaustave se i glumci u krugu. To se ponavlja tri puta, da bi okvir bio po jednom frontalno
okrenut svim sudionicima. Nakon toga se okvir stavlja uz zid. Sudionicima se postavlja pitanje: to
smo radili?
7. Pokazuju se Rembrandtova i slika G. de Chirica (1922., ulje, 87 x 59 cm, Milano) s istom temom
u svrhu otkrivanja osobitosti razgovora koji moderni nadrealistiki slikar (pittura metaphisica) vodi
s Rembrandtovom slikom. Analizira se de Chiricova slika. Slijedi interpretacija da se razgovor vodi
o bitnim odredbenim sadr`ajima slike. Temeljna poela, toka i linija, znakovi zaustavljanja i toka, u
slikama se pojavljuju i u slo`enijem vidu, na drugoj razini, kao okvir (znak zaustavljanja) i kao pria
(znak toka). Predstavom se pokuava tematizirati odnos okvira i prie. Ukoliko okvir motri priu,
nastaje prizor; obrnuto, ukoliko pria motri okvir, kontemplacija. Okvir se prislanja uz bijeli zid
(prazan kadar, poklapanje kadra i svjetlosti). Pokuava se ukazati kako se kontemplacija tematizira u
Rembrandtovim slijepim likovima i kako u bezosjetilnom manekenu i gruboj gips-figuri de
Chiricove slike (inverziji unutarnjeg u vanjsko). U obje se slike doga|a izlazak iz zatvorenog kruga:
u Rembrandtovoj slici je to odvrtanje, spirala, temeljni kompozicijski zakon, a u de Chirica tematski
element: ples.
Ovdje kulminira pretenciozni cilj radionica da se sudionike pokua pribli`iti metafizici slike.

PAINTING

The intention of the s i x t h workshop is to

become aware of the difference between a picture
conceived as visible light, which, was seen in the
first three workshops and the concept of illumination in paintings, which pretends to be the common,
and to use the light to obtain an illusion of mass
and space; to make the participants aware of the
opposition between the concept of supernatural
light as light or darkness. The intention is also to
gain experience of the discourse of the chosen
paintings with some contemporary ones or even by
the same author and of the discourse which
some later works of art try to have with them, from
different periods and out of different intentions.
Ambience: The chairs are turned to the wall (for
projection) and to the space in front of the wall
where the performance takes place. Requisites:
a large wooden frame.
Structure of the activity
1. First Bellinis and then Vermeers paintings are
projected and we analyse the illusion of daily, diffuse light and the effects of illumination in both
paintings.
2. The mosaic in the apsis from St. Catherines on
Mount Sinai, 6th Century with the subject of the
Transfiguration is shown. An instruction is given
about the concept complementary to the one about
light that we already know. It originates also from
the Pseudo-Dionysius (6th Century): Divine light is
conceived as untouchable and invisible darkness,
the unapproachable light where God is dwelling.
The participants are warned that the darkness is
denser as it is closer to Christs body in the dark
mandorla. This is an introduction into Leonardos
and Rembrandts paintings, into Leonardos all permeating sfumato and into Rembrandts darkness out
of which the lighted figures emerge.
3. Bellinis Pieta from Brera, which in the frontal
disposition of the figures is still iconlike, is compared with the Pieta of A. da Messina 1475, oil on
wood, 74 x 51 cm, Prado, Madrid, and Anointment
of Christ by Bellini, Pale Pesaro, 1475, oil on wood,
106 x 84 cm, Vatican. According to H. Beltings
thesis here we have got an artistic discourse
between the two authors: Messinas answer to
Bellini and Bellinis counter-answer. It all revolves
around the Renaissance inventione - scene, conceived hyeratically frontal, or in a dramatic slope or
in a different number of fi-gures. One more difference: the picture is no more sacral according to
what it represents but in itself.
4. We enter the second discourse looking at
Leonardos two variations of The Virgin of the Rocks,
the one in Paris and the one in London. The details
are shown and by playing-guessing - which detail
belongs to which painting we become aware of the
difference between the two paintings, of the stylistic discourse of both the paintings by the same
author, with the same subject and seemingly very
similar invention.
5. A visual puzzle testing the participants sensibility
is posed. We show: a) Van Meegeren: Christ and the
Disciples at Emmaus (1936-37, forgery);

PAINTING

SLIKARSTVO

b) Caravaggio: Christ and the Disciples at Emmaus,

1596, Milano; Caravaggio: Christ and the Disciples
at Emmaus, 1603, London; d) Z. [ulenti}: Christ and
the Disciples at Emmaus, 1965, Zagreb;
e) I. Mcsai: The Artist and his model, 1981,
Budapest; b) Vermeer: The Music Lesson, 1660,
London. The participants talk and try to find out
which of them is by Vermeer, which of them leads
the discourse, what sort and on what basis. The
participants become aware of the change of quality
(original - deception/forgery) in the Vermeer - Van
Meegeren relation, and the change of intention, to
reveal the scene as deception (Vermeer - Mcsai)
6. Through acting we try to thematise the determining content of the painting. The students perform a
show. On the stage some students-actors move
more or less in a circle and others carry a large
frame. When they stop the frame, the actors in the
frame stop, too. They repeat it three times so that the
frame should be turned to all of the participants.
After that the frame is leant against the wall. The participants are asked: what did we do?
7. We show Rembrandts painting and that of G. de
Chirico (1922., oil, 87 x 59 cm, Milan) with the
same subject to discover the particularity of the
discourse which the modern surrealistic painter
(pittura metaphisica) leads with Rembrandts painting. We analyse de Chiricos painting. Then an
interpretation follows: the discourse is about the
essential determining contents of the painting. The
basic origins of the point and the line, the signs of
halt and of flow, in the paintings appear also in
more complex forms, on another level, such as a
frame (the sign of halt) and as a story (the sign of
flow). With the performance we tried to thematise
the relation between the frame and the story. If the
frame observes the story, a scene comes out and
if the story observes the frame then contemplation comes out. The frame is leaned against a white
wall (empty frame, overlapping of the frame and the
light). We try to show how contemplation is thematised in the blind figures of Rembrandts painting
and how in the senseless mannequin and in the
rough plaster figure of Chiricos painting (the inversion of the inner into the outer). In both paintings
an exit from the closed circle takes place: in
Rembrandts it is unscrewing, the spiral, the basic
compositional rule and in de Chiricos the thematic
element: dance.
Here culminates the pretentious aim of the workshops to bring the participants closer to the metaphysics of the picture.

153

Studenti izvode predstavu o biti slike/

The students-instructors perform a play about
the essence of the picture

IV/7 SLIKARSTVO
154

PAINTING

IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

G. SEURAT:

PAINTING

SLIKARSTVO

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

V. KANDINSKI/V. KANDINSKY:

PARADA/PARADE

KOMPOZICIJA IV (BITKA)/
COMPOSITION IV (THE BATTLE) ,

1887.-88., ULJE/OIL,
100 X 150 CM,
METROPOLITAN MUSEUM ,
NEW YORK

1911., ULJE/OIL, 160 X 250 CM,

DSSELDORF
P. MONDRIAN:

CRVENO STABLO/
THE RED TREE,
1908., ULJE/OIL,
70 X 99 CM,
GEMEENTE MUSEUM,
HAG/THE HAGUE

to~ke/mrlje
points/dots

H. MATISSE:

RUMUNJSKA BLUZA/
RUMANIAN BLOUSE,
1940., ULJE/OIL, 92 X 72 CM,
PARIZ/PARIS

purpur, "turoban i nepodnoljiv"

purple, "gloomy and unbearable

crvena, "teka zvu~nost"

red, "heavy sonority"

naran~asta, zako~ena, neuravnote`ena, hibridna,

ekscentri~na
orange, halted, unbalanced, hybrid,
eccentric

`uta, reski otri zvuk", topla, svjetla

ekscentri~na, usmjerena prema gore,
eksplozija
yellow, biting sharp sound" warm light
eccentrically directed up,
explosion

metoda izra~unavanja omjera

the method to compute the ratios

potezi
strokes

omjeri boja
colour ratios

sve 100%

zelena, smirena, deprimantna, indolentna

green, peaceful, depressive, indolent

plava, hladna trpkog okusa,

tamna, koncentri~no usmjerena prema dolje,
povla~enje,
blue, cold astringent taste,
dark, concentric,
directed down

44%
27%
11%

7%

5,5%

3%

2%

0,5%

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IV/7 SLIKARSTVO
156

U s e d m o j radionici namjera je ste}i neposredno iskustvo o izboru boja i sintaksi modernih

slikarskih djela odre|ivanjem boja bez pomo}i uzorka; pronala`enje i optiko-verbalno evidentiranje
skale na slici bez tvarnog mijeanja boja; izra|ivanje skale omjera boja mijeanjem uljene boje i
iskuavanje tragova kista (mrlja, potez).
Ambijent: Isti je kao i u prvoj i etvrtoj radionici, osim to se boja mijea kod oba stola (studenti
unaprijed prire|uju boje, polupomijeane u aama za svakog sudionika). DIN 6164 uzorci se nalaze
na odvojenom stolu odakle studenti-instruktori, ako je potrebno, sudionicima donose pojedine uzorke
zati}ene plastinom folijom, radi pro-vjere. Potrebne su i kartonske trake i kistovi.
Struktura doga|anja
1. a) Projicira se Rumunjska bluza H. Matissea, 1940., ulje na platnu, 97 x 72 cm, Muzej moderne
umjetnosti, Pariz. Dok svi sudionici istodobno gledaju reprodukciju razgovorom se dolazi do to
tonije odredbe boja u sve tri dimenzije. Hipoteze se provje-ravaju u DIN 6164 sustavu, to obavljaju
instruktori. b) Sudionici (uz pomo} studenata-instruktora) mijeaju boje i nanose ih na kartonsku
traku u omjerima koje otkrivaju na slici. Preporuuje se krenuti od one boje koja se smatra najmanje
zastupljenom.
2. Projicira se detalj slike Parada G. Seuratea, 1887.-1888., ulje na platnu, 100 x 150 cm,
Metropolitan Museum, New York. Sudionici biraju neki prigueni valer, koji pokuavaju dobiti
mijeanjem i kistom imitiraju tokasti trag Seuratova rukopisa.
3. Projicira se detalj Crvenog stabla P. Mondriana, 1908., ulje na platnu, 70 x 99 cm, Gemeente
Museum, Hag. Sudionici mijeanjem dobivaju crvenonaranastu i kistom iskuavaju odabrani
Mondrianov potez.
4. Slijedi optiko pronala`enje-identificiranje boja i pra}enje skale na projekciji slike
V. Kandinskoga Kompozicija IV (Bitka), 1911., ulje na platnu, 160 x 250 cm, Dsseldorf. Vodi se razgovor i upozorava se na sinestetska znaenja koja je Kandinski otkrivao u pojedinim bojama (reski otri
zvuk `utog, hladnoplavo trpkog okusa, turobni i nepodnoljivi purpur, teka zvunost crvenog itd.) radi
promiljanja/proosje}anja.

PAINTING

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

gain direct experience of the choice of colours, of
the colour syntax of modern paintings through
colour identification without the help of chips; finding and optical-verbal registering the colour gamut
in the paintings without mixing paints; preparing
the gamut of colour ratios mixing oilpaint and trying out brush traces (dot, stroke).
Ambience: Similar to the first and fourth workshops, except that the paints are now mixed on
both tables (the students-instructors prepare the
paints halfmixed in cups for each participant in
advance). The DIN 6164 chips are on a separate
table from where the students-instructors bring
some chips in protective bags if they are needed
for checking. Cardboard strips and brushes are
distributed.
Structure of the activity
1. a) H. Matisses Rumanian Blouse (1940, oil on
canvas, 97 x 72 cm, Museum of Modern Art,
Paris) is projected and while looking at it simultaneously, in discourse we come to a more precise
definition of colours in three dimensions. The
hypotheses are checked in the DIN 6164 system
by the instructors. b) The participants (helped by
the students-instructors) mix the paints discovered
in the painting and put them into corresponding

PAINTING

SLIKARSTVO

ratios on a cardboard strip. It is advisable to start

with the paint that is least present in the picture.
2. Detail of G. Seurats painting Parade (1887-88,
oil on canvas, 100 x 150 cm, Metropolitan
Museum, New York) is projected and the participants choose some pale chroma which they try to
get by mixing and with it and a brush, to imitate
the point-like trace of Seurats handwriting.
3. A detail of P. Mondrians Red Tree (1908, oil on
canvas, 70 x 99 cm, Gementee Museum, the
Hague) is projected. The participants get the red
orange colour by mixing and with the brush they
try out one of Mondrians strokes that they have
chosen.
4. The optical discovery and identification of
colours and following the colour gamut in
V. Kandinskys Composition IV (the Battle), 1911,
oil on canvas, 160 x 250 cm, Dsseldorf, takes
place. The participants and the workshop leader
discuss the synaesthetic meanings which
Kandinsky discovered in each colour (yellow - biting sharp sound, blue - cold, astringent taste, the
gloomy and unbearable purple etc.) on account of
pondering and feeling.

157

Uljenom bojom i kistom isku{ava se ostavljanje

tokastih tragova/Spotlike traces are tried out with
oil paint and brush

Prire|uje se omjerska skala boja Matisseove

slike/A gamut with colour ratios of Matisses painting is prepared

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158

PAINTING

IDEAL RECONSTRUCTION

IDEALNA REKONSTRUKCIJA

PAINTING

SLIKARSTVO

ANALIZA - KOMPARACIJA

ANALYSIS - COMPARISON

RESTORATION OF WHOLENESS

PONOVNO USPOSTAVLJANJE CJELOVITOSTI

[TO NEDOSTAJE?
WHAT IS MISSING?

H. MATISSE:

RUMUNJSKA BLUZA/
RUMANIAN BLOUSE

PRIPREMNI RADOVI

PREPARATION WORKS

V. KANDINSKI/V. KANDINSKY:

KOMPOZICIJA IV/
COMPOSITION IV

159

IV/8 SLIKARSTVO
160

Namjera u o s m o j radionici je ste}i kompetenciju za vrednovanje dovr{enog djela postupkom

usporedbe s pripremnim crte`ima i restauriranjem cjelovitosti iz obesmi-ljenog djela; ste}i neposredno
iskustvo o odnosu predod`bene realnosti i realnosti kadra, te osvijestiti mjere slike istra`ivanjem kadra.
Ambijent: Isti je kao i u drugoj i petoj radionici. Sudionici dobivaju fotokopije djela, Kandinskijeve
pripremne radove fotokopirane na pausu, te fotokopije analiza Seuratove slike M. Ghyke i Ch.
Bouleaua.
Struktura doga|anja
1. Pokazuju se obesmiljene varijante Matisseove slike (na prvoj nedostaju tri mrlje, na drugoj dvije, i
na tre}oj jedna mrlja). Vodi se razgovor, osvjetava se osje}aj nedostaje li to na slici, ako da - gdje.
Razgovor koji se vodi kre}e od osobitosti Matisseovih linijskih poteza i mrlja, istra`uje se sintaksa.
Usred razgovora sudionici se pozivaju da pojedinano ili grupno rekonstruiraju mrlje koje nedostaju.
Raspravlja se o dobivenim rezultatima i projicira se neokrnjeno djelo.
2. Sudionicima se dijele na pausu fotokopirana tri pripremna rada V. Kandinskog za sliku
Kompozicija IV i fotokopija dovr{ene slike. a) U svaki se crte` na pausu unose linije sa slike kojih na
crte`u nema, odnosno oznaavaju se razlike raznobojnim flomaste-rima. Studenti-instruktori stalno
usmjeravaju na odgonetavanje smisla promjene.
b) Provjeravaju se uoene promjene na projekciji dovr{ene slike
3. Dijele se papiri A4 formata i od sudionika se tra`i koncentracija na predod`bu stabla koja im se
prva javlja u svijesti i da je nacrtaju razapnuvi je na format, vodoravno polo`en. Radi se krejonom,
flomasterom.
4. Istra`uje se kadar G. Seuratove slike i pronalazi zlatni rez. U analizi se koriste dva predloka
(M. Ghyka, Ch. Bouleau).
5. Projiciraju se slike redoslijedom kako su se pojavljivale u vje`bama: Matisse, Mondrian (cjelina),
Kandinski, Seurat. Sudionici govore o svojim iskustvima.

PAINTING

The intention of the e i g h t workshop is to

become competent in evaluating a finished work
through comparison with the preparatory drawings
and through restoring the whole out of an intentionally mutilated work; to gain direct experience of the
relation of an imaginative reality and the reality of
the frame and to become aware of the measures of
the paintings through an exploration of the frame.
Ambience: The same as in the second and fifth
workshops. The participants receive photocopies of
the artworks, V. Kandinskys preparatory drawings
photocopied on tracing papers and photocopies of
M. Ghykas and Ch. Bouleaus analysis of Seurats
painting.
Structure of the activity
1. We project the variations of the intentionally
mutilated painting by Matisse (in the first one three
dots are missing, in the second two and in the
third one dot). The discourse concerns the question whether something is missing in the painting
or not and, if so, where. The discourse starts with
the peculiarities of Matisses linear shapes and
dots and his syntax is explored. During the discourse the participants are invited to reconstruct,
individually or in groups, the dots which are missing. They discuss the results and the unmutilated
artwork is projected.

PAINTING

SLIKARSTVO

2. Three preparatory drawings by V. Kandinsky for

the painting Composition IV photocopied on tracing
paper and photocopies of the finished painting are
distributed to the participants.
a) The task is to insert into each drawing on the
tracing paper the lines of the painting missing in the
drawing, the differences are marked with colour
felt-tip pens. The instructors direct the participants
towards solving the meaning of the changes.
b) The differences noticed are checked on the projection of the finished painting.
3. Pieces of format A4 paper are distributed and the
participants are invited to concentrate on the idea of
a tree which appears first in their imagination and to
draw it expanding it on this format in a horizontal
position. They work with crayons or felt-tip pens.
4. The frame of G. Seurats painting is explored and
the participants discover the Golden Section in it. In
analysis two specimens are at hand (M. Ghyka,
Ch. Bouleau).
5. The paintings are projected in the same
sequence as they appeared in the exercises:
Matisse, Mondrian (the whole), Kandinsky, Seurat.
The participants talk about their experiences.

161

Istra`uju se pripremni radovi Kandinskog/

Kandinskys preparatory works are explored

Na projekcijama provjeravaju se rezultati

istra`ivanja/The results of the exploration are
checked on the projections

Na projekcijama provjeravaju se rezultati

istra`ivanja/The results of the exploration are

Interveniralo se u Matisseov crte`/sliku, istra`uje

se {to nedostaje/Matisses drawing/painting was

checked on the projections

mutilated; exploration of what is missing

IV/9 SLIKARSTVO
IDEALNA REKONSTRUKCIJA

IDEAL RECONSTRUCTION

RAZGOVOR SLIKARSKIH MEDIJA

PAINTING

SLIKARSTVO

ANALIZA - KOMPARACIJA

ANALYSIS-COMPARISON

Pokuaji

RAZGOVOR RAZLI^ITIH MEDIJA

DISCOURSE OF PAINTING MEDIUMS

Attempts

DISCOURSE OF DIFFERENT MEDIUMS

isti format, ista tema, ista makrorazrada

pojednostavljenje tematskih elemenata

simplification of thematic elements

the same format, the same subject, the same macro

articulation

Golden Section

P. MONDRIAN:

CRVENO STABLO/
THE RED TREE,
1908.

G. SEURAT:

PARADA/PARADE,
STUDIJA/STUDY,
PERO/PEN, 12,5 X 19,5 CM,
BASEL,/BASLE

b
a

V. KANDINSKI/V. KANDINSKY:
KOMPOZICIJA IV/COMPOSITION IV
(RCKBLICK, DER STURM, BERLIN, 1912.-22.)
1. MASE (raspored te`ina):
boja: dolje u sredini - plava daje cjelini stanovitu hladno}u
gore desno - odijeljene plava, crvena, `uta
linija: gore lijevo - crna linija suspregnutih konja
dolje desno - izdu`ena linija le`e}ih likova

PLAVO STABLO/
THE BLUE TREE,

a : b = 0,618

2. U MEUSOBNOJ SU OPRECI
masa i linija
ono jasnih kontura i ono nejasnih
`arite linija i `arite boja, ali glavna je opreka, opreka
izme|u iljatootrog kretanja (bitka) i
svijetlih-hladnih-otrih boja
a
G. SEURAT:

PARADA/PARADE,
PRIPREMNA STUDIJA/
PREPARATORY STUDY,
ULJE/OIL, 17 X 25 CM,
ZRICH

b
b

a
zlatni rez

162

PAINTING

G. SEURAT:
PARADA/PARADE,
ULJE/OIL, 100 X 150 CM,
NEW YORK

1909.-10.,
AKVAREL-TINTA/
CHINA-ACQ,
75,5 X 99,5 CM,
HAG/THE HAGUE

3. PRELIJEVA SE
boja preko granica odre|enih obrisom
kroz savrenu konturu tvr|ave prokapljuje nebo i slabi je
(itd.)
1. MASSES (arrangement of weight):
colour: below the centre - blue gives the whole
a certain coolness
above right - separated blue, red, yellow
line:
above left - black line of constrained horses
below right - elongated line of reclining
figures

neuhvatljivi tren
USPJEH

KOMPOZICIJA U
PLAVOM, SIVOM I
RU@I^ASTOM/
COMPOSITION IN
BLUE, GREY AND PINK,

elusive moment
SUCCESS

1913., ULJE/OIL,
88 X 115 CM,
OTTERLO

2. MUTUALLY OPPOSED ARE:

mass and line
clear and unclear lines
focus of lines and focus of colours but the main
opposition is the opposition between the pointedsharp movement (the battle)and light-cold-sharp
colours
3. THE OVERFLOW
of colour across the boundaries defined by
the contours
the sky leaks through the perfect contour of the
fortress and blurs it (etc.).

razgranavanje,
bujanje apstraktnih oblika
ramification,
exuberation of abstract shapes

MATISSE:

RUMUNJSKA BLUZA/
RUMANIAN BLOUSE

OBALA I OCEAN/
PIER AND THE OCEAN,
1915., ULJE/OIL,
85X108, OTTERLO

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IV/9 SLIKARSTVO
164

Namjera u d e v e t o j radionici je osvijestiti ulogu medija; ste}i iskustvo o procesu nastajanja

djela, o umjetnikovoj vlastitoj interpretaciji djela i iskustvo o procesu nastajanja apstrakcije u modernom slikarstvu.
Ambijent: Razmjetene su stolice bez stolova. Sudionici su okrenuti prema zidu na koji se projicira.
Potrebna su tri projektora i oni su na uobiajenom mjestu. Tijekom rada dobivaju se tekstovi
Kandinskog i Ungarettija.
Struktura doga|anja
1. a) Projicira se: Seuratova studija za Paradu u tehnici pera, 12,5 x 19,5 cm iz privatne zbirke u
Baselu, format zlatorezni. Vodi se razgovor. Neki sudionici su vjerojatno zbunjeni, misle da se radi o
crno-bijeloj reprodukciji njima ve} poznate slike. Osvjetava se da se radi o crte`u i u razgovoru se
analiziraju razlike koje proizlaze iz razlike me-dija, dakle, ista tema, isti format, ista razrada formata
- u emu je razlika? to proizlazi iz uljene boje a to iz pera - na to se tra`i odgovor. b) Projicira se Seuratova studija za Paradu,
ulje, na poklopcu kutije za cigare, 17 x 25 cm, iz privatne zbirke u Zrichu. Format je ponovo po
zlatnom rezu. U razgovoru se opet osvjetavaju razlike i prema prethodnoj studiji i prema gotovom
djelu. Nastoji se usmjeriti prema osvjetava-nju medijskih osobitosti (mrlja, potez, podloga).
c) Projicira se gotova slika i provje-ravaju se sve ranije hipoteze.
2. Projicira se Kompozicija IV V. Kandinskog. ^ita se njegov tekst i pokuava pratiti dijalog koji
Kandinski vodi sam sa sobom verbalno analiziraju}i vlastitu sliku. Pitanjima se olakava pra}enje
njegove interpretacije.
3. Projicira se u slijedu osam fotografija Matisseove Rumunjske bluze koje pokazuju faze to prethode
konanoj slici. U razgovoru se prate i osvjetavaju promjene - korak po korak - i nastoji osvijestiti
neuhvatljivost trenutka kada iz mnotva pokuaja nastaje uspjeh - slika.
4. Radi pojaanja tog iskustva radi se verbalni eksperiment. Proita se iznimno kratka pjesma
G. Ungarettija, Jutro. Predla`e se obrnuta avantura od one koja se pratila nastajanjem Matisseove slike.
Voditelj zapoinje priu, pokuaj je to rekonstrukcije do`ivljaja koji prethodi pjesmi - brbljavu, banalnu
priu, o htijenju vi|enja izlaska sunca - i tra`i se od sudionika da nastave, da dodaju svoje brbljanje o
tom zamiljenom do`ivljaju. Brbljanje se presjee itanjem Ungarettijeve pjesme: Obasjavam se
beskrajem. Pitanje koje se postavlja: to je bujanje a to pojednostavljenje u stvaranju? (vje`ba:
D. Janda)
5. Pokazuje se slijed Mondrianovih slika: Crveno stablo, Plavo stablo, Sivo stablo, Jabuka u cvatu,
Kompozicija br. 3 (stablo), Ovalna kompozicija sa stablima, Kompozicija u plavom, sivom i ru`iastom,
Obala i ocean (vremenski raspon: 1908.-1915.). Polazite je stablo, nesluajni tematski element, ija je
bit razgranavanje, bujanje. Slijed Mondri-anovih slika pokazuje dvostruki proces - pojednostavljenje
razgranatog stabla i razgranavanje, bujanje apstraktnih oblika variranjem, umna`anjem.

PAINTING

The intention of the n i n t h workshop is to

become aware of the role of the medium, to gain
experience of the creative process, of the authors
interpretation of his own work and to experience the
process of abstraction coming into existence in
modern painting.
Ambience: Chairs are placed around the room
without tables. The participants face the wall with
the projection. Three projectors are needed and
they are in their usual places. During the work the
participants are given the texts by Kandinsky and
Ungaretti.
Structure of the activity
1. a) G. Seurats study for the Parade in the technique of pen, 12.5 x 19.5 cm from a private collection in Basle is projected. The format is in the proportion of the Golden Section. A discussion is held.
Some participants are perhaps confused, they think it
is a black and white reproduction of the already
known painting. They become aware that it is a
drawing and they talk about the differences which
come out of the different mediums, but the same
subject, the same format, the same articulation of the
format - where is the diffe-rence? What comes out of
oil paint and what out of pen? That is the question to
be answered. b) Seurats study for the Parade, oil, on
a cigarbox cover, 17 x 25 cm, from a private collection in Zrich, is projected. Again the format is in the
Golden Section proportion. During the discussion the
participants become aware of how different it is from
the former study and the finished work. The intention
is to become aware of the medium particularities
(dot, stroke, ground). c) The finished painting is projected and all the hypotheses are checked.
2. V. Kandinskys Composition IV is projected. The
workshop leader reads out aloud Kandinskys text
and tries to follow the dialogue which Kandinsky
has with himself verbally analysing his own painting. By questioning we try to follow and understand
his interpretation.

SLIKARSTVO

3. In a sequence of eight slides Matisses

Rumanian Blouse is projected showing the phases
which precede the finished artwork. In conversation
we become aware of the changes - step by step and we try to become aware of the elusive moment
when, out of a multitude of attempts the success,
the painting emerges.
4. To strengthen this experience we make a verbal
experiment. The workshop leader reads an exceptionally short poem by. G. Ungaretti, Morning. A
suggestion is made about an adventure opposite to
the one followed by the phases of Matisses painting. The workshop leader starts a story as a reconstruction of the experience which precedes the
poem - a talkative, banal story about the desire to
see the sunrise and invites the participants to continue, to add their chat about this imagined experience. The talk is cut off by Ungarettis poem
Millumino dimmenso. The question is posed:
what is swelling and what is reduction in creation?
(the exercise was published by D. Janda)
5. A series of Mondrians paintings are shown: The
Red Tree, The Blue Tree, The Grey Tree, Apple tree
in blossom, Composition No 3 (tree), Oval composition with trees, Composition in Blue, Grey and
Pink, Pier and Ocean (the time span from 1908 till
1915). The starting point is the tree, a non-random
thematic element, the essence of which is just a
ramification, a swelling. The series of Mondrians
paintings shows a dual process - the reduction of a
branched tree and the ramification, the swelling of
abstract shapes through variation and multiplication.

PAINTING

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Namjera u d e s e t o j radionici, slino namjeri u zavrnoj radionici C r t e `, dvojaka je. Jedna je

utilitarna: runo proizvoditi papir, druga je: ste}i iskustvo u prire|ivanju neke podloge umjetnikog
djela (plono istanjena masa teksturalnog ili plonog oploja).
Ambijent: Stolovi su razmjeteni u dva usporedna niza. Potrebna je voda u ve}im posudama. Na
po jednom kraju niza stolova prire|eni su drveni okviri sa sitom postav-ljeni na posudu, valjak,
posude za lijevanje, spu`ve, dugi tanki no`evi, krpe i velika koliina novinskog papira. Unaprijed je
prire|ena papirna pulpa u velikim posudama (dobivena miksanjem u vodi omekanog papira u
omjeru 1:100, tj. 30 dkg suhog papira na 30 litara mlake vode).
Struktura doga|anja
1. Sudionici redom prave svaki barem po jedan list papira. Smjesa se jednolino lijeva na okvir razapeto sito iznad kojeg je drugi prazni odvojivi okvir. Zajedno se strese nekoliko puta i pa`ljivo skida,
prazni okvir. Stavlja se namoena, iscije|ena pamuna tkanina, pa deblji karton i okrene. Tada se
spu`vom skuplja voda i okvir sa sitom se makne. Stavlja se suhi novinski papir i valjkom se prelazi
vie puta, okrene i tankim dugim no`em pa`ljivo odvaja od tkanine. Postupak stavljanja suhog papira
i prela`enje valjkom ponavlja se vie puta i konano se gotovi list papira ostavi suiti jo nekoliko sati.
Izme|u suhih listova novina poluvla`ni papir se nesmetano mo`e prenositi.
2. Sudionici se pozivaju na razgovor uz aj i kolae.

PAINTING

The intention of the t e n t h workshop, similar to

the intention in the final workshop of Drawing is of
two kinds. One is to produce handmade paper and
the other to get experience of a sort of ground for
artwork (the planar mass with textural or planar surface).
Ambience: The tables are in two parallel rows.
Some water is needed in large containers. At the
ends of the tables there are wooden frames prepared with sieves placed on the containers, rollers,
jugs for pouring, sponges, long, thin knives, dishcloths and a large quantity of newspapers. Paper
pulp is prepared in advance in large vessels (prepared by stirring and mixing in the water already
softened paper at a ratio 1:100, i.e. 30 dkg of dry
paper and 30 liters of lukewarm water).

PAINTING

SLIKARSTVO

Structure of the activity

1. The participants make at least one leaf of paper.
The mixture must be poured uniformly onto the
sieve, in the frame. Uppon is another empty movable frame. They are shaken several times and the
upper empty frame is carefully put away. The damp
but wrung out cotton cloth is put on, then a cardboard and turned over. The water is mopped with a
sponge and finally the frame with the sieve is taken
away. Dry newspapers are put on and it is rolled
several times with a roller, then turned and with a
thin long knife very carefully separated from the
cloth. The procedure of adding dry newspapers and
rolling is repeated several times and in the end the
finished paper is put to dry for some hours. The half
dry paper can be transported safely between dry
newspapers.
2. Invitation to a get together with refreshments.

167

Proizvodi se papir: smjesa se lijeva na sito u

okviru, iznad je drugi prazni okvir/Paper is pro-

Trese se/It is shaken

duced: the mixture is poured into the sieve in frame,

uppon is an another empty frame

Gornji je okvir maknut/The upper frame is put

Okvir sa sitom se okre}e/The frame with the sieve

away

is turned over

Stavlja se novinski papir/Dry newspapers are put

No`em se pa`ljivo odvaja od tkanine/

on

The handmade paper is carefully separated

Papir je gotov/The finished paper

i razgledava se/is examined