Radionica IV

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II DD EE AA LL NN AA RR EE KK OO NN SS TT RR UU KK CC II JJ AASLIKA JE VIDLJIVA SSVVJJEETTLLOOSSTT -- PPLLOOHHAA

II DD EE AA LL RR EE CC OO NN SS TT RR UU CC TT II OO NNA PICTURE IS VISIBLE LLIIGGHHTT -- PPLLAANNEE

PPAAIINNTTIINNGG

SVJETLOST (LUMEN) LIGHT

titranje - SVJETLOSTglittering - LIGHT

zasjenjenje boja reflektiranom SVJETLOŠ]Ushadowed colours by reflected LIGHT

BBOOGGOORROODDIICCAA NNAA PPRRIIJJEESSTTOOLLJJUU//

VVIIRRGGIINN OONN TTHHEE TTHHRROONNEE,,66.. SSTT..//66TTHH CC..,, MMOOZZAAIIKK//MMOOSSAAIICC,, VVIISSIINNAA AAPPSSIIDDEE//HHEEIIGGHHTT OOFF TTHHEEAABBSSIISS:: 1111 MM,, EEUUFFRRAASSIIAANNAA,,PPOORREE^̂

BBOOGGOORROODDIICCAA SS DDJJEETTEETTOOMM II AANN\\EELLIIMMAA//

VVIIRRGGIINN AANNDD CCHHIILLDD WWIITTHH AANNGGEELLSS,,

88..--99.. SSTT..//88TTHH--99TTHH CC..,, MMIINNIIJJAATTUURRAA,, AAKKVVAARREELL NNAA PPEERRGGAAMMEENNTTUU// WWAATTEERR--CCOOLLOOUURR,, IILLLLUUMMIINNAATTIIOONN

OONN PPAARRCCHHMMEENNTT,, 3333 XX 2255 CCMM,, BBOOOOKK OOFF KKEELLLLSS,, TTRRIINNIITTYY CCOOLLLLEEGGEE,, DDUUBBLLIINN

zlato = ~ista nadnaravna bespredmetna SVJETLOST (LUX)gold = pure supernatural objectless LIGHT (LUX)

3:4:4

5:5:3

9:3:5

11:1:7

18:3:4

20:2:4

3:5:1

3:5:4

9:3:4

9:1:2

17:4:5

21:5:4

SKALA BOJA PO DIN 6164 SUSTAVU(za obja{njenje vidi str. 28 i 29)

COLOUR GAMUT ACCORDING TO DIN 6164 SYSTEM(for explanation see page 28 and 29)

131AA NN AA LL II ZZ AA -- KK OO MM PP AA RR AA CC II JJ AA AA NN AA LL YY SS II SS -- CC OO MM PP AA RR II SS OO NN

SLIKARSTVO PPAAIINNTTIINNGG

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1133.. SSTT..//1133TTHH CC..,, VVIITTRRAAJJ//SSTTAAIINNEEDDGGLLAASSSS,,

PPRROOMMJJEERR CCJJEELLIINNEE//DDIIAAMMEETTEERR OOFF TTHHEEWWHHOOLLEE:: 1133 MM,, RROOSSEE DDEE FFRRAANNCCEE,,

KKAATTEEDDRRAALLAA//CCAATTHHEEDDRRAALL CCHHAARRTTRREESS

PODLOGA = neutraliziranje odnosa mase i prostora = PLOHA = SVJETLOSTGROUND = neutralised relation between mass and space = PLANE = LIGHT

podloga: gessoground

zlatni listi}igold leaves

BOJA(SPLENDOR)COLOUR

staklo SVJETLOST = Bogorodica glass LIGHT = Virgin

kontrast

contrast

8:5:3 17:5:3

3:5:1

prozirnosttransparency

SVJETLOST (LUMEN)LIGHT

2:5:3

6:4:5

7:3:5

18:2:3

Structure of the activity1. The workshop leader explains the program andthe structure of the workshops. To the new partici-pants who did not take part in either of the introduc-tory workshops he/she explains in brief, the three-dimensional character of colours and the way touse the DIN 6164 system for identification and alsothe role of the structural possibilities of the frame inthe composition of the pictures.2. The wholes and details of the four pictures whichwill be the focus of interest in the first part are pro-jected. They are shown in chronological order, withan emphasis on the specific moment in each pic-ture, when it was created, the subject, the techniqueand the type; a) the Virgin on the Throne, a detail ofthe apsis in the Poreè Basilica, 6th Century; theheight of the absis approx: 11 m; technique: mosaic;connection with architecture; time: the transitionfrom the late antique to Byzantine art. b) The Virgin and Child with Angels, from the Bookof Kells, fol. 7., 8th-9th Century., watercolour onparchment (vellum); illumination; dim: 33 x 25 cm;Trinity College, Dublin, the moment of encounter ofthe late antique Christianity and the late prehistoricCeltic art. c) The Virgin of the Belltower, Glykophilousa - thetender one, a Romanesque icon from Split, the endof the 13th Century, tempera on wood; dim: 87 x 57cm; an independent painting; Split, the CathedralTreasury, the moment of influence of the Byzantineicons on western painting, the so called manieragreca. d) The Virgin and Child in the centre of thegreat north rose window - Rose de France in theChartres Cathedral, middle of the 13th Century,stained glass, diameter of the whole 13 m; connec-tion with architecture; a distinctive peak of achieve-ment of the western European culture.3. After brief instructions the main content of theworkshop follows: individual/group work on colouridentification, on mixing paints and preparing a colourgamut. The participants choose a picture and decidewhether they want to work in the group wherecolours are identified or at the table where paints aremixed. The students-instructors help the participantswho mix paints and prepare samples large enoughfor as many colour gamuts as there are participantswho work with a particular picture.

Rad na identifikaciji boja mozaika uPoreèu/Colour identification - working on the Poreèmosaic

Rad na identifikaciji boja Book of Kells/ Colouridentification - working on the Book of Kells

Uzorci boja (DIN 6164)/Colour chips (DIN 6164)

Rad na identifikaciji boja mozaika uPoreèu/Colour identification - working on the Poreèmosaic

Rad na identifikaciji boja Gospe odZvonika/Colour identification - working on themosaic the Virgin of the Belltower

Mije{aju se boje/Paints are mixed

Prire|uju se skale boja za svaku sliku/ Colourgamuts are prepared for every picture

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Prva izvedba radionica: 1994.-95.

Radionice S l i k a r s t v o sliène su radionicama C r t e ` utoliko što su specijalistièke. Sudionici sebave iskljuèivo upoznavanjem slikarskih djela, pristupaju im na svestran naèin, razlièitim metodama ipovezuju ih s drugim podruèjima.I u ovim je radionicama, kao i u radionicama C r t e `, naglasak na individualnom istraìvaèkomradu svakog sudionika, pri èemu im pomaù studenti-instruktori.Struktura radionica je slièna strukturi radionica C r t e ` jer su tako|er podijeljene u tri dijela. Svakidio ima jednu glavnu temu s èetiri odabrana slikarska djela kao temeljna za upoznavanje.Temeljna je namjera, kao i u svim drugim radionicama, pove}ati razlikovnu mo} u sudionika. Pritomse, još više nego u ranijim radionicama, koriste usporedbe povijesnih i modernih djela. Uz pripremanjeraznolikih osjetilnih iskustava za sudionike, u ovim je radionicama ve}i naglasak na nadosjetilnoj bitiumjetnièkog djela, pa bi podnaslov radionica mogao glasiti: “Fizika i metafizika slikarstva”.

U p r v o j radionici namjera je ste}i individualno i neposredno iskustvo o izboru boja i sintaksepred slikarskim djelima razlièitih tehnika, vrsta, formalno-stilskih osobina putem identifikacije boja iprire|ivanja skala miješanjem boja, optièki i tvarno.

Ambijent: Sudionici sjede oko dva velika stola, optimalni je broj po šest sudionika i isti broj stude-nata-instruktora. Projektor je u sredini i projicira se na suprotni zid. Sudionici sjede uz stolove takoda se lako mogu okrenuti bilo prema zidu bilo prema stolu (grupi). Na jednom su stolu uzorci bojaDIN 6164 sustava, aparat za optièko miješanje boja i atlas boja H. Küppersa. Na drugom su stoluuljene boje, kistovi, razrje|ivaè, krpe, trake kartona, plastiène vre}ice za zaštitu uzoraka boja i“maske” od kartona. Uz svakog sudionika je po jedan student-instruktor.

Struktura doga|anja1. Voditelj objašnjava program i strukturu radionice. Za sudionike koji nisu sudjelovali ni u jednoj oduvodnih radionica ukratko tumaèi trodimenzionalni karakter boja i naèin identifikacije putem DIN6164 sustava, te ulogu strukturalnih mogu}nosti kadra u kompoziciji slike.2. Projiciraju se cjeline i detalji èetiriju slika koje }e biti glavna àrišta zanimanja u prvom dijeluradionica. Pokazuju se kronološkim redom, istièu}i kod svake slike temu, vrijeme, tehniku, vrstu ispecifièni trenutak nastanka: a) Bogorodica na prijestolju, detalj apside bazilike u Poreèu, 6. st., visi-na apside oko 11m, mozaik, vezanost za arhitekturu, prijelaz iz kasnoantièke 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 perga-mentu, minijatura, Trinity College, Dublin, moment susreta kasnoantièkog krš}anstva i kasne pret-povijesne keltske umjetnosti; c) Gospa od zvonika (Bogorodica nje`na), romanièka ikona iz Splita,kraj 13. st., 87 x 57 cm, tempera na dasci, samostalna slika, Riznica katedrale, Split, moment utje-caja bizantskog slikarstva ikona na zapadno, tzv. maniera greca. d) Bogorodica s djetetom u središtuvelike 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 sadràj radionice: individualni/grupni rad na identi-fikaciji i miješanju boja, odnosno pripremanju skala. Sudionici biraju èle li raditi u grupi gdje se bojeidentificiraju ili uz stol gdje se miješaju, te kojom se slikom èle baviti. Pomaù im studenti-instruk-tori. (Oni koji miješaju boje prave uzorke velièine dostatne za toliko skala koliko se sudionika baviodre|enom slikom.)

First performance of workshops: 1994.-95.

The workshops entitled Painting are similar to theworkshops entitled Drawing because they are spe-cialized. The participants are occupied exclusively ingetting acquainted with paintings, they approachthem in various ways using different methods andconnect the paintings with some other subjects. Asin the workshops entitled Drawing, in these work-shops too, the accent is on the individual’sexploratory work helped by students-instructors.The structure of these workshops is also similar tothe structure of the workshops entitled Drawingbecause they are divided into three parts with onemain theme in each part and each time with fourchosen paintings as the bases. The main intentionis, as in all the other workshops, to increase thediscriminative possibility of perception.Comparisons of historical and modern artworks areused in these workshops more than in the otherones. Besides the preparation of various kinds ofsensory experiences for the participants in theseworkshops a greater accent is put on the supersensory essence of art work, so the subtitle “thephysics and methaphysics of painting” could alsobe used

The intention of the f i r s t workshop is to gainindividual and direct experience of the choice ofthe colours of the paints and syntax in paintings ofdifferent techniques, types, formal-stylistic charac-teristics through the identification of the coloursand 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 thesame number of students-instructors. The projectoris in the centre and projects on to the opposite wall.The participants are seated at the tables so thatthey can easily turn either to the projections or tothe group. On one table there are chips of the DIN6164 system, an apparatus for the optical mixing ofcolours and the Atlas of colours by H. Küppers. Onthe other table there are oil paints, brushes, adiluter, clothes or rags, cardboard bands, plasticbags for the protection of the colour chips and theso cold “masks” made of cardboard. Beside everyparticipant there is an instructor.

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IIVV//11 SLIKARSTVO PPAAIINNTTIINNGG

135


AA NN AA LL II ZZ AA -- KK OO MM PP AA RR AA CC II JJ AA AA NN AA LL YY SS II SS -- CC OO MM PP AA RR II SS OO NN

2 x nos (a) = polumjer2 x nose (a) = radius

a

3a

a

2a

ZLATNI REZ GOLDEN SECTION

(CAVEN)

a

a

b

b

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

konstrukcija glaveconstruction of the head

spiralna konstrukcijaspiral construction

rotacija kvadratarotation of the square

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II DD EE AA LL NN AA RR EE KK OO NN SS TT RR UU KK CC II JJ AA II DD EE AA LL RR EE CC OO NN SS TT RR UU CC TT II OO NN

konstrukcija zlatnog rezaconstruction of Golden Section

iz motiva tematski elementfrom a motive thematic element

ULOGA RAZMAKA THE ROLE OF THE GAP ZLATNI REZ GOLDEN SECTION

BBOOGGOORROODDIICCAA NNAA PPRRIIJJEESSTTOOLLJJUU//VVIIRRGGIINN OONN AA TTHHRROONNEE,,DDEETTAALLJJ//DDEETTAAIILL,,MMOOZZAAIIKK//MMOOSSAAIICC,,

c) using tracing paper they trace the lines of the innerboundaries of the small stones onto a photocopy ofthe Poreè mosaic detail. 5. At the same time the other group explores: a) theproportions of the north rose window in Chartres(the squares rotate; or the smaller and smallersquares create spirals). For the discovery of thespiral construction P. Caven’s interpretation is used;b) they trace the lines of the inner boundaries of theglass pieces (the network of the lead frame) ontothe photocopy of the central detail of the rose win-dow through tracing paper; c) using tracing paper alinear motive, an ornamental detail of the paintingThe Virgin with Child and Angels from the Book ofKells is followed; d) the motive in reflex symmetryhas to be drawn, as well, freely by hand.6. All the pictures are projected again, the detail ofthe mosaic is found and the participants are invitedto show the results of their exploration (from eachgroup, for each task at least one participant). The participants trace the lines of the Virgin of theBelltower and the illumination from the Book ofKells onto papers fixed on the wall where theenlarged details are projected. Analysis - discus-sion.

Analizira se Rose de France/The Rose de France isanalysed

Izvlaèe se granice kamenèi}a na mozaiku izPoreèa/The boundaries of the stones in the Poreèmosaic are drawn

Vide se spiralna konstrukcija Rose de France iskala boja/The spiral construction of the Rose deFrance and the colour gamut are seen

Granice stakalaca se izvlaèe na detalju vitraja

Rose de France/The boundaries of glass are drawnin a detail of the stained glass window Rose deFrance

Istraùju se razmjeri slike Gospe odZvonika/The proportions of the painting Virgin ofthe Beltower are explored

Istraùje se ornament iz Book of Kells/The ornament from the Book of Kells is explored



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U d r u g o j radionici namjera je, putem individualnih vje`bi, ste}i neposredno iskustvo o zlat-noreznom proporcioniranju kadrova (pravokutnik, kru`nica) razlièitih strukturalnih mogu}nosti; omodularnom proporcioniranju ljudskog lika; o “rasteru” (unutar-njim linijskim granicama u tehnika-ma 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, šestare, ravnala.

Struktura doga|anja1. Sudionicima se dijele skale boja, koje su pripremili studenti, s elementima dobivenim istraìvanjemu prošloj radionici.2. Ponovno se projiciraju slike i skra}eno daju podaci radi ponavljanja i radi obavještavanja onih kojimo`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) istraùje strukturalne mogu}nosti kadra Gospe od zvonika na fotokopiji; b) istraùje zakonitost u proporcioniranju glave - Bogorodièine i djetetove - po predlošku E.Panofskoga; c) preko pausa izvlaèi unutarnje granice kamenèi}a na fotokopiji detalja mozaika izPoreèa. 5. Istodobno sudionici u drugoj grupi: a) istraùju razmjere sjeverne rozete u Chartresu (kvadratirotiraju; sve manji i manji kvadrati tvore spiralu - za otkrivanje konstrukcije sluì interpretacija P. Cavena); b) na fotokopiji središnjeg detalja rozete preko pausa izvlaèe unutarnje granice stakalaca(raster olovnih okvira); c) preko paus-papira prate linijski motiv na jednom ornamentalnom detaljuslike Bogorodica s djetetom i an|elima iz Book of Kells; d) slobodnom rukom crtaju zrcalnosimetriènimotiv.6. Ponovno se projiciraju sve slike, pronalazi se detalj mozaika i sudionici se pozivaju da pokaù rezul-tate svojih istraìvanja (iz svake grupe za svaki zadatak barem jedan sudi-onik). Linijske oblike s Gospeod zvonika i sa slike iz Book of Kells sudionici izvlaèe na papiru prièvrš}enom na zid na koji se projicirapove}ani detalj. Slijedi analiza-razgovor.

The intention of the s e c o n d workshop is thatthe participants, through individual training, gaindirect experience of the Golden proportions offrames (rectangle, circle) of different structural pos-sibilities; of the modular proportions of the humanfigure; of the network (the inner linear boundaries inthe technique of mosaic and stained glass); of thepeculiarities of linear inflexion.

Ambience: The projector and the two tables withthe participants and the instructors sitting as in theformer workshop. The participants receive photo-copies of pictures, tracing paper, pencils, felt-tippens, callipers and rulers.

Structure of the activity1. The colour gamuts are distributed. The studentshave prepared them with the elements obtainedfrom the explorations during the former workshop.2. The pictures are projected again and the data isgiven in brief to remind or to inform those whomissed the first meeting.3. The participants are invited to check their colourgamuts.4. The individual/group work with instructors is per-formed again at the two tables. The first group: a)explores the structural possibilities of the frame TheVirgin of the Belltower (on the photocopy); by meansof E. Panofsky’s specimen; b) explores the rules in theproportions of the head, the Virgin’s and the child’s;

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konstrukcija suncokreta pozlatnom rezu

construction of a sun-flower according to the

Golden Section

SLIKA JE VIDLJIVA SVJETLOST THE PICTURE IS VISIBLE LIGHT

PROZIRNOST TRANSPARENCY

GENERIRANJE PLOHE GENERATING PLANE

ukidanje prozirnostiabolishing

transparency

PP.. KKLLEEEE:: ZZAA[[TTIITTNNIICCAA//

TTHHEE PPRROOTTEECCTTRREESSSS,,11993322..,, AAKKVVAARREELL//

WWAATTEERR--CCOOLLOOUURR,,3311,,55 XX 4488 CCMM,,

PPAARRIISS//PPAARRIIZZ

UMJETNOST I PRIRODA ART AND NATURE

od teme from a theme

do motiva to motive

iluzija prozirnostithe illusion of transparency

(LANTOS)

PP.. PPIICCAASSSSOO:: GGUUEERRNNIICCAA,, DDEETTAALLJJ//DDEETTAAIILL,, 11993377..,, UULLJJEE//OOIILL,,MMAADDRRIIDD

138

SLIKARSTVOIIVV//33 PPAAIINNTTIINNGG


tematizirani razmak formalna bitthematised gap formal essence

PP.. KKLLEEEE:: AADD PPAARRNNAASSSSUUMM,,DDEETTAALLJJ//DDEETTAAIILL,, 11993322..,,UULLJJEE//OOIILL,, 110000 XX 112266 CCMM,,BBEERRNN

tematizirani razmak oblikovana granicathematised gap designed boundary

PP.. MMOONNDDRRIIAANN::RROOMMBB SSAA SSIIVVIIMMLLIINNIIJJAAMMAA//RRHHOOMMBBUUSS WWIITTHHGGRREEYY LLIINNEESS,,11991188..,, UULLJJEE//OOIILL,, HHAAGG//TTHHEE HHAAGGUUEE

ULOGA RAZMAKA THE ROLE OF THE GAP PRIPREMNI CRTE@I ZA NASTAJANJE IZRA@AJNOG OBLIKAPREPARATORY STUDIES FOR AN EXPRESSIVE SHAPE

TEMA: USTA SUBJECT: THE MOUTH

PP..PPIICCAASSSSOO::PPRRIIPPRREEMMNNII CCRRTTEE@@II ZZAA GGUUEERRNNIICCUUIIZZMMEE\\UU 88.. 55.. II 2222.. 66.. 11993377..//PPRREEPPAARRAATTOORRYY DDRRAAWWIINNGGSS FFOORR

GGUUEERRNNIICCAA BBEETTWWEEEENN 88TTHH MMAAYY

AANNDD 2222NNDD JJUUNNEE 11993377..

a nearly supernatural strength (here we speak aboutthe metaphor of glass according to Bernard deClairvaux and about the light and darkness accord-ing to Pseudo Dionysius); b) the whole wall in orderto see the play of polychromatic light - the disinte-gration of light (lumen) into colours (splendor)resulting in a secularisation but also in the demandto overcome the sensory in the abstraction of theabsolute plane; c) the lumino-dynamic constructionof N. Schöffer Lux 1 colored mobile projections,1957, aluminium, steel, plastic, Museum of ModernArt, Paris, because of the fluidity of the space as aresult 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 prin-ciple and technical peculiarities of stained glass (thenetwork).7. A detail of the Poreè mosaic is projected, thesame one the participants worked with in the for-mer workshop. They become aware of the originand the role of the gap between the small stones.A comparison is made with: a) a detail of P. Klee’sAd Parnassum where the technical particularity ofthe mosaic - the gap is consciously, by colour,lifted to the level of formal essence (a specificspace); b) with P. Mondrian’s Rhombus with grey lines,1918., oil, the Haue, where the gap becomes con-scious by thematisation as a shaped boundary inits ambiguity (the shaped boundary divides onemoment, gathers other). 8. The whole of the north rose window fromChartres is projected and a slide of a sunflower.The principle of comparison is the GoldenProportion in both. The participants are reminded ofthe measures in the Virgin of the Belltower. 9. Details of the painting The Virgin with Child andAngels from the Book of Kells are shown toremind the participants of the experience theyhave gained following the lines of the motive fromwhich the thematic element was born. 10. a) A sequence of slides about P. Picas-so’s preparatory drawings for Guernica (the headof a crying woman and a dead child) which werecreated between 8th May and 22nd June 1937.We concentrate on searching for an expressiveshape - in the first place mouth, nose, eyes andon gaining the experience of how the motive isborn from a thematic element. We follow theswelling of shapes and periodical energetic cutson a sequence of drawings. b) The participantsare asked to perform the motive of the mouth asthey suppose Picasso did, gradually discoveringand eventually finding it. c) A detail of Picasso’sfinished painting is shown and comparison ismade with the participants’ attempts.

Ispred projekcije govori se o iskustvimaistraìvanja/Before the projection we talk about theexperiences of explorations

Na projekcijama se prati ornament/The ornament is followed on the projections

Igra s prozirnim Kleeovim oblicima/Playing withKlee’s 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 motiveOd teme motiv/From the theme the motive

Namjera u t r e } o j radionici je ste}i iskustvo o slikarskom djelu kao vidljivoj svjetlosti - plohi, biloneutraliziranjem odnosa mase i prostora na oplošju podloge, bilo odvajanjem svjetlosti (lumen) od boje(splendor) putem vitraja ili mozaika, bilo iluzioniranjem prozirnosti tvari i njenog ukidanja, bilo putemzlatnih listi}a/ploèica koje oznaèavaju nadnaravnu, prvotnu, bespredmetnu i èistu svjetlost (lux); osvi-jestiti povezanost umjetnosti i prirode putem zlatnorezne mjere koja vra}a jedinstvu; osvijestiti ulogurazmaka u tehnièkom i formalnom smislu; pratiti nastajanje oblika - iz motiva tematski element i,obratno, iz tematskog elementa motiv; osvijestiti sliènosti i razlike izme|u povijesnih i modernih djela.

Ambijent: Isti je kao i u prethodnoj radionici. U omotnicama su za svakog sudionika pripremljeniizrezani oblici akvarela P. Kleea Zaštitnica od prozirne folije. Pripremljene su tako|er i fotokopije spi-ralne konstrukcije suncokreta (prema F. Lantosu) i fotokopije detalja Picassove Guernice.

Struktura doga|anja1. Projicira se snop svjetla na zid i podsje}a/objašnjava pojam apsolutne plohe. Upu}uje se na razlikuizme|u svakodnevnog funkcionaliziranja kozmièke pojave, kada svjetlost “koristimo” da bismo vidjelipovršine, i umjetnosti koja, obrnuto, koristi površine da bi svjetlost uèinila vidljivom (A. Malraux:“Umjetnost sluì da se pokaè ono što se ne moè vidjeti”).2. Projicira se snimak Gospe od zvonika, cjelina i detalji i objašnjava: a) pripremanje podloge daske(7 slojeva gessa) da se što ve}om neutralizacijom odnosa mase i prostora dobije što savršenijaimitacija apsolutne plohe; b) upotreba zlatnih listi}a (zlato nije boja!) da bi se oznaèila 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 pripremanjepergamenta kao podloge.4. a) Sudionici dobivaju pet, kako im se kaè, ne sluèajna oblika izrezana iz prozirne folije (Kleeovakvarel Zaštitnica) i traì se da ih superponiraju}i sloè u kompoziciju kojom }e generirati plohe. b) Projicira se Kleeov akvarel Zaštitnica, 1932., akvarel, 31,5 x 48, Pariz. Uspore|uje se s radovimasudionika i analiziraju se razlièiti naèini postizanja iluzije: prozirnosti, ukidanja prozirnosti, generi-ranja plohe.5. Projicira se detalj mozaika Bogorodice s djetetom, iz apside u Poreèu i govori se o: a) dematerijalizaciji zida uslijed titranja koje je poput same svjetlosti; b) o zasjenjivanju boje (reflekti-rane svjetlosti) svjetloš}u (lumen) i potrebi kretanja da bi se vidjele boje na mozaiku; c) o zlatu kaoznaku nadnaravne svjetlosti (lux).6. Pokazuju se snimci vitraja u Chartresu: a) detalj Crveni David da bi se steklo neko iskustvo o crvenomkoje najmanje propušta svjetlost i zato skoro ima nadnaravnu snagu (govori se o metafori stakla premaBernardu od Clairvauxa i o svjetlsti i tami prema Pseudo Dioniziju); b) cjelina zida, da bi se vidjela igraraznobojnih svjetlosti - razlaganje svjetlosti (lumen) na boje (splendor) iz èega proizlazi svjetovnost, ali izahtjev za nadilaènjem osjetilnog u apstrakciji apsolutne plohe; c) lumino-dinamièka konstrukcija N. Schöffera Lux 1 obojene mobilne projekcije, 1957., aluminij, èelik, plastika, Muzej moderne umjet-nosti, Pariz, zbog fluidnog prostora dematerijaliziranog svjetloš}u; d) G. Rouault Klaun, 1938.-1939.,ulje, 62,5 x 42,5 cm, radi sliènosti kompozicijskog naèela i tehnièkih osobitosti vitraja (mreà).7. Pokazuje se detalj mozaika u Poreèu na kojem su sudionici radili u prošloj radionici i osvještavaju seporijeklo i uloga razmaka me|u kamenèi}ima. Uspore|uje se s: a) detaljem Ad Parnassum P. Kleea gdjese tehnièka osobitost mozaika - razmak - osvještavaju}i bojom uzdiè do formalne biti (naroèita pros-tornost); b) Rombom sa sivim linijama P. Mondrianovim, 1918., ulje, Hag, gdje se razmak tematizirankao oblikovana granica osvještava u svojoj dvosmislenosti (oblikovana granica tren razdvaja trenpovezuje).8. Projiciraju se cjelina sjeverne rozete iz Chartresa i snimak suncokreta. Naèelo usporedbe je zlat-norezni razmjer i u jednom i u drugom sluèaju. 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 kojasu sudionici stekli prate}i linije motiva iz koje se ra|a tematski element.10. a) Pokazuje se slijed Picassovih pripremnih crteà za Guernicu (glava ène koja plaèe i mrtvodijete) koji su nastali izme|u 8. 5. i 22. 6. 1937. god. Koncentriramo se na traganje za izraàjnimoblikom - u prvome redu usta, nos, oèi, i na stjecanje iskustva o tome kako se iz teme ra|a motiv. Na slijedu crteà prati se bujanje oblika i povremeni energièni rezovi. b) Sudionici dobivaju zadatakda izvedu motiv usta onako kako im se èini da ga je Picasso, postupno otkrivaju}i, konaèno našao. c) Pokazuje se detalj dovršene Picassove slike i uspore|uje se s pokušajima sudionika.

141The intention of the t h i r d workshop is to gainexperience of a painted work of art as if it wereabout a visible light - plane, either a) as a neu-tralised relation between mass and space on thesurface of the ground, or b) as a separation of thelight (lumen) from the colour (splendor) throughstained glass or mosaic, or c) through an illusion oftransparency of the material and its abolition, or d) through golden leaves/stones which denote thepure supernatural primordial, objectless light (lux). It is also to become aware of the role of a gap in atechnical and formal sense; to follow the creation ofa form - from the motive to the thematic elementand vice versa; to become aware of the similaritiesand differences between the historical and modernartworks.

Ambience: As in the former workshops. The shapesof P. Klee’s water-colour The Protectress is cut outof transparent foil and put in envelopes for each par-ticipant along with photocopies of a) a spiral con-struction according to F. Lantos and b) a detail ofPicasso’s Guernica.

Structure of the activity1. A beam of light is projected onto the wall andthe participants are reminded of the concept of theabsolute plane or it is explained to them. Theattention is directed to the difference between theeveryday “use” of the cosmic event to see sur-faces and the intention of art to make light visible(Malraux: “The intention of art is to show the invi-sible”)2. The Virgin of the Belltower is projected, thewhole and the details and an explanation is given:a) preparing the panel (7 layers of gesso) to neu-tralize the relation between mass and space and toget a perfect imitation of the absolute plane; b) using gold leaves (gold is not a colour) to signthe light (lux) and c) asistka - the lines are made of gold leaves whichrepresent the drapery, but really the flow of thelight/spiritual energy3. The Virgin with Child and Angels from the Bookof Kells is presented and instructions are givenabout the preparation of vellum as a ground.4. The participants get five specifically chosenshapes, cut out of transparent foil (Klee’s water-colour The Protectress) and the task is to make acomposition superposing them and generating aplane. Klee’s The Protectress, 1932., water-colour, 31,5 x 48 cm, Paris, is projected. A com-parison is made between the participants’ workand Klee’s and an analysis of the different modesof achieving an illusion: transparency, abolishingtransparency, generating a plane.5. The Virgin and Child, a detail of the mosaic fromPoreè taken from the apsis is projected and the talkis about: a) the dematerialisation of the wall as aneffect of glittering which is like light; b) the shadingthe colours (reflected light) by light (lumen) and thenecessity of moving to see the colours in themosaics; c) about gold as a sign of supernatural light (lux).6. Slides of the stained glass windows in Chartresare shown: a) a detail of the Red David to gainsome experience of the redness which allows theleast light to pass through and because of that has

140

IIVV//33 SLIKARSTVO PPAAIINNTTIINNGG SLIKARSTVO PPAAIINNTTIINNGG

143



VVEERRMMEEEERR VVAANN DDEELLFFTT::GGEEOOGGRRAAFF//TTHHEE GGEEOOGGRRAAPPHHEERR,, 11666688..,, UULLJJEE NNAA PPLLAATTNNUU//OOIILL OONNCCAANNVVAASS,, 5533 XX 4466,,55 CCMM,,FFRRAANNKKFFUURRTT//MMAAIINN

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

RREEMMBBRRAANNDDTT VVAANN RRIIJJNN::PPOOVVRRAATTAAKK IIZZGGUUBBLLJJEENNOOGG SSIINNAA//TTHHEE RREETTUURRNN OOFF TTHHEE PPRROODDIIGGAALL SSOONN,, 11666688..,, UULLJJEE NNAA PPLLAATTNNUU//OOIILL OONN CCAANNVVAASS,,226622 XX 220055 CCMM,, EERRMMIITTAAGGEE,, SSTT.. PPEETTEERRSSBBUURRGG

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

ground (deep brown):ochre + resin + glue

2:5:1

2:6:1

2:6:2

6:6:2

8:2:3

17:5:3 ultramarin (lapis lazuli)ultramarine

1:3:1 olovno ùtolead yellow

4:4:1

6:3:4 bisterbistre

6:5:2 cinobervermilion

6:5:3 crveni okerred ochre

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SLIKARSTVO IIVV//44 PPAAIINNTTIINNGG


GG.. BBEELLLLIINNII:: PPIIEETTAA,, 11446600..,, TTEEMMPPEERRAA NNAADDAASSCCII//,, TTEEMMPPEERRAA OONNWWOOOODD,, 8866 XX 110077 CCMM,,BBRREERRAA,, MMIILLAANNOO

sfumato

LLEEOONNAARRDDOO:: BBOOGGOORROODDIICCAA UU SSTTIIJJEENNAAMMAA//

VVIIRRGGIINN OOFF TTHHEE RROOCCKKSS,,11550033--88..,, UULLJJEE NNAA DDAASSCCII//OOIILL OONN WWOOOODD,, 118899,,55 XX 112200 CCMM,, NNAATTIIOONNAALL GGAALLLLEERRYY,,LLOONNDDOONN

3:5:2 olovno ùtolead yellow

4:6:1

6:4:5


18:4:3 azurit azurite

20:4:4

5:4:3

5:4:5

7:4:3 cinobervermilion


20:3:4 bakreno zelenocopper green

22:3:6 zelena zemljagreen earth

SKALA BOJA PO DIN 6164 SUSTAVU(za obja{njenje vidi str. 28 i 29)

COLOUR GAMUT ACCORDING TO DIN 6164 SYSTEM(for explanation see page 28 and 29)

sivi crte`hatching strokes

podloga: gessoground

2. Instructions are given about the technical char-acteristics of each painting: Bellini’s is painted withtempera on wood, the panel is prepared with gessoas was the custom in painting icons, but we cannotice in the details how Bellini adapted the tem-pera, which is an inadequate technique in tonalpainting, to new tasks. Leonardo also prepared thewooden ground with gesso, but he painted with oil.The choice of colours: ultramarine (lapis lazuli),azurit and lead yellow. Although Leonardo had alegal obligation to use a certain quantity of veryprecious ultramarine he used azurite for the lowerlayer. Both Vermeer and Rembrandt painted oncanvas. Vermeer prepared it with a mixture ofchalk, lead white, charcoal, umbra, glue and oiland obtained a white-grey base. Rembrandt pre-pared it with a mixture of ochre, resin and glue andobtained a deep brown ground. Both painterscounted on the optical mixture of colours in theeyes of the observer, Vermeer by the dots andRembrandt by the impasto. Also an important dif-ference from medieval painting is that Rembrandtdid not use gold but obtained the impression ofgold with the paints.3. In the same way as in the first workshop, afterthese brief instructions the participants decide whichgroup they will work in and with which painting.Then individual/group work on colour identificationfollows using colour chips of the DIN 6164 systemand mixing paints and preparing colour gamuts.

Identificiraju se boje na Rembrandtovoj slici uzpomo} uzoraka DIN 6164/The colours are identified on Rembrandt’s paintingwith chips of the DIN 6164

Identificiraju se boje na Rembrandtovoj slici uzpomo} uzoraka DIN 6164/The colours are identified on Rembrandt’s paintingwith chips of the DIN 6164

na Leonardovoj slici/on Leonardo’s painting na Leonardovoj slici/on Leonardo’s painting

Mije{aju se boje i prire|uju skale boja/ Paints aremixed and colour gamuts are prepared

U è e t v r t o j radionici namjera je ste}i individualno i neposredno iskustvo o izboru boja i sin-takse pred slikarskim djelima (identifikacijom boja pomo}u uzoraka i izrade skala miješanjem bojaoptièki i tvarno) koja pripadaju europskom slikarstvu 15., 16. i 17. st., a odabrana su na temeljurazlièitih formalno-stilskih karakteristika.

Ambijent: Isti je kao i u prvoj radionici.

Struktura doga|anja1. Projiciraju se cjeline i detalji èetiriju slika koje }e biti temelj za rad u ovom bloku. To su: a) PietaGiovannija Bellinija, nastala oko 1460., ranorenesansna venecijanska slika, koja se nalazi u Breri uMilanu, 86 x 107 cm; b) Leonardova Bogorodica u stijenama, nastala vjerojatno 1503.-1508., visoko-renesansna firentinska slika s elementima manirizma, koja se nalazi u National Gallery u Londonu,189,5 x 120 cm; c) i d) tre}a i èetvrta slika su nastale vjerojatno iste, 1668. godine, prva, GeografVermeera 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, kojaje 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 naèina ikone prema novom, renesansnom shva}anju scene,Leonardova je na granici dvaju stilova, visoke i kasne renesanse, Vermeerova je realistièna usred baroknog vremena, i Rembrandtova je prijelomna u osobnom smislu, jer je vjerojatno njegova posljed-nja slika.2. Upu}uje se na tehnièke osobitosti pojedinih slika. Bellinijeva je slika slikana temperom na dasci,daska je pripremljena gessom, kao što je to bilo uobièajeno za ikone, ali se na detaljima primje}uje kakoBellini prilago|ava temperu - tonskom slikanju neprikladnu tehniku - novim htijenjima. I Leonardopriprema drvenu podlogu gessom, ali ve} slika uljem. Izbor je boja: ultramarin (lapis lazuli), azurit iolovnoùto. Iako se ugovorom Leonardo obvezao za odre|enu kolièinu dragocjenog ultramarina, ipak jeza doljnje slojeve koristio azurit. I Vermeer i Rembrandt slikaju na platnu. Vermeer ga pripremamješavinom krede, olovnog bjelila, umbre, ugljena, ljepila, ulja, i dobiva bijelosivkastu podlogu.Rembrandt priprema mješavinom oker boje, laka i ljepila, i dobiva tamnosme|u podlogu. Oba slikararaèunaju na miješanje boja i u oku promatraèa, Vermeer mrljastim namazom, Rembrandt impastom.Va`na razlika prema srednjovjekovnom slikarstvu je i u tome što Rembrandt ne koristi zlato, negobojom postiè uèinak zlata.3. Kao i u prvoj radionici, nakon prvih kratkih uputa, sudionici se opredjeljuju u kojoj }e grupi raditi ikojom }e se slikom baviti. Slijedi individualni/grupni rad na identifikaciji boja pomo}u uzoraka DIN6164 sustava, i na miješanju odnosno pripremanju skala.

145The intention of the f o u r t h workshop is togain, individually and directly, experience of thechoice of colours and the colour-syntax in front ofart works (by identification of colours using colourchips and preparing colour gamuts mixing coloursoptically and mixing paints) which belong toEuropean painting of the 15th, 16th and 17thCenturies and are chosen according to their differ-ent formal-stylistic characteristics.

Ambience: The same as in the first workshop

Structure of the activity1. The wholes and details of the four paintings whichwill be the basis for the work in this part are project-ed. These are a) Giovanni Bellini’s Pieta, paintedaround 1460, an Early Renaissance painting fromVenice, which is now in Brera, Milan, dimensions: 86x 107 cm; b) Leonardo’s Virgin of the Rocks, paintedprobably between 1503 and 1508, a Florentine paint-ing of High Renaissance with some elements ofMannerism, displayed in the National Gallery inLondon, dim: 189,5 x 120 cm; c) and d) the thirdand fourth paintings were probably painted in thesame year 1668; the former picture The Geographerby Vermeer van Delft in Delft and the latterRembrandt’s, Return of the Prodigal Son, inAmsterdam. The dimensions of Vermeer’s painting,which is today displayed in Frankfurt are: 53 x 46.5cm and those of Rembrandt’s, which is in SaintPetersburg, 262 x 205 cm. Again these paintingsrepresent some breaking point. Bellini’s painting is aturning point from painting icons to a new,Renaissance understanding of the scene, Leonardo’sis on the border of the two styles, the High and LateRenaissance, Vermeer’s is a realistic one amidst aBaroque time and Rembrandt’s is crucial in a person-al way, probably being his last painting.

144


147



REKONSTRUKCIJA SOBE S VERMEEROVE SLIKERECONSTRUCTION OF THE ROOM OF VERMEER'S PAINTING

TAMA = “NEPRISTUPA^NA SVJETLOST” = “BO@ANSKA SVJETLOST” =“NEDODIRLJIVA I NEVIDLJIVA TAMA” (PSEUDO DIONIZIJE, 6. ST.)

DARKNESS = “UNAPPROACHABLE LIGHT = “DIVINE LIGHT” =

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

(SWILENS)

camera obscura

piramidalna kompozicija = opti~ka piramidaspu{tena na svoju osnovicu

pyramidal composition = optical pyramiddescended on the basis

146



h

(SMOKVINA-KORBAR)

ZLATNI REZ GOLDEN SECTION

“Haec ferre quum gemitus turgentia lumina proneant / Bellinipoterat flere Ioannis opus.”

REKONSTRUKCIJA PROSTORA (geometrijska) SPACE RECONSTRUCTION (geometric)

Paralelna u kosoj projekciji sa ravninomstra`nje strane piramide iravninom osnovice gornjepiramideParallel in slant projectionto the plane of the side of

the pyramid and to theplane of the base of the

upper pyramid

Paralelni sa ravninomstrane piramide

Parallel to the plane of the side of the pyramid

SLIKA POSTAJE SVETA THE PAINTING BECOMES HOLY

“ ^ i m s u t e o d s u z a n a b r e k l e o ~ i i z a z v a l e u z d a h e d j e l o G i o v a n n i j a B e l l i n i j a j e u m j e l o p l a k a t i . ”

ÎJE? Bogorodice i Ivana ÎJE? na{e TKO PLAÊ?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 Virgin’s and St. John’s WHOSE? ours WHO CRIES? THE SUBJECT THE OBSERVER THE PICTURE

KOJA SLIKA?WHICH PAINTING?

KOJA SLIKA?WHICH PAINTING?

U ravnini strane piramidei paralelna sa stranommanje piramideIn the plane of the side

of the pyramid andparallell to the side of

the smaller pyramid

spirala, temeljnikompozicijski zakon

spiral, basiccompositional rule

of the figures in Rembrandt’s painting starting fromthe woman’s figure in the background left, to thefigure who is kneeling in front, with his back to theobser-vers. So by descending, moving, turning, sitting, kneeling, making gestures of the hands, allin sequence, attention is directed at the figures inthe painting and the actors try to “play the spiral”.3. The participants are again divided into twogroups, one group works on the ground plan of thestudents performance and discusses it and theother on the division of Bellini’s painting accordingto the Golden Section, first checking it according totheir feelings and afterwards by measuring it.4. Leonardo’s and Vermeer’s paintings are project-ed and the tasks are set. One group draws a plan ofthe room Vermeer represented in his painting, tryingto reconstruct the illusion of space the artistachieved using the camera obscura. The othergroup analyses and discusses the spacial recon-struction of Leonardo’s painting (prepared by R. Smokvina-Korbar).5. Finally we project all the paintings again and theparticipants talk about the results of their explo-ration (the role of measures is emphasised - espe-cially the gap between the faces of the Virgin and ofChrist in Bellini’s painting).

Istraùju se mjere Bellinijeve slike/The measures of Bellini’s painting are explored

Istraùju se mjere Bellinijeve slike/The measures of Bellini’s painting are explored

Istraùje se prostorna kompozicija Leonardoveslike/The space construction of Leonardo’s paintingis explored

Rekonstruira se prikazana soba na Vermeerovojslici/The reconstruction of the room represented inVermeer’s painting

Studenti izvode predstavu spiralne postave likova na Rembrandtovoj slici/The students-instructors perform the spiral compo-sition of the figures in Rembrandt’s painting

Crta se tlocrt njihovog kretanja (spiralna kompozicija slike)/A plan of their movement isdrawn (the spiral composition of the painting)

Namjera u p e t o j radionici je istraìti kompozicijske osobitosti odabranih slika: zlatnorezno pro-porcioniranje, prostornu konstrukciju i vezu slikarskog i verbalnog medija.

Ambijent: Isti je kao i u drugoj radionici, osim što je za scensku igru potreban slobodan prostorispred zida na koji se inaèe projicira, podij (po mogu}nosti stepenièast) i stolac. Sudionici dobivajufotokopije slika i teksta s Bellinijeve slike. Osim uobièajenih postupaka, koriste se još i audio-zapis iscenska igra.

Struktura doga|anja1. Pokazuje se Bellinijeva slika i èita se tekst koji je na njoj napisan (Haec ferre quum gemitus tur-gentia lumina proneant / Bellini poterat flere Ioannis opus), i prevodi se. “îm su te od suza nabrekleoèi izazvale uzdahe / djelo Giovannija Bellinija umjelo je plakati.” Postavlja se pitanje: što znaèi daslika umije plakati? U mraku, bez projekcija, pušta se nekoliko minuta audio-zapis plaèa (glumica B. Ipša). Nakon postignutog uèinka (blagog šoka) pita se: plaèe li slika na ovaj naèin? Koja je razlikaizme|u plaèa glumice i plaèa slike? Predstoji da se istraì.2. Pokazuje se Rembrandtova slika i najavljuje se druga predstava koju izvode studenti. Studenti-glumci, jedan po jedan, zauzimaju poloàje likova na Rembrandtovoj slici, polaze}i od ènskog lika upozadini s lijeva, do lika koji kleèi naprijed, le|ima okrenut promatraèima. Tako svojim silaskom, kre-tanjem, zaokretom, sjedenjem, kleèanjem, stav-ljanjem ruku, sve u slijedu, upu}uju na likove u slici ipokušavaju “odigrati spiralu”.3. Sudionici se opet dijele u dvije grupe, jedni rade na tlocrtu plesa koji su izveli studenti i diskutirajuo tome, a drugi na zlatnoreznoj podjeli Bellinijeve slike, provjeravaju}i najprije po osje}aju, a potommjerenjem.4. Pokazuju se Leonardova i Vermeerova slika i postavljaju zadaci. Jedna grupa crta tlocrt sobe kojuje prikazao Vermeer, i tako pokušava rekonstruirati prostornu iluziju koju je slikar postigao upotre-bom camere obscure. Druga grupa razglaba pred pro-stornom rekonstrukcijom Leonardove slike (priredila R. Smokvina-Korbar).5. Na kraju se još jednom pokazuju sve slike i sudionici govore o rezultatima svojih istraìvanja (istièese npr. uloga mjere - razmak izme|u Bogorodièinog i Kristovog lica na Bellinijevoj slici).

149The intention of the f i f t h workshop is toexplore the compositional characteristics of thechosen paintings: the Golden Section Proportions,space construction, the connection between thepaint and verbal media.

Ambience: As in the second workshop except forthe scene of the play there is a free space in frontof a wall for the projections and a podium (if pos-sible with steps) with a chair. The participantsreceive photocopies of the paintings and the texton Bellini’s painting. Besides the usual procedurewe use a sound record and perform a play.

Structure of the activity1. Bellini’s painting is projected onto the wall andthe text written on it is read (Haec ferre quum gen-itus turgentia lumina proneant / Bellini poterat flere/ Ioannis opus) and the translation: “As the eyes,swollen with tears, caused sighs (it was clear)that Giovanni Bellini’s work knew how to cry”. The question is posed: What does it mean that thepainting is able to cry?. In the darkness withoutprojections we play a few minutes of the sound ofsomeone crying (the actress: B. Ip{a). After theeffect (a mild shock) the question is posed: Doesthe painting cry in this way? What is the differencebetween the actress’s crying and the crying of thepicture? An exploration results.2. We project Rembrandt’s painting and anno-uncethe second performance done by the students. Thestudents-actors, one by one, occupy the positions

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RAZGOVOR ORIGINAL - FALSIFIKAT IZMEÐU VERMEERA I VAN MEEGERENADISCOURSE OF ORIGINAL - FORGERY BETWEEN VERMEER AND VAN MEEGEREN

VVAANN MMEEEEGGEERREENNVVEERRMMEEEERR

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

tematizacija kontemplacijethe thematisation of contemplation

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

nadosjetilno ovanjštenoexternalization

of the supersensory

bezosjetilno = grubosenseless = rough

tematizacija kontemplacijethematisation of contemplation

radosno djelovanje =izlazak (ples)

joyful action = exit (dance)

RREEMMBBRRAANNDDTT

TO^KA (znak zaustavljanja) OKVIR (sloèniji znak zaustavljanja) PRIÂ = PRIZOR POINT (the halt sign) FRAME (more complex halt sign) STORY = SCENE

LINIJA (znak toka) PRIÂ (tok u drugom mediju) OKVIR = KONTEMPLACIJALINE (the sign of flow) STORY (flow in another medium) FRAME = CONTEMPLATION

GG.. DDEE CCHHIIRRIICCOO::PPOOVVRRAATTAAKK IIZZBBUUGGLLJJEENNOOGGSSIINNAA//TTHHEE RREETTUURRNN OOFF TTHHEE

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RAZGOVOR IZMEÐU G. BELLINIJA I A. DA MESSINE DISCOURSE BETWEEN G. BELLINI AND A. DA MESSINATEMA: INVENTIONE (PRIZOR) THE SUBJECT: INVENTIONE (SCENE)

Bellini odgovor/answer: da Messina odgovor/answer: Bellini

(BELTING)

STILSKI RAZGOVOR LEONARDA S LEONARDOM STYLISTIC DISCOURSE OF LEONARDO WITH LEONARDO

1483.-86., Pariz/Paris 1503.-08., London

b) Caravaggio: Christ and the Disciples at Emmaus,1596, Milano; Caravaggio: Christ and the Disciples at Emmaus, 1603, London; d) Z. [ulenti}: Christ andthe Disciples at Emmaus, 1965, Zagreb; e) I. Mácsai: The Artist and his model, 1981,Budapest; b) Vermeer: The Music Lesson, 1660,London. The participants talk and try to find outwhich of them is by Vermeer, which of them leadsthe “discourse”, what sort and on what basis. Theparticipants become aware of the change of quality(original - deception/forgery) in the Vermeer - VanMeegeren relation, and the change of intention, toreveal the scene as deception (Vermeer - Mácsai)6. Through acting we try to thematise the determin-ing content of the painting. The students perform ashow. On the stage some students-actors movemore or less in a circle and others carry a largeframe. When they stop the frame, the actors in theframe stop, too. They repeat it three times so that theframe should be turned to all of the participants.After that the frame is leant against the wall. The par-ticipants are asked: what did we do?7. We show Rembrandt’s painting and that of G. deChirico (1922., oil, 87 x 59 cm, Milan) with thesame subject to discover the particularity of the“discourse” which the modern surrealistic painter(pittura metaphisica) leads with Rembrandt’s paint-ing. We analyse de Chirico’s painting. Then aninterpretation follows: the “discourse” is about theessential determining contents of the painting. Thebasic origins of the point and the line, the signs ofhalt and of flow, in the paintings appear also inmore complex forms, on another level, such as aframe (the sign of halt) and as a story (the sign offlow). With the performance we tried to thematisethe relation between the frame and the story. If theframe “observes” the story, a scene comes out andif the story “observes” the frame then contempla-tion comes out. The frame is leaned against a whitewall (empty frame, overlapping of the frame and thelight). We try to show how contemplation is thema-tised in the “blind” figures of Rembrandt’s paintingand how in the senseless mannequin and in therough plaster figure of Chirico’s painting (the inver-sion of the inner into the outer). In both paintingsan exit from the closed circle takes place: inRembrandt’s it is unscrewing, the spiral, the basiccompositional rule and in de Chirico’s the thematicelement: dance.Here culminates the pretentious aim of the work-shops to bring the participants closer to the meta-physics of the picture.

Studenti izvode predstavu o “biti slike”/The students-instructors perform a play about the “essence of the picture”

Namjera u š e s t o j radionici je osvijestiti razliku izme|u slike shva}ene kao vidljive svjetlosti, štose zbivalo pred djelima u prve tri radionice, i osvjetljenja u slikama koje, hine}i uobièajeno, svjetlost“koriste” da doèaraju masu i prostor; osvijestiti opreku izme|u shva}anja “nadnaravne svjetlosti” kaosvjetlosti ili kao tame; ste}i iskustvo o “razgovorima” odabranih slikarskih djela s nekim njima suvre-menim, ili èak istog autora, i o “razgovorima” koje kasnija djela pokušavaju voditi s njima, iz razlièi-tih 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|anja1. Projicira se Bellinijeva, potom Vermeerova slika i analiziraju se privid daljnje difuzne svjetlosti iuèinci 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. Potjeèetako|er od Pseudo-Dionizija, 6. st.: “Boànska svjetlost” se shva}a kao “nedodirljiva i nevidljivatama”, “nepristupaèna svjetlost gdje Bog obitava”. Upozorava se da je na prikazu Krista u tamnojmandorli, tama guš}a što je blià Kristovom tijelu. Ovo je uvod u pokazivanje Leonardove iRembrandtove slike, u Leonardov sveproìmaju}i sfumato, a i u Rembrandtov mrak iz kojeg izranjajulikovi.3. Uspore|uje se Bellinijeva Pieta iz Brere, koja je po op}oj frontalnoj postavi likova još nalik ikoni, sPietom iz Madrida A. da Messine, 1475., ulje na dasci, 74 x 51 cm, Prado, te s Bellinijevim Kristovimpomazanjem, Pale Pesaro u Vatikanu, 1475., ulje na dasci, 106 x 84 cm. Prema tezi H. Beltinga rijeèje o “likovnom razgovoru” izme|u dva autora, o da Messininom odgovoru i Bellinijevom protuod-govoru. Sve se vrti oko renesansne “inventione” - scene, shva}ene hijeratski frontalno, ili iz dra-matiène kosine, te razlièitog broja likova. Još jedna razlika: nije više slika po tome sveta što prikazuje,ve} po tome što je slika.4. U drugi razgovor ulazimo gledaju}i dvije Leonardove varijante Bogorodice u stije-nama, pariške ilondonske. Pokazuju se detalji i igrom odgonetavanja - kojoj slici pripada koji detalj - osvještava serazlika me|u slikama, osvještava se “stilski razgovor” dviju slika istog autora, iste teme i naizgledvrlo sliène invencije.5. Zadaje se vizualna zagonetka koja dalje iskušava osjetljivost sudionika. Prikazuju se: a) VanMeegeren 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. Šulenti} Krist u Emausu, 1965., Zagreb; e) I. Mácsai Slikar i njegov model, 1981.,Budimpešta; f) Vermeer Sat glazbe, 1660., London. Vodi se razgovor i pokušava otkriti koja jeVermeerova slika, koja “vodi razgovor”, kakav i na temelju èega. Osvještava se promjena kvalitete(original - prijevara/falsifikat) u sluèaju odnosa Vermeer - Van Meegeren, i promjena namjere, da sescena razotkrije kao prijevara (Vermeer - Mácsai).6. Scenskom igrom pokušava se tematizirati odredbeni sadràj slike. Studenti izvode predstavu. Nasceni se neki studenti-glumci kre}u manje više u krug, dok drugi nose veliki okvir. Kada se okvirzaustavi, zaustave se i glumci u krugu. To se ponavlja tri puta, da bi okvir bio po jednom frontalnookrenut svim sudionicima. Nakon toga se okvir stavlja uz zid. Sudionicima se postavlja pitanje: štosmo radili?7. Pokazuju se Rembrandtova i slika G. de Chirica (1922., ulje, 87 x 59 cm, Milano) s istom temomu svrhu otkrivanja osobitosti “razgovora” koji moderni nadrealistièki slikar (pittura metaphisica) vodis Rembrandtovom slikom. Analizira se de Chiricova slika. Slijedi interpretacija da se “razgovor” vodio bitnim odredbenim sadràjima slike. Temeljna poèela, toèka i linija, znakovi zaustavljanja i toka, uslikama se pojavljuju i u sloènijem vidu, na drugoj razini, kao okvir (znak zaustavljanja) i kao prièa(znak toka). Predstavom se pokušava tematizirati odnos okvira i prièe. Ukoliko okvir “motri” prièu,nastaje prizor; obrnuto, ukoliko prièa motri okvir, kontemplacija. Okvir se prislanja uz bijeli zid(prazan kadar, poklapanje kadra i svjetlosti). Pokušava se ukazati kako se kontemplacija tematizira uRembrandtovim “slijepim” likovima i kako u “bezosjetilnom” manekenu i gruboj gips-figuri deChiricove 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 tematskielement: ples.Ovdje kulminira pretenciozni cilj radionica da se sudionike pokuša pribliìti metafizici slike.

153The intention of the s i x t h workshop is tobecome aware of the difference between a pictureconceived as visible light, which, was seen in thefirst three workshops and the concept of illumina-tion in paintings, which pretends to be the common,and to use the light to obtain an illusion of massand space; to make the participants aware of theopposition between the concept of “supernaturallight” as light or darkness. The intention is also togain experience of the “discourse” of the chosenpaintings with some contemporary ones or even bythe same author and of the “discourse” whichsome later works of art try to have with them, fromdifferent periods and out of different intentions.

Ambience: The chairs are turned to the wall (forprojection) and to the space in front of the wallwhere the performance takes place. Requisites: a large wooden frame.

Structure of the activity1. First Bellini’s and then Vermeer’s paintings areprojected and we analyse the illusion of daily, dif-fuse light and the effects of illumination in bothpaintings.2. The mosaic in the apsis from St. Catherine’s onMount Sinai, 6th Century with the subject of theTransfiguration is shown. An instruction is givenabout the concept complementary to the one aboutlight that we already know. It originates also fromthe Pseudo-Dionysius (6th Century): “Divine light” isconceived as “untouchable and invisible darkness”,the “unapproachable light where God is dwelling”.The participants are warned that the darkness isdenser as it is closer to Christ’s body in the darkmandorla. This is an introduction into Leonardo’sand Rembrandt’s paintings, into Leonardo’s all per-meating sfumato and into Rembrandt’s darkness outof which the lighted figures emerge.3. Bellini’s Pieta from Brera, which in the frontaldisposition of the figures is still iconlike, is com-pared with the Pieta of A. da Messina 1475, oil onwood, 74 x 51 cm, Prado, Madrid, and Anointmentof Christ by Bellini, Pale Pesaro, 1475, oil on wood,106 x 84 cm, Vatican. According to H. Belting’sthesis here we have got an “artistic discourse”between the two authors: Messina’s answer toBellini and Bellini’s counter-answer. It all revolvesaround the Renaissance “inventione” - scene, con-ceived hyeratically frontal, or in a dramatic slope orin a different number of fi-gures. One more differ-ence: the picture is no more sacral according towhat it represents but in itself.4. We enter the second discourse looking atLeonardo’s two variations of The Virgin of the Rocks,the one in Paris and the one in London. The detailsare shown and by playing-guessing - which detailbelongs to which painting we become aware of thedifference between the two paintings, of the “stylis-tic discourse” of both the paintings by the sameauthor, with the same subject and seemingly verysimilar invention.5. A visual puzzle testing the participants’ sensibilityis posed. We show: a) Van Meegeren: Christ and theDisciples at Emmaus (1936-37, forgery);

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omjeri bojacolour ratios

sve 100%

44%

27%

11%5,5% 3% 2% 0,5%

7%

metoda izra~unavanja omjerathe method to compute the ratios

potezistrokes

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to~ke/mrljepoints/dots

VV.. KKAANNDDIINNSSKKII//VV.. KKAANNDDIINNSSKKYY:: KKOOMMPPOOZZIICCIIJJAA IIVV ((BBIITTKKAA))//CCOOMMPPOOSSIITTIIOONN IIVV ((TTHHEE BBAATTTTLLEE)),,11991111..,, UULLJJEE//OOIILL,, 116600 XX 225500 CCMM,,DDÜÜSSSSEELLDDOORRFF

purpur, "turoban i nepodnošljiv"purple, "gloomy and unbearable”

crvena, "teška zvu~nost"red, "heavy sonority"

naran~asta, zako~ena, neuravnoteèna, hibridna,ekscentri~naorange, halted, unbalanced, hybrid, eccentric

ùta, “reski oštri zvuk", topla, svjetla ekscentri~na, usmjerena prema gore, eksplozijayellow, “biting sharp sound" warm light eccentrically directed up,explosion

zelena, smirena, deprimantna, indolentnagreen, peaceful, depressive, indolent

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

ratios on a cardboard strip. It is advisable to startwith the paint that is least present in the picture.2. Detail of G. Seurat’s painting Parade (1887-88,oil on canvas, 100 x 150 cm, MetropolitanMuseum, New York) is projected and the partici-pants choose some pale chroma which they try toget by mixing and with it and a brush, to imitatethe point-like trace of Seurat’s handwriting.3. A detail of P. Mondrian’s Red Tree (1908, oil oncanvas, 70 x 99 cm, Gementee Museum, theHague) is projected. The participants get the redorange colour by mixing and with the brush theytry out one of Mondrian’s strokes that they havechosen.4. The optical discovery and identification ofcolours and following the colour gamut in V. Kandinsky’s Composition IV (the Battle), 1911,oil on canvas, 160 x 250 cm, Düsseldorf, takesplace. The participants and the workshop leaderdiscuss the synaesthetic meanings whichKandinsky discovered in each colour (yellow - bit-ing sharp sound, blue - cold, astringent taste, thegloomy and unbearable purple etc.) on account ofpondering and feeling.

Uljenom bojom i kistom isku{ava se ostavljanjetoèkastih tragova/Spotlike traces are tried out withoil paint and brush

Prire|uje se omjerska skala boja Matisseoveslike/A gamut with colour ratios of Matisse’s paint-ing is prepared

U s e d m o j radionici namjera je ste}i neposredno iskustvo o izboru boja i sintaksi modernihslikarskih djela odre|ivanjem boja bez pomo}i uzorka; pronalaènje i optièko-verbalno evidentiranjeskale na slici bez tvarnog miješanja boja; izra|ivanje skale omjera boja miješanjem uljene boje iiskušavanje tragova kista (mrlja, potez).

Ambijent: Isti je kao i u prvoj i èetvrtoj radionici, osim što se boja miješa kod oba stola (studentiunaprijed prire|uju boje, polupomiješane u èašama za svakog sudionika). DIN 6164 uzorci se nalazena odvojenom stolu odakle studenti-instruktori, ako je potrebno, sudionicima donose pojedine uzorkezašti}ene plastiènom folijom, radi pro-vjere. Potrebne su i kartonske trake i kistovi.

Struktura doga|anja1. a) Projicira se Rumunjska bluza H. Matissea, 1940., ulje na platnu, 97 x 72 cm, Muzej moderneumjetnosti, Pariz. Dok svi sudionici istodobno gledaju reprodukciju razgovorom se dolazi do štotoènije odredbe boja u sve tri dimenzije. Hipoteze se provje-ravaju u DIN 6164 sustavu, što obavljajuinstruktori. b) Sudionici (uz pomo} studenata-instruktora) miješaju boje i nanose ih na kartonskutraku u omjerima koje otkrivaju na slici. Preporuèuje se krenuti od one boje koja se smatra najmanjezastupljenom.2. Projicira se detalj slike Parada G. Seuratea, 1887.-1888., ulje na platnu, 100 x 150 cm,Metropolitan Museum, New York. Sudionici biraju neki prigušeni valer, koji pokušavaju dobitimiješanjem i kistom imitiraju toèkasti trag Seuratova rukopisa.3. Projicira se detalj Crvenog stabla P. Mondriana, 1908., ulje na platnu, 70 x 99 cm, GemeenteMuseum, Hag. Sudionici miješanjem dobivaju crvenonaranèastu i kistom iskušavaju odabraniMondrianov potez.4. Slijedi optièko pronalaènje-identificiranje boja i pra}enje skale na projekciji slike V. Kandinskoga Kompozicija IV (Bitka), 1911., ulje na platnu, 160 x 250 cm, Düsseldorf. Vodi se raz-govor i upozorava se na sinestetska znaèenja koja je Kandinski otkrivao u pojedinim bojama (reski oštrizvuk ùtog, hladnoplavo trpkog okusa, turobni i nepodnošljivi purpur, teška zvuènost crvenog itd.) radipromišljanja/proosje}anja.

157The intention of the s e v e n t h workshop is togain direct experience of the choice of colours, ofthe colour syntax of modern paintings throughcolour identification without the help of chips; find-ing and optical-verbal registering the colour gamutin the paintings without mixing paints; preparingthe gamut of colour ratios mixing oilpaint and try-ing out brush traces (dot, stroke).

Ambience: Similar to the first and fourth work-shops, except that the paints are now mixed onboth tables (the students-instructors prepare thepaints halfmixed in cups for each participant inadvance). The DIN 6164 chips are on a separatetable from where the students-instructors bringsome chips in protective bags if they are neededfor checking. Cardboard strips and brushes aredistributed.

Structure of the activity1. a) H. Matisse’s Rumanian Blouse (1940, oil oncanvas, 97 x 72 cm, Museum of Modern Art,Paris) is projected and while looking at it simulta-neously, in discourse we come to a more precisedefinition of colours in three dimensions. Thehypotheses are checked in the DIN 6164 systemby the instructors. b) The participants (helped bythe students-instructors) mix the paints discoveredin the painting and put them into corresponding

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II DD EE AA LL NN AA RR EE KK OO NN SS TT RR UU KK CC II JJ AAPONOVNO USPOSTAVLJANJE CJELOVITOSTI

II DD EE AA LL RR EE CC OO NN SS TT RR UU CC TT II OO NNRESTORATION OF WHOLENESS

PRIPREMNI RADOVI PREPARATION WORKS

[TO NEDOSTAJE?WHAT IS MISSING?

2. Three preparatory drawings by V. Kandinsky forthe painting Composition IV photocopied on tracingpaper and photocopies of the finished painting aredistributed to the participants. a) The task is to insert into each drawing on thetracing paper the lines of the painting missing in thedrawing, the differences are marked with colourfelt-tip pens. The instructors direct the participantstowards solving the meaning of the changes. b) The differences noticed are checked on the pro-jection of the finished painting.3. Pieces of format A4 paper are distributed and theparticipants are invited to concentrate on the idea ofa tree which appears first in their imagination and todraw it expanding it on this format in a horizontalposition. They work with crayons or felt-tip pens.4. The frame of G. Seurat’s painting is explored andthe participants discover the Golden Section in it. Inanalysis two specimens are at hand (M. Ghyka, Ch. Bouleau).5. The paintings are projected in the samesequence as they appeared in the exercises:Matisse, Mondrian (the whole), Kandinsky, Seurat.The participants talk about their experiences.

Istraùju se pripremni radovi Kandinskog/Kandinsky’s preparatory works are explored

Na projekcijama provjeravaju se rezultatiistraìvanja/The results of the exploration arechecked on the projections

Na projekcijama provjeravaju se rezultatiistraìvanja/The results of the exploration arechecked on the projections

Interveniralo se u Matisseov crte`/sliku, istraùjese {to nedostaje/Matisse’s drawing/painting wasmutilated; exploration of what is missing

Namjera u o s m o j radionici je ste}i kompetenciju za vrednovanje dovr{enog djela postupkomusporedbe s pripremnim crteìma i restauriranjem cjelovitosti iz obesmi-šljenog djela; ste}i neposrednoiskustvo o odnosu predod`bene realnosti i realnosti kadra, te osvijestiti mjere slike istraìvanjem kadra.

Ambijent: Isti je kao i u drugoj i petoj radionici. Sudionici dobivaju fotokopije djela, Kandinskijevepripremne radove fotokopirane na pausu, te fotokopije analiza Seuratove slike M. Ghyke i Ch.Bouleaua.

Struktura doga|anja1. Pokazuju se obesmišljene varijante Matisseove slike (na prvoj nedostaju tri mrlje, na drugoj dvije, ina tre}oj jedna mrlja). Vodi se razgovor, osvještava se osje}aj nedostaje li što na slici, ako da - gdje.Razgovor koji se vodi kre}e od osobitosti Matisseovih linijskih poteza i mrlja, istraùje se sintaksa.Usred razgovora sudionici se pozivaju da pojedinaèno 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 slikuKompozicija IV i fotokopija dovr{ene slike. a) U svaki se crte` na pausu unose linije sa slike kojih nacrteù nema, odnosno oznaèavaju se razlike raznobojnim flomaste-rima. Studenti-instruktori stalnousmjeravaju na odgonetavanje smisla promjene. b) Provjeravaju se uoèene promjene na projekciji dovr{ene slike3. Dijele se papiri A4 formata i od sudionika se traì koncentracija na predod`bu stabla koja im seprva javlja u svijesti i da je nacrtaju razapnuvši je na format, vodoravno poloèn. Radi se krejonom,flomasterom.4. Istraùje se kadar G. Seuratove slike i pronalazi zlatni rez. U analizi se koriste dva predloška (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.

161The intention of the e i g h t workshop is tobecome competent in evaluating a finished workthrough comparison with the preparatory drawingsand through restoring the whole out of an intention-ally mutilated work; to gain direct experience of therelation of an imaginative reality and the reality ofthe frame and to become aware of the measures ofthe paintings through an exploration of the frame.

Ambience: The same as in the second and fifthworkshops. The participants receive photocopies ofthe artworks, V. Kandinsky’s preparatory drawingsphotocopied on tracing papers and photocopies ofM. Ghyka’s and Ch. Bouleau’s analysis of Seurat’spainting.

Structure of the activity1. We project the variations of the intentionallymutilated painting by Matisse (in the first one threedots are missing, in the second two and in thethird one dot). The discourse concerns the ques-tion whether something is missing in the paintingor not and, if so, where. The discourse starts withthe peculiarities of Matisse’s linear shapes anddots and his syntax is explored. During the dis-course the participants are invited to reconstruct,individually or in groups, the dots which are miss-ing. They discuss the results and the unmutilatedartwork is projected.

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razgranavanje, bujanje apstraktnih oblikaramification, exuberation of abstract shapes

PokušajiAttempts

neuhvatljivi tren elusive momentUSPJEH SUCCESS

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pojednostavljenje tematskih elemenatasimplification of thematic elements

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1. MASE (raspored teìna):boja: dolje u sredini - plava daje cjelini stanovitu hladno}u

gore desno - odijeljene plava, crvena, ùtalinija: gore lijevo - crna linija suspregnutih konja

dolje desno - izduèna linija leè}ih likova

2. U MEÐUSOBNOJ SU OPRECImasa i linijaono jasnih kontura i ono nejasnihàrište linija i àrište boja, ali glavna je opreka, oprekaizme|u šiljatooštrog kretanja (bitka) i svijetlih-hladnih-oštrih boja

3. PRELIJEVA SEboja preko granica odre|enih obrisomkroz savršenu konturu tvr|ave prokapljuje nebo i slabi je(itd.)

1. MASSES (arrangement of weight):colour: below the centre - blue gives the whole

a certain coolnessabove right - separated blue, red, yellow

line: above left - black line of constrained horsesbelow right - elongated line of reclining figures

2. MUTUALLY OPPOSED ARE:mass and lineclear and unclear lines focus of lines and focus of colours but the mainopposition is the opposition between the pointed-sharp movement (the battle)and light-cold-sharpcolours

3. THE OVERFLOWof colour across the boundaries defined by the contoursthe sky leaks through the perfect contour of thefortress and blurs it (etc.).

isti format, ista tema, ista makrorazradathe same format, the same subject, the same macroarticulation

RAZGOVOR RAZLIÎTIH MEDIJADISCOURSE OF DIFFERENT MEDIUMS

RAZGOVOR SLIKARSKIH MEDIJADISCOURSE OF PAINTING MEDIUMS

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3. In a sequence of eight slides Matisse’sRumanian Blouse is projected showing the phaseswhich precede the finished artwork. In conversationwe become aware of the changes - step by step -and we try to become aware of the elusive momentwhen, out of a multitude of attempts the success,the painting emerges.4. To strengthen this experience we make a verbalexperiment. The workshop leader reads an excep-tionally short poem by. G. Ungaretti, Morning. Asuggestion is made about an adventure opposite tothe one followed by the phases of Matisse’s paint-ing. The workshop leader starts a story as a recon-struction of the experience which precedes thepoem - a talkative, banal story about the desire tosee the sunrise and invites the participants to con-tinue, to add their chat about this imagined experi-ence. The talk is cut off by Ungaretti’s poem“M’illumino d’immenso”. The question is posed:what is swelling and what is reduction in creation?(the exercise was published by D. Janda)5. A series of Mondrian’s paintings are shown: TheRed Tree, The Blue Tree, The Grey Tree, Apple treein blossom, Composition No 3 (tree), Oval compo-sition with trees, Composition in Blue, Grey andPink, Pier and Ocean (the time span from 1908 till1915). The starting point is the tree, a non-randomthematic element, the essence of which is just aramification, a swelling. The series of Mondrian’spaintings shows a dual process - the reduction of abranched tree and the ramification, the swelling ofabstract shapes through variation and multiplication.

Namjera u d e v e t o j radionici je osvijestiti ulogu medija; ste}i iskustvo o procesu nastajanjadjela, o umjetnikovoj vlastitoj interpretaciji djela i iskustvo o procesu nastajanja apstrakcije u moder-nom slikarstvu.

Ambijent: Razmještene su stolice bez stolova. Sudionici su okrenuti prema zidu na koji se projicira.Potrebna su tri projektora i oni su na uobièajenom mjestu. Tijekom rada dobivaju se tekstoviKandinskog i Ungarettija.

Struktura doga|anja1. a) Projicira se: Seuratova studija za Paradu u tehnici pera, 12,5 x 19,5 cm iz privatne zbirke uBaselu, format zlatorezni. Vodi se razgovor. Neki sudionici su vjerojatno zbunjeni, misle da se radi ocrno-bijeloj reprodukciji njima ve} poznate slike. Osvještava se da se radi o crteù i u razgovoru seanaliziraju razlike koje proizlaze iz razlike me-dija, dakle, ista tema, isti format, ista razrada formata- u èemu je razlika? Što proiz-lazi iz uljene boje a što iz pera - na to se traì odgovor. b) Projicira se Seuratova studija za Paradu,ulje, na poklopcu kutije za cigare, 17 x 25 cm, iz privatne zbirke u Zürichu. Format je ponovo pozlatnom rezu. U razgovoru se opet osvještavaju razlike i prema prethodnoj studiji i prema gotovomdjelu. Nastoji se usmjeriti prema osvještava-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. îta se njegov tekst i pokušava pratiti dijalog kojiKandinski vodi sam sa sobom verbalno analiziraju}i vlastitu sliku. Pitanjima se olakšava pra}enjenjegove interpretacije.3. Projicira se u slijedu osam fotografija Matisseove Rumunjske bluze koje pokazuju faze što prethodekonaènoj slici. U razgovoru se prate i osvještavaju promjene - korak po korak - i nastoji osvijestitineuhvatljivost trenutka kada iz mnoštva pokušaja nastaje uspjeh - slika.4. Radi pojaèanja tog iskustva radi se verbalni eksperiment. Proèita se iznimno kratka pjesma G. Ungarettija, Jutro. Predlaè se obrnuta avantura od one koja se pratila nastajanjem Matisseove slike.Voditelj zapoèinje prièu, pokušaj je to rekonstrukcije doìvljaja koji prethodi pjesmi - brbljavu, banalnuprièu, o htijenju vi|enja izlaska sunca - i traì se od sudionika da nastave, da dodaju svoje brbljanje otom zamišljenom doìvljaju. Brbljanje se presjeèe èitanjem Ungarettijeve pjesme: “Obasjavam sebeskrajem.” Pitanje koje se postavlja: što je bujanje a što 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 ruìèastom,Obala i ocean (vremenski raspon: 1908.-1915.). Polazište je stablo, nesluèajni tematski element, èija jebit razgranavanje, bujanje. Slijed Mondri-anovih slika pokazuje dvostruki proces - pojednostavljenjerazgranatog stabla i razgranavanje, bujanje apstraktnih oblika variranjem, umnaànjem.

165The intention of the n i n t h workshop is tobecome aware of the role of the medium, to gainexperience of the creative process, of the author’sinterpretation of his own work and to experience theprocess of abstraction coming into existence inmodern painting.

Ambience: Chairs are placed around the roomwithout tables. The participants face the wall withthe projection. Three projectors are needed andthey are in their usual places. During the work theparticipants are given the texts by Kandinsky andUngaretti.

Structure of the activity1. a) G. Seurat’s study for the Parade in the tech-nique of pen, 12.5 x 19.5 cm from a private collec-tion in Basle is projected. The format is in the propor-tion of the Golden Section. A discussion is held.Some participants are perhaps confused, they think itis a black and white reproduction of the alreadyknown painting. They become aware that it is adrawing and they talk about the differences whichcome out of the different mediums, but the samesubject, the same format, the same articulation of theformat - where is the diffe-rence? What comes out ofoil paint and what out of pen? That is the question tobe answered. b) Seurat’s study for the Parade, oil, ona cigarbox cover, 17 x 25 cm, from a private collec-tion in Zürich, is projected. Again the format is in theGolden Section proportion. During the discussion theparticipants become aware of how different it is fromthe former study and the finished work. The intentionis to become aware of the medium particularities(dot, stroke, ground). c) The finished painting is pro-jected and all the hypotheses are checked.2. V. Kandinsky’s Composition IV is projected. Theworkshop leader reads out aloud Kandinsky’s textand tries to follow the dialogue which Kandinskyhas with himself verbally analysing his own paint-ing. By questioning we try to follow and understandhis interpretation.

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Structure of the activity1. The participants make at least one leaf of paper.The mixture must be poured uniformly onto thesieve, in the frame. Uppon is another empty mov-able frame. They are shaken several times and theupper empty frame is carefully put away. The dampbut wrung out cotton cloth is put on, then a card-board and turned over. The water is mopped with asponge and finally the frame with the sieve is takenaway. Dry newspapers are put on and it is rolledseveral times with a roller, then turned and with athin long knife very carefully separated from thecloth. The procedure of adding dry newspapers androlling is repeated several times and in the end thefinished paper is put to dry for some hours. The halfdry paper can be transported safely between drynewspapers.2. Invitation to a get together with refreshments.

Proizvodi se papir: smjesa se lijeva na sito uokviru, iznad je drugi prazni okvir/Paper is pro-duced: the mixture is poured into the sieve in frame,uppon is an another empty frame

Trese se/It is shaken

Gornji je okvir maknut/The upper frame is putaway

Okvir sa sitom se okre}e/The frame with the sieveis turned over

Stavlja se novinski papir/Dry newspapers are puton

Noèm se pa`ljivo odvaja od tkanine/The handmade paper is carefully separated

Papir je gotov/The finished paper i razgledava se/is examined

Namjera u d e s e t o j radionici, slièno namjeri u završnoj radionici C r t e `, dvojaka je. Jedna je“utilitarna”: ruèno proizvoditi papir, druga je: ste}i iskustvo u prire|ivanju neke podloge umjetnièkogdjela (plošno istanjena masa teksturalnog ili plošnog oplošja).

Ambijent: Stolovi su razmješteni u dva usporedna niza. Potrebna je voda u ve}im posudama. Napo jednom kraju niza stolova prire|eni su drveni okviri sa sitom postav-ljeni na posudu, valjak,posude za lijevanje, spu`ve, dugi tanki noèvi, krpe i velika kolièina novinskog papira. Unaprijed jeprire|ena papirna pulpa u velikim posudama (dobivena miksanjem u vodi omekšanog papira uomjeru 1:100, tj. 30 dkg suhog papira na 30 litara mlake vode).

Struktura doga|anja1. Sudionici redom prave svaki barem po jedan list papira. Smjesa se jednolièno lijeva na okvir raza-peto sito iznad kojeg je drugi prazni odvojivi okvir. Zajedno se strese nekoliko puta i pa`ljivo skida,prazni okvir. Stavlja se namoèena, iscije|ena pamuèna tkanina, pa deblji karton i okrene. Tada sespu`vom skuplja voda i okvir sa sitom se makne. Stavlja se suhi novinski papir i valjkom se prelaziviše puta, okrene i tankim dugim noèm pa`ljivo odvaja od tkanine. Postupak stavljanja suhog papirai prelaènje valjkom ponavlja se više puta i konaèno se gotovi list papira ostavi sušiti još nekoliko sati.Izme|u suhih listova novina poluvla`ni papir se nesmetano moè prenositi.2. Sudionici se pozivaju na razgovor uz èaj i kolaèe.

167The intention of the t e n t h workshop, similar tothe intention in the final workshop of Drawing is oftwo kinds. One is to produce handmade paper andthe other to get experience of a sort of ground forartwork (the planar mass with textural or planar sur-face).

Ambience: The tables are in two parallel rows.Some water is needed in large containers. At theends of the tables there are wooden frames pre-pared with sieves placed on the containers, rollers,jugs for pouring, sponges, long, thin knives, dish-cloths and a large quantity of newspapers. Paperpulp is prepared in advance in large vessels (pre-pared by stirring and mixing in the water alreadysoftened paper at a ratio 1:100, i.e. 30 dkg of drypaper and 30 liters of lukewarm water).

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Radionica IV