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WALTZ FOR 4
VALČEK ZA 4 GENRE/format: TV documentary /televizijski dokumentarni film DURATION/dolžina: 50 MIN YEAR/leto: 2004 |
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SCREENWRITER/scenarist: PETER POVH
DIRECTOR/režiser: BORIS PALČIČ VOICE CAST/glasovne vloge: ALEŠ VALIČ, BORIS OSTAN, BRANKO ZAVRŠAN, MARKO MANDIČ, SONJA POLANC DOP/direktor fotografije: BOJAN KASTELI |
PRODUCTION DESIGNERS/scenograf: URŠA LOBODA
COSTUME DESIGNER/kostumografinja: ZVONKA MAKUC KEY MAKE-UP ARTIST/kreatorka maske: GABRIELA FLEISCHMAN EDITOR/montažer: MILAN MILOŠEVIČ COPRODUCERS/koproducenti: RTV SLOVENIJA (Slovenia) |
ABOUT/vsebina:
VIENNA, 1904. IN MIETKE’S ART SALON A NEW EXHIBITION OPENS: THE “SAVA” ART CLUB FROM LJUBLJANA PRESENTS A SERIES OF SUCCESSFUL WORKS OF ART, OF WHICH THE MOST NOTICEABLE ARE THE IMPRESSIONIST STYLE PAINTINGS. VIENNA’S ART CRITICISM SCENE IS ENTHUSIASTIC AND ESPECIALLY PRAISES THE PERCEPTION OF THE “STIMMUNG” COMMON TO ALL OF THE EXHIBITED IMPRESSIONIST PAINTINGS. GROHAR, JAMA, STERNEN, JAKOPIČ. WE NEED TO SEARCH FOR THEIR BEGINNINGS TEN, FIFTEEN YEARS BACK. ANTON AŽBE, A PAINTER FROM THE POLJANSKA VALLEY OPENS HIS OWN PAINTING SCHOOL, WHERE HE TEACHES FOLLOWING HIS OWN PRINCIPLE CALLED “KUGELPRINZIP”. HIS PUPILS INCLUDE KANDINSKI, JAVLENSKI AND ALL FOUR OF THE SLOVENIAN PAINTERS. OUR PAINTERS ARE NOT SATISFIED, THOUGH; THEY FEEL CLOSER TO THE FRENCH AND THEIR IMPRESSIONIST APPROACH TO LIGHT AND THE OBJECT. THEY THEREFORE BEGIN TO PAINT OUTDOORS, MAINLY IN THE COUNTRYSIDE AROUND ŠKOFJA LOKA, AND AT DIFFERENT TIMES OF THE DAY. HOWEVER, THEIR SUBSEQUENT WORK IS NOT AS BRILLIANT.
Dunaj 1904. leta. V likovnem salonu pri Miethkeju odprejo novo razstavo: umetniški klub »SAVA« iz Ljubljane predstavi vrsto uspelih umetnin, najbolj opazne so v impresionističnem slogu . Dunajska umetnostna kritika je navdušena in hvali predvsem prepoznavnost, »štimung«, ki je lasten vsem razstavljenim impresionističnim slikam. Grohar, Jama, Sternen, Jakopič. Začetek moramo iskati deset, petnajst let prej. V Munchnu odpre svojo slikarsko šolo Anton Ažbe, slikar doma iz Poljanske doline, ki poučuje po svojem principu imenovanem »kugelprincip«. Pri njem se šolajo tudi Kandinski, Javlenski, pa tudi vsi naši štirje slikarji.
Vendar našim to ni dovolj, bližje so jim Francozi s svojim impresionističnim pristopom do svetlobe in predmeta. Zato začnejo slikati skupaj v naravi, še največ okoli Škofje Loke, na prostem, ob različnih dnevnih časih. Vendar nadaljevanje ni tako sijajno.
VIENNA, 1904. IN MIETKE’S ART SALON A NEW EXHIBITION OPENS: THE “SAVA” ART CLUB FROM LJUBLJANA PRESENTS A SERIES OF SUCCESSFUL WORKS OF ART, OF WHICH THE MOST NOTICEABLE ARE THE IMPRESSIONIST STYLE PAINTINGS. VIENNA’S ART CRITICISM SCENE IS ENTHUSIASTIC AND ESPECIALLY PRAISES THE PERCEPTION OF THE “STIMMUNG” COMMON TO ALL OF THE EXHIBITED IMPRESSIONIST PAINTINGS. GROHAR, JAMA, STERNEN, JAKOPIČ. WE NEED TO SEARCH FOR THEIR BEGINNINGS TEN, FIFTEEN YEARS BACK. ANTON AŽBE, A PAINTER FROM THE POLJANSKA VALLEY OPENS HIS OWN PAINTING SCHOOL, WHERE HE TEACHES FOLLOWING HIS OWN PRINCIPLE CALLED “KUGELPRINZIP”. HIS PUPILS INCLUDE KANDINSKI, JAVLENSKI AND ALL FOUR OF THE SLOVENIAN PAINTERS. OUR PAINTERS ARE NOT SATISFIED, THOUGH; THEY FEEL CLOSER TO THE FRENCH AND THEIR IMPRESSIONIST APPROACH TO LIGHT AND THE OBJECT. THEY THEREFORE BEGIN TO PAINT OUTDOORS, MAINLY IN THE COUNTRYSIDE AROUND ŠKOFJA LOKA, AND AT DIFFERENT TIMES OF THE DAY. HOWEVER, THEIR SUBSEQUENT WORK IS NOT AS BRILLIANT.
Dunaj 1904. leta. V likovnem salonu pri Miethkeju odprejo novo razstavo: umetniški klub »SAVA« iz Ljubljane predstavi vrsto uspelih umetnin, najbolj opazne so v impresionističnem slogu . Dunajska umetnostna kritika je navdušena in hvali predvsem prepoznavnost, »štimung«, ki je lasten vsem razstavljenim impresionističnim slikam. Grohar, Jama, Sternen, Jakopič. Začetek moramo iskati deset, petnajst let prej. V Munchnu odpre svojo slikarsko šolo Anton Ažbe, slikar doma iz Poljanske doline, ki poučuje po svojem principu imenovanem »kugelprincip«. Pri njem se šolajo tudi Kandinski, Javlenski, pa tudi vsi naši štirje slikarji.
Vendar našim to ni dovolj, bližje so jim Francozi s svojim impresionističnim pristopom do svetlobe in predmeta. Zato začnejo slikati skupaj v naravi, še največ okoli Škofje Loke, na prostem, ob različnih dnevnih časih. Vendar nadaljevanje ni tako sijajno.