Painting as learning to return to a quiet center.
And maybe that's why painting is healing and revitalizing.
At the exhibition in Vetrinjski Dvor, a group of sixteen amateur painters and painters present their works, all of them members of the Cultural Association Studenci-Maribor, section of Zarja. The joy of painting and the joy of getting to know the new is what unites. Some of them are experienced creators who have been friends with a brush and pencil for many years, while others are just getting to know their first painting steps. I am happy to mentor the section Zarja and our meetings are painting workshops in the premises of the ML Studenci.
There is a record of the usefulness of pictorial creation in the Society of other painters in a treatise on painting:
I say and affirm that, for many reasons, it is much better to draw in society than alone: the first is that you will be ashamed to be noticed among the cartoonists if you are not up to things, and this shame will be the cause of good studies: secondly, positive Envy will encourage you to be among the more praised than yourself, because the thanks of others will encourage you: the next reason is that you will learn from the moves of those who do better than you, and if you are better than others, you will be able to take advantage of it and avoid shortcomings, and the thanks of others will increase your virtue.
We patiently and with dedication acquire drawing and painting skills. Leonardo da Vinci had a very clear and strict position on the work of hands and mastering the craft. While he argued that painting was fundamentally a matter of the mind (cosa mentale), he also emphasized that without mastery of hand technique, the mind could not express its vision. For the painter, the hand is a tool that must be trained and always guided by knowledge.
Leonardo da Vinci: treatise on painting, Ljubljana, Studia humanitatis, 2005
In his work, the painter is constantly faced with the inexplicable, internal and emotional. This is the part in the process of work that separates the correct and ordinary picture from that picture, which is something more. Indeed, in every good painting there is a reflection of the painter's character, mood and life experience, the painter's interior. The meaning of painterly expression is that which cannot be said in words and explained. We strive to touch the boundaries of ourselves and the boundaries of the outside world while creating what is worthy of the name painting. We test how the self and the external are intertwined and merge into each other, into the unknown. The only such journey can bear the adjective pictorial.
mag. Natalia Sheruga Golob, academic painter
They exhibit:
Jadranka Golob, Nadica Iskra, Marka Hostnik, Nada Yemensek, Anka Kante, Boza Korbar, Tinca hazelnut, Nada Deputy, Rozika Ogorevc, Mateja Ogorevc, Teja Ozimic, Oto Pogacnik, Valentina Noblic, Draga Reichenberg, Biserka Stefancic Kos and Branka Zherjal.
Slikarstvo kot učenje vračanja v tiho središče.
In morda je tudi zato slikanje zdravilno in oživljajoče.
Na razstavi v Vetrinjskem dvoru svoja dela predstavlja skupina šestnajstih ljubiteljskih slikark in slikar, vsi so člani Kulturnega društva Studenci-Maribor, Sekcije Zarja. Radost slikarskega ustvarjanja in veselje do spoznavanja novega je tisto kar druži. Nekateri med njimi so izkušeni ustvarjalci, ki s čopičem in svinčnikom prijateljujejo že mnogo let, drugi pa svoje prve slikarske korake šele spoznavajo. Z veseljem sem mentorica Sekcije Zarja in naša srečanja so slikarske delavnice v prostorih MČ Studenci.
O koristnosti slikarskega ustvarjanja v družbi drugih slikarjev obstaja zapis v Traktatu o slikarstvu:
Pravim in potrjujem, da je iz številnih razlogov veliko bolje risati v družbi kakor sam: prvi je ta, da te bo sram biti opažen med risarji, če nisi kos stvari, in ta sram bo vzrok za dober študij: drugič, pozitivna zavist te bo spodbujala, da bi bil med bolj hvaljenimi od sebe, saj te bo hvala drugih spodbujala: naslednji razlog je, da se boš učil iz potez tistih, ki delajo bolje od tebe, in če si boljši od drugih, boš to lahko izkoristil in se izognil pomanjkljivostim, hvala drugih pa bo povečala tvojo vrlino.
Potrpežljivo in predano pridobivamo risarsko ter slikarsko spretnost. Leonardo da Vinci je imel do dela rok in obvladovanja obrti zelo jasno in strogo stališče. Čeprav je trdil, da je slikarstvo v osnovi stvar uma (cosa mentale), je hkrati poudarjal, da brez obvladovanja tehnike rok um ne more izraziti svoje vizije. Za slikarja je roka orodje, ki mora biti izurjeno in vedno vodeno z znanjem.
Leonardo da Vinci: Traktat o slikarstvu, Ljubljana, Studia humanitatis, 2005
Slikar se v svojem delu nenehno sooča z nerazložljivim, notranjim in čustvenim. To je tisti del v procesu dela, ki loči korektno in običajno sliko od tiste slike, ki je nekaj več. V vsaki dobri sliki je namreč odsev slikarjevega značaja, razpoloženja in življenjskih izkušenj, slikarjeve notranjosti. Smisel slikarskega izražanja je tisto, kar ni mogoče povedati z besedami in razložiti. Stremimo, da se med ustvarjanjem, ki je vredno imena slikanje, dotikamo mej samega sebe in mej zunanjega sveta. Preizkušamo, kako se jaz in zunanje prepletata ter zlivata drug v drugega, v neznano. Edino tako potovanje lahko nosi pridevnik slikarsko.
mag. Natalija Šeruga Golob, akademska slikarka
Razstavljajo:
Jadranka Golob, Nadica Iskra, Marka Hostnik, Nada Jemenšek, Anka Kante, Boža Korbar, Tinca Lešnik, Nada Namestnik, Rozika Ogorevc, Mateja Ogorevc, Teja Ozimič, Oto Pogačnik, Valentina Plemenitaš, Draga Reichenberg, Biserka Štefančič Kos in Branka Žerjal.