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Razstava akvarelov / Exhibition of
watercolours
Galerija art.si, Židovska ulica 5, Ljubljana
19. januar - 2. februar 2006
Kustosinja razstave / Curator Nadja Zgonik
Pokrajina z nasadi lavande / Landscape with Lavender Fields,
2003
akvarel na papirju / watercolour on paper, 36 x 48 cm
Alenka Gerlovič je leta 1999 na samostojni
razstavi v Galeriji Vodnikove domačije v Ljubljani prvič
predstavila svoje akvarele. Od takrat jih redno in sproti
razstavlja, in občutek imamo, da so, odkar je v njenem ustvarjanju
akvarelno slikarstvo zamenjalo prejšnje akrilno, menjave
njenih razstav
na neki skrivnosten način povezane z menjavami
letnih časov. V zadnjih letih pri njej ni nova le slikarska
tehnika, pač pa tudi okoliščine nastajanja umetnin. Namesto
v ateljeju, slika v plein-airu; akvarele ustvarja v okolici
Ljubljane, na Ljubljanskem barju, pod Polhograjskimi dolomiti,
včasih še bliže, kar v starem ljubljanskem Botaničnem vrtu.
V spačka naloži zložljiva stolčka, enega, da na njem sedi
in drugega brez naslonjala, da na njem meša barve, potem
še krpe za brisanje čopičev, plastenki z vodo za akvarel
in
zase, slikarsko haljo ter pribor. Njen način dela od prej,
ko se je sklanjala nad slikino površino, ki jo je imela vodoravno
postavljeno
pred
seboj in je na njej natančno nadzorovala vse, kar se je dogajalo
znotraj robov, je sedaj podoben tudi pri akvarelih. Skicirko
vzame v naročje in disciplinirano spremlja, kar nastaja na
listu. V obdobju akrilnega slikarstva je bila njena maksima
čakanje na razkritje slike v duševni notranjosti, ki se je
oblikovala
pod preteklim vtisom iz narave. Zdaj, ko ustvarja akvarele,
nastane njena umetnina po drugi poti, bolj neposredno. Ko
sedi v naravi pred objektom svoje slikarske zaznave, se prepušča
podatkom iz okolja, da jo ponesejo s seboj. Še vedno se kot
poprej posveča teksturam, prav posebna koncentracija pa je
namenjena
konturi motiva. Ne zanima je kader, pač pa izrez pokrajine.
že v njenem prejšnjem slikarstvu je bil zanjo zelo pomemben
odnos med figuro in ozadjem, ki je bilo podslikano, zdaj
pa, ko je to ozadje papirnata podlaga, je razmerje med nevtralnim
slikovnim poljem in obrisom motiva tisto, kar gledalca najprej
pritegne. Kontura je izbrana, tako da oblikuje znak, ki kot
naključna arabeska vzbuja vtis spontanosti.
Gerlovičeva se hote prepušča ritmom iz narave in sled te
njene predanosti ohranja izbor slikarske materije. Pri akvarelnih
barvah je osnova vodna, in voda, ki ima v naravi tako pomembno
mesto,
je v akvarelu relikt naravnega. Vendar ima njen znak posebno,
nazorno gostoto, ki jo pridobi zaradi vezi z resničnim. Kot
je bilo nekdaj v njenem slikarstvu iskanje reda v naravi
analitično, sistematično in racionalno, tako se zdaj točka,
madež in
linija zlivajo v spontanem,
intuitivno zaznavnem redu. Njeno večno iskanje “prvobitne
pokrajine” jo še spremlja; zdaj je “klesanju” motiva namenjeno
suho
polaganje akvarelnih potez, pri katerem le redko dopusti
zlivanje barv na akvarelnem papirju, in tako ohranja prejšnjo
konstrukcijsko čvrstost. Atmosfera slikarke ni zanimala ne
prej ne zdaj,
kar je presenetljivo, saj je raba akvarelne
tehnike pri slikarjih velikokrat utemeljena s tem, da akvarel
z razlivanjem vode in prelivanjem barvnih plasti omogoča
atmosferične učinke. Njo usmerja drugačno vodilo; to je želja
po nadzoru nad predmeti, od katerih ima vsak v slikovni celoti
točno določeno mesto.
Prva izbrana pokrajina, ki je inicirala za njeno slikarstvo
tako značilno posebno krajinsko občutenje, je bila Kornatsko
otočje. Sama pravi, da so Kornati njena “najdena pokrajina”.
Krajina ima pri Gerlovičevi spominsko dimenzijo. Vanjo se
zajedajo ograde, stavbe, nagrobniki, potke, ki jih shodijo
živali; to so geometrizmi, ki so posledica dela človeških
rok ali
drugega posega. Na novo ustvarjena oblika se ujame v mrežo,
ki je v krajini prisotna že od prej. Opazovanje trajnega
v naravi
in konstrukcijskih prvin, ki jih je mogoče odkrivati v njej,
je v njenih delih ustvarjalo čvrst ritem mreže in natančno
strukturirano ogrodje iz zemlje, peska, grušča ... Zdaj se
v to čvrsto postavljeno pokrajino “zliva” voda, ki predstavlja
tekočost
in gibkost, vendar še vedno strogo ter nadzorovano.
Ustvarjanje Alenke Gerlovič se giblje v odnosih dihotomij,
ki so razpoznavne med prej in potem, trdim in mehkim, suhim
in mokrim, geometriziranim in organskim, gladkim in hrapavim,
abstraktnim in verističnim, med znotraj in zunaj. V njenih
zadnjih akvarelih se snuje sinteza iz reminiscenc na njena
prva potovanja
v Makedonijo v petdesetih letih, takrat so
nastali njeni prvi akvareli, dolgega loka svetovnih potovanj
in vračanja domov. Dom in svet je ena najbolj usodnih dihotomij,
ki zaznamujejo delo Alenke Gerlovič, ali natančneje, to je
bil
najprej svet in potem vrnitev domov. Po svojih potovanjih,
prvih, nekoliko bližnjih v Makedonijo in na dalmatinsko otočje,
potem pa v oddaljenejše Mehiko, Peru, Kitajsko, Nepal, Šri
Lanko, Indonezijo, ZDA, Egipt, Jordanijo in večkrat Turčijo,
predvsem Kapadokijo, se zdaj vrača v blagost od človeka neokrnjene
narave, ki jo še odkrije kje v bližini doma.
Vitalna 94-letna umetnica Louise Bourgeois je izjavila, da
je srečna, ker je zaslovela tako pozno in je zato slava ni
mogla pokvariti. Nekaj podobnega bi lahko veljalo tudi za
Alenko Gerlovič, njene ustvarjalne poti sloves ni nikoli
preusmerjal. Predana umetnosti in odmaknjena od vrveža, ki
ga ustvarjajo galerijski direktorji in likovni kritiki, hodi
svojo osamljeno, natančno začrtano pot. Zdaj, ko že šestintrideset
let življenja povsem posveča slikarstvu (od tega zadnjih
šest, sedem predvsem akvarelu), si lahko privošči zasebniško
razkošje, da je ne zanimajo več pozunanjeni “vzorci človekovega
posega
v naravo”, ki oblikujejo geometrijske mreže, temveč vzgib
narave kot ustvarjalke večnega obnavljanja in “dvogovor človeka
z božansko naravo”, kot sama pravi v enem neredkih, vedno
izbrušenih zapisov o svojem lastnem delu.
Nadja Zgonik
Alenka Gerlovič presented her watercolours in a solo exhibition
in 1999 for the first time. From then on, she has been
exhibiting them regularly, giving the impression that her
exhibitions have been strangely connected to the changing
of seasons ever since she used watercolours instead of acrylic
paints. Recently, she has changed not only her painting technique,
but also the environment she works in. She now prefers painting
in plein air to working in the studio. She usually paints
in the surroundings of Ljubljana - the Ljubljana Marshes
or under the Polhograjski Dolomiti hills -, but also in the
Ljubljana Botanical Garden. She puts two folding chairs in
her old Citroen CV4: one to sit on and a simple stool to
put the palette on. She also needs a rag to wipe the brushes,
water in the plastic bottles for the watercolours and for
herself, her painter’s coat and tools. Even with watercolours,
her approach is similar to what it was with acrylic paintings,
when the painting surface was laid out before her, so she
could have complete control of it. Now she takes the sketch
pad, puts it in her lap and attentively observes what is
being created.
With acrylic paintings she would wait for the painting to
reveal itself in her imagination of the mind, following the
impression taken from the nature. Now she creates her work
differently, more directly. When she sits in front of the
object of her artistic perception, she lets the environment
take her away. She still pays attention to
the texture, and especially to the contour of the motif.
She is not interested in specific sequence, but in the fragment
of the landscape. Already in her previous work the relationship
between the figure and the pre-painted background bore special
importance. Now, when the background is paper-based, it is
precisely the relationship between neutral pictorial field
and the contour of the motif, which attracts the viewer most.
The contour forms a sign, an unintentional arabesque, giving
the impression of spontaneity. The artist deliberately follows
the rhythms of nature, which is also reflected in the use
of the medium. Watercolours are based on water, thus in a
watercolour painting the water, an important element of living
nature, acts as a residue of nature.
On the other hand, because her art stems from the real world,
the sign she creates bears a distinctive palpability. She
used to find order in nature analytically, systematically
and rationally, but now the dot, the spot and the line unite
in a spontaneous, intuitive order. Her eternal quest for
‘primeval landscape’ has not ceased - now she ‘moulds’ the
motif with dry strokes and rarely allows the watercolours
to mix, thus keeping the former
structural vigour. Quite surprisingly, the artist has never
been interested in the atmosphere. Usually, the use of watercolours
in painting is bound to the overflowing of water and colour
layers, effecting the atmosphere. Alenka Gerlovič is different:
she is driven by the wish to control the objects she paints,
precisely determining their place.
The first region to initiate her distinctive feeling of landscape
was the Islands of Kornati. She says herself that Kornati
are her ‘found landscape’. In her artistic work, landscape
has acquired a memorial dimension, uniting the fences, the
buildings, the tombstones, the paths the animals walk on
etc. - geometricisms made by man or other spatial inscriptions.
The newly created form gets caught into a pre-existent net
of nature. By observing the permanent natural and structural
features, her works would create a compact net and a carefully
structured framework of earth, sand or rubble. Now, water,
an element of fluidity and motion, flows into this compact
landscape, although remaining controlled by the careful eye
of the artist.
The art of Alenka Gerlovič is governed by dichotomies: the
before and the after, the solid and the soft, the dry and
the wet, the geometrical and the organic, the smooth and
the rough, the abstract and the veristic, the inner and the
outer. Her most recent paintings span from the reminiscences
of her first travels to Macedonia in the 1950s, when she
created her first watercolours, through her travels around
the worlds,
until finally returning home. The most dramatic dichotomy
in her artistic work is between the home and the world, more
precisely: first there was the world, then she returned home.
After her travels to the near Macedonia and the Dalmatian
Islands, then to the distant Mexico, Peru, China, Nepal,
Sri Lanka,
Indonesia, the USA, Egypt, Jordan and Turkey, most often
Kapadokya, she now returns to the haven of intact nature
near her home.
The now 94-year-old energetic
artist Louise Bourgeois once said that her luck was that
she became famous so late that fame could not destroy her.
One could say something similar about Alenka Gerlovič, who
was never lead astray by fame. Dedicated to art, untouched
by the turmoil of gallery directors and art critics, she
continues to tread her solitary path. She has been dedicating
her life solely to painting for thirty-six years now, so
she
can afford the luxury of not being interested in the outer
‘patterns of human interference in nature’, which form
geometrical nets, but rather concentrates on the impulses
she gets from
nature as the creator of the eternal revival and on the ‘dialogue
between the human being and the divine Nature’, as she described
her work in one
of the frequent and always poignant texts about her own
work.
Nadja Zgonik
Poletni ribnik / Pond in the Summer,
2002
akvarel na papirju / watercolour on paper, 31 x 41 cm
Lotosi / Lotuses, 2004
akvarel na papirju / watercolour on paper, 31 x 41 cm
BIOGRAFSKI PODATKI
Alenka Gerlovič se je rodila 17. septembra 1919. leta v
Ljubljani. Zgodnje otroštvo do konca osnovne šole je preživela
v Brežicah,
kjer je njen oče do leta 1929 deloval kot okrajni in kopališki
zdravnik za Čateške toplice. Šolanje je nadaljevala na
Poljanski gimnaziji v Ljubljani, kamor se je družina preselila
po
očetovem imenovanju za ravnatelja splošne bolnišnice v
Polju (pozneje bolnišnica za duševne bolezni). Potem, ko
je še
ne osemnajstletna maturirala,
se je leta 1937 vpisala na študij slikarstva na Akademijo
za likovno umetnost v Zagrebu, kjer jo je najbolj zaznamovala
risba Krsta Hegedušiča. Leta 1941 so študenti še pred koncem
študijskega leta po hitrem postopku prejeli posebne vojne
diplome in
mlada slikarka se je vrnila v že okupirano Ljubljano. Pridružila
se je OF in, dokler zanjo ni postalo prenevarno, delovala
kot ilegalka v Ljubljani.
Julija leta 1944 se je umaknila na osvobojeno ozemlje in
se pridružila grafičnemu ateljeju Centralne tehnike KPS v
Starih žagah in potem Črmošnjicah, ki je skrbel za likovno
opremo partizanskega tiska. Ilustrirala je periodiko, izdelala
več plakatov, načrtovala pa tudi izid lastne grafične mape
Pasijon slovenskega naroda, ki je do konca vojne ni uspela
dokončati. Po osvoboditvi se je aktivno vključila v delovanje
Društva slovenskih
likovnih umetnikov. Najprej se je zaposlila kot scenografka
Slovenskega narodnega gledališča v Ljubljani, že po letu
dni pa raje prevzela službo likovne pedagoginje na gimnaziji
in po spremembi šolskega sistema na različnih ljubljanskih
osnovnih šolah. Pedagoški poklic je opravljala predano in
angažirano ter veliko pisala o problematiki sodobnega likovnega
poučevanja. že leta 1968 se je upokojila in se povsem posvetila
slikarstvu. Od tu nadaljuje svoj umetniški življenjepis sama.
Do takrat je lahko nemoteno slikala in risala le v počitnicah
med šolskim letom, samo da se je držala kot slikarka ‘nad
vodo’. Zelo plodna so bila poletja od leta 1953 do 1957,
ki jih je prebila v Makedoniji, kjer je predvsem risala slikovite
ljudi in živali. Iz tega obdobja je ohranjenih prek 600 risb.
V svojem slikarstvu se je spočetka oklepala likovnih vsebin
s študija na akademiji. Slikala je z oljem. Z leti je odkrivala,
da je njen svet pokrajina, zlasti mediteranska, jasnih, čistih
oblik, monumentalna. Različno hrapavo vzorčenje materialov
puščavskih tal pa je lahko izrazila šele, ko je po upokojitvi
prešla z oljnega slikarstva na disperzijske barve (polivinil
acetat, akril) z večjo vezivno močjo. Tem barvam je mogoče
dodati vsakovrstna polnila in z različno debelim namazom
prikazati ploskve krajinskega motiva tudi reliefno.
Zadnjih šest, sedem let pa slika predvsem akvarele, ker je
manjši format za slikarko njenih let manj naporen, in ker
ji delo pred motivom omogoča, da še nekaj poznih let preživi
v naravi. Slikarka je leta 2005 poklonila pomemben izbor
svojih slikarskih del Posavskemu muzeju iz Brežic, ki so
kraj njenega zgodnjega otroštva.
BIOGRAPHY
Alenka Gerlovič was born on 17 September 1919 in Ljubljana.
Until she finished primary school, she spent her early
childhood in Brežice where her father worked as a regional
and spa
doctor for Čateške toplice (Čatež Spa) until 1929. She
continued her schooling at the Poljane Grammar School in
Ljubljana where the family moved to after her father had
been appointed principle of the Polje
General Hospital (later Psychiatric Hospital). Not yet 18
years old, she graduated from grammar
school and in 1937 she enrolled in the Academy of Fine Arts
in Zagreb to study painting. During
that time, she was strongly influenced by Krsto Hegedušič’s
drawings. Even before the end of
the academic year in 1941, the students were quickly awarded
special war graduate certificates and
the young painter returned to Ljubljana which was already
occupied. She joined the Liberation
Front (OF), participating in illegal activities in Ljubljana
until it became too dangerous. In July
1944, she retreated to a liberated territories and joined
the graphic atelier Centralna tehnika KPS
(the Central Technique of the Slovene Communist Party Workshop)
in Stare žage and later in
Črmošnjice. The studio was responsible for the graphic design
of partisan press. She illustrated
periodicals, made several posters and planned to publish
her own portfolio of prints The Passion
of the Slovene Nation (Pasijon slovenskega naroda) which
she failed to finish until the end of
the war. After the war, she took an active part in the Slovene
Fine Artists Society. She first worked
as a scenic designer in the Slovene National Theatre in Ljubljana,
but after one year, she decided
to take the position of a fine arts teacher at a grammar
school. After the educational system
changed, she continued working as a teacher at various primary
schools in Ljubljana. She was
very passionate about teaching and wrote about the current
issues of fine arts teaching methods.
She retired as early as 1968 and devoted her time to painting.
As she described her life as an artist
herself. Until she retired, she was only able to paint and
draw in tranquillity during school holidays,
just enough to keep her painting alive. Summers from 1953
until 1957, which she spent in
Macedonia, were very productive. There, she mainly drew picturesque
people and animals. There
exist over 600 drawings from this period. At the beginning
of her painting career she was mainly
depicting themes that she learnt while studying. She painted
in oil. Eventually, she realized that her main artistic interest
was scenery, especially the monumental Mediterranean one
with its clear
and clean forms. She was only able to express the variously
rough patterning of materials of desert
ground when, after she had retired, she switched from oil
painting to disperse paint (polyvinyl
acetate, acryl) with greater binding power. It is possible
to add all kinds of fillers to these paints and
show the relief of the surface of the scenic motif with a
variously thick layer of paint.
For the last six or seven years of her life, she mainly painted
aquarelles because a smaller format
was less demanding for a painter her age and because painting
in front of a motif enabled her to
spend a few late years surrounded by nature.
In 2005, Alenka Gerlovič donated a significant selection
of her paintings to the Posavje Museum in
Brežice, a place, where she lived in her early childhood.
Ruj in robida / Smoke Tree and Blackberry,
2005
akvarel na papirju / watercolour on paper, 31 x 41 cm
Črni trn in češnja / Blackthorn and Cherry,
2002
akvarel na papirju / watercolour on paper, 31 x 41 cm
Samostojne razstave / Solo exhibitions
1948 Umetniška zadruga, Ljubljana (skupaj s Sonjo Šegula
Vončina) / Art Society, Ljubljana (with Sonja Šegula
Vončina)
1949 Osnovna šola, Štanjel / Štanjel Primary School
1960 Jakopičev paviljon, Ljubljana (skupaj z Rožo Piščanec)
/ Jakopič Pavillion, Ljubljana (with Roža Piščanec)
1971 Mestna galerija, Ljubljana (skupaj z Vido Fakin) / City
Art Museum, Ljubljana (with Vida Fakin) Lamutovo razstavišče,
Kostanjevica na Dolenjskem / Lamut Exhibition Hall, Kostanjevica
na Dolenjskem Mestna galerija,
Piran (skupaj z Vladko Štoviček) / Town Gallery Piran (with
Vladka Štoviček)
1978 Slovenski kulturni dom Triglav, Opčine pri Trstu (skupaj
s Tinco Stegovec), (Italija) / Slovenian Art Centre Triglav,
Opčine near Trieste/Trst (with Tinca Stegovec), (Italy)
1980 Gorenjski muzej, Kranj / Gorenjska Museum, Kranj
Likovni salon, Celje / Celje Art Salon
Likovno razstavišče, Kočevje / Arts Exhibition Hall, Kočevje
Razstavni salon Rotovž, Maribor / Rotovž Exhibition Salon,
Maribor
Pivnica zdravilišča, Rogaška Slatina / The Spa Brewery, Rogaška
Slatina
Galerija Posavskega muzeja, Brežice / Gallery of the Museum
of Posavje, Brežice
1982 Savinov likovni salon, žalec / Savin Art Salon, žalec
Galerija Rika Debenjaka, Kanal ob Soči / Riko Debenjak Gallery,
Kanal ob Soči
1984 Galerija ZDSLU, Ljubljana / ZDSLU Gallery, Ljubljana
Kulturni center Ivan Napotnik, Titovo Velenje (zdaj Velenje)
/ Cultural Centre Ivan Napotnik, then Titovo Velenje now
Velenje
1985 Dolenjski muzej, Novo mesto / Museum of Dolenjska, Novo
mesto
1987 Galerija Labirint, Ljubljana / Labirint Gallery, Ljubljana
1990 Retrospektivna razstava, Mestna galerija in Galerija
Rebeka, Ljubljana / Retrospective Exhibition, City Art
Museum and Rebeka Gallery, Ljubljana
Vila Katarina, Ljubljana / Villa Katarina, Ljubljana
Retrospektivna razstava, Umetnostna galerija, Maribor / Retrospective
Exhibition, Maribor Art Gallery
1993 Galerija Ceneta Štuparja, Ljubljana - Črnuče / Cene
Štupar Gallery, Ljubljana - Črnuče
1995 Drugačnost podobe, Galerija Ilirija, Ljubljana / Drugačnost
podobe [The Different image], Ilirija Gallery,
Ljubljana
Galerija Posavskega muzeja, Brežice / Gallery of the Museum
of Posavje, Brežice
Grad, Ormož / Castle, Ormož
Avla Centra vojaških šol, Ljubljana / Hall of the Military
Schools Centre, Ljubljana
1996 Tovarna Kolinska, Ljubljana / Kolinska Factory, Ljubljana
Dom upokojencev Tabor, Ljubljana / Retirement Home Tabor,
Ljubljana
1998 Vinogradi: akrili in akvareli, Kog v Slovenskih goricah
/ Vinogradi: akrili in akvareli [Vineyards: Acrylic
Paintings and Watercolours], Kog in Slovenske gorice
1999 Galerija Equrna, Ljubljana / Equrna Gallery, Ljubljana
Risbe iz Makedonije 1953-1957, Galerija Ilirija, Ljubljana
/ Risbe iz Makedonije 1953-1957 [Drawings from
Macedonia], Ilirija Gallery, Ljubljana
Galerija Vodnikova domačija, Ljubljana / Gallery at Vodnik’s
Homestead, Ljubljana
2000 Galerija Insula, Izola / Insula Gallery, Izola
Akvareli, Galerija Dvorni trg, Ljubljana / Akvareli [Aquarelles],
Galerija Dvorni trg, Ljubljana
2001 Akvareli 2001, Galerija TR3, Ljubljana / Akvareli 2001
[Aquarelles], Galerija TR3, Ljubljana
Risbe iz Makedonije 1953-1957, Etnografski muzej, Skopje
(Makedonija) / Risbe iz Makedonije 1953-1957
[Drawings from Macedonia], Ethnographic museum, Skopje (Macedonia)
2002 Dnevni prostor policijske akademije, Vikrče pri Ljubljani
/ Salon of the Police Academy, Vikrče pri Ljubljani
2003 Galerija Domžale, Domžale / Domžale Gallery, Domžale
2005
Donacija Alenke Gerlovič, Posavski muzej, Brežice / Donacija
Alenke Gerlovič [Donation of Alenka
Gerlovič], Museum of Posavje, Brežice
Galerija Štekl, Gornji grad / Štekl Gallery, Gornji grad
S slikami, akvareli in grafikami je sodelovala na številnih
skupinskih razstavah doma in na tujem.
She also participated at numerous group exhibitions in
Slovenia and abroad.
Nagrade in priznanja / Awards and medals
1959 Nagrada sklada Moša Pijade za likovno pedagoško delo
/ Award of Moša Pijade Fund for pedagogical work
in the fine arts field
1969 Levstikova nagrada za knjigo Likovni pouk otrok /
Levstik Award for the book Likovni pouk otrok
1973 Priznanje za najboljše delo na II. jugoslovanski razstavi
likovnih umetnic v Slovenj Gradcu / Medal for the best
work at II. jugoslovanski razstavi likovnih umetnic [2nd
exhibition of Yugoslav female artists] in
Slovenj Gradec
1981 Nagrada Prešernovega sklada / Prešeren Foundation
Award
1982 Zveza likovnih pedagogov Jugoslavije ji podeli naziv
Zaslužna likovna pedagoginja / Association of Yugoslav
Fine Arts Teachers awards her the title of Fine Arts of
Merit / Zaslužna likovna pedagoginja
1987 Ažbetova plaketa za likovno vzgojno delo / Ažbetova
plaketa [Ažbe medal] for teaching fine arts
2000 Prva nagrada za razstavljene akvarele na IV. bienalu
mesta Kranj / 1st award for the exhibited watercolours
at the IV Biennial of the Town of Kranj
Tamariska / Tamarisca, 2003
akvarel na papirju / watercolour on paper, 31 x 41 cm
Razstava akvarelov / Exhibition of watercolours
Alenka Gerlovič
Galerija art.si, Židovska ulica 5, Ljubljana
19. januar - 2. februar 2006
Kustosinja razstave / Curator
Nadja Zgonik
Organizacija razstave / Organized by
Umetniški svet Društva likovnih umetnikov Ljubljana / Art
Council of the Ljubljana Fine Artists Society,
Zanj /on its behalf
Dušan Muc
Izdajatelj / Publisher
Društvo likovnih umetnikov Ljubljana / Ljubljana Fine Artists
Society,
Komenskega 8, Ljubljana, T: 01 434 94 65, E: info@dlul-drustvo.si
Zanj / on its behalf
Alenka Vidrgar
Besedilo / Introduction by
Nadja Zgonik
Prevod / Translation
Tina Škoberne (U.T.A. Prevajanje)
KATALOG / PUBLICATION
Oblikovanje / Design
Dušan Muc
Priprava in tisk / Prepress and print
Mat-Format, Ljubljana
Naklada / Print run
400 izvodov / copies
Ljubljana, Slovenija
2006
CIP - Kataložni zapis o publikaciji
Narodna in univerzitetna knjižnica, Ljubljana
75(497.4):929 Gerlovič A.
GERLOVIČ, Alenka
Alenka Gerlovič : akvareli = watercolours : Galerija art.si,
židovska ulica 5, Ljubljana, [19. januar - 2. februar 2006] /
[uvodno besedilo Nadja Zgonik ; prevod Tina Škoberne]. - Ljubljana
: Društvo likovnih umetnikov, 2006
224352768
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