Bohemi z Montparnassa Bohemians from Montparnasse

Jean Cocteau & Veno Pilon Jean Cocteau & Veno Pilon

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Sebastião Salgado: Geneza Sebastião Salgado: Genesis

pregledna razstava fotografskega velikana overview exhibition of the notorious photographer

2016

PhotoMagicPhotoMagic

Stane Jagodič, Gábor Kerekes, Branko Lenart Stane Jagodič, Gábor Kerekes, Branko Lenart

2016

Portfolio Review 2016

  Festival Fotonični trenutki – Mesec fotografije 2016 vabi fotografe, da predstavijo svoja dela na Portfolio Review, ki bo potekal […]

2016

Natečaj za Večerne projekcije Open call for Evening Projections

Mednarodni natečaj za sodobne fotografe International contest for contemporary photographers

2016

Svetloba kot barva Light as Colour

 
 
 
Slavko Smolej, Gradnja 2. plavža / Construction of the blast furnace no. 2, Jesenice, 1940

Slavko Smolej, Gradnja 2. plavža / Construction of the blast furnace no. 2, Jesenice, 1940

Obarvana in barvna fotografija na Slovenskem od začetkov do leta 1945

17. 4.–17. 8. 2014

Muzej za arhitekturo in oblikovanje, Ljubljana

KJE: Pot na Fužine 2, Ljubljana

Razstava Svetloba kot barva ponuja prvi pregled obarvane in barvne fotografske produkcije na slovenskih tleh od začetkov sredi 19. stoletja do leta 1945. Najprej govorimo o raznih obarvanjih, toniranih in monokromnih tehnikah, od začetka 20. stoletja pa o prvih pravih barvnih podobah, tj. diapozitivih, izdelanih po standardiziranem aditivnem postopku, imenovanem avtokromna plošča. Z njo so se od leta 1907 ukvarjali akademski slikar in lutkar Milan Klemenčič iz Ajdovščine, ljubljanski lekarnar Gabrijel Piccoli ter prva dama slovenske barvne fotografije, ljubiteljska fotografinja Jela Repič. S tem postopkom je izpričano snemal tudi znameniti pionir slovenskega filma Karol Grossmann. Fotografirali so predvsem družinske člane in bili pri tem zavezani realističnemu podajanju. Od tega odstopa le Milan Klemenčič, ki je v cvetličnih aranžmajih iskal barvitost, značilno za postimpresionistična slikarska dela.


V dvajsetih in prvi polovici tridesetih let so fotografi v slovenskem prostoru uporabljali t.i. barvne plošče Agfa. V drugi polovici tridesetih let so na trgu barvne fotografije zavladali diapozitivi po subtraktivnem postopku in velike fotografske družbe, ameriški Kodak in nemška Agfa, ki sta postopoma izrinili še aditivni, a sočasni diapozitiv Dufeycolor.
Zlasti so se tedaj uveljavili člani Fotokluba Ljubljana, novinar Karlo Kocjančič iz Ljubljane ter lekarnar Ivo Koželj in elektrotehnik Slavko Smolej, oba z Jesenic, ter nekateri neodvisni fotografi, tako Ljubljančana profesor matematike in fizike Franc Bajd in poklicni fotograf Peter Lampič ter ljubitelj Mirko Križnar iz Kranja.

Izhodiščne krajine, portrete, žanr in tihožitja so dopolnili posnetki gibanja in javnih dogodkov, prizori mestnih eksterierov in interierov ter podobe industrijskih objektov. Realistični pristop je večina avtorjev nadgradila tudi z eksperimentalnimi posnetki v slabih in monokromnih svetlobnih razmerah ter z barvnimi študijami, atmosferskimi sekvenčni posnetki in modernističnimi kompozicijskimi serijami. V poglavje o rabi barvne fotografije v naravoslovju iz tega časa sodijo zaporedja posnetkov za potrebe poljudne botanike.

Število izdelanih in ohranjenih barvnih fotografij na papirju iz tega časa je v slovenskih zbirkah skromno, njihova izdelava pa je bila v celoti navezana na tujino.

Medvojne razmere so težišče fotografije spet potisnile k njenemu dokumentarnemu polu. Glede na zgoščenost in usodnost dogajanja ter na razmere, v katerih so nastajala, so barvna poročila fragmentarna, večinoma anonimna in razdeljena na vojskujoče se strani, na pričevanja z nemških in italijanskih stališč ter s pozicije posameznih predstavnikov slovenske civilne družbe, mdr. ljubljanskega sodnika dr. Jakoba Prešerna. Priča smo številnim, a žal prav tako anonimnim posnetkom iz partizanskega življenja na eni ter manj številnim poročilom o domobranskem gibanju na drugi strani.

Med partizanskimi fotoreporterji, katerih barvni posnetki so ohranjeni, je znan Čoro Škodlar, na severozahodnem obrobju slovenskega prostora pa so snemali tudi vojaki in častniki ameriške vojske, ljubiteljski fotografi Cruz Rios, John Woodward in William Ferguson.
Zgodovinski pregled tega obdobja zaključujejo pomirjujoči krajinski in portretni posnetki dr. Janeza Milčinskega iz prvih povojnih mesecev.

Primož Lampič

www.mao.si

Coloured and Colour Photography in Slovenia from Its Origins until 1945

17 April – 17 August 2014

Museum of Architecture and Design, Ljubljana

WHERE: Pot na Fužine 2, Ljubljana

The exhibition offers the first review of coloured and colour photographic production on Slovenian soil from its origins in mid-19th century until 1945. At first it concerns various types of colouring, toning and monochromatic techniques, whereas in early 20th century the first genuine colour images appear, i.e. transparencies made with a standardised additive process called Autochrome plate. After 1907 this process was employed by the academic painter and puppeteer Milan Klemenčič, the pharmacist from Ljubljana Gabrijel Piccoli and the first lady of Slovenian colour photography, the amateur photographer Jela Repič. It is documented that this process was also used by the known pioneer of Slovenian film Karol Grossmann. These photographers mostly photographed family members and were devoted to a realistic portrayal. Milan Klemenčič was the only one who deviated from this by searching for colourfulness, typical of Post-Impressionist paintings, in his flower arrangements.


In the 1920s and first half of the 1930s photographers in Slovenia used the so-called Agfa colour plates. In the second half of the 1930s the colour photography market was dominated by subtractive transparencies and by large photography companies, e.g. the American Kodak and the German Agfa, which eventually superseded the additive, though contemporary Dufaycolor transparency.

At that time the following individuals established themselves: members of the Fotoklub Ljubljana (Photo Club of Ljubljana), the journalist Karlo Kocjančič from Ljubljana, the pharmacist Ivo Koželj and electrical technician Slavko Smolej, both from Jesenice, and a few independent photographers, e.g. Professor of Mathematics and Physics Franc Bajd and the professional photographer Peter Lampič, both from Ljubljana, and the amateur Mirko Križnar from Kranj.

The landscapes, portraits, genres and still lives from the early days of the medium were complemented by shots of movement and public events, by scenes of urban exteriors and interiors, and images of industrial buildings. Most of the authors upgraded their initial realistic approach with experimental shots under poor and monochromatic light and with colour studies, sequential atmospheric shots and modernistic compositional series. In the domain of science colour photography was extensively used in popular botany.

The number of colour photographs which have been made and preserved on paper from that time is modest in Slovenian collections; they were entirely produced abroad.

The wartime conditions once again shifted the focus of photography to its documentary side. Due to the condensed and fatal nature of events and the conditions under which these photographs were made, the colour reports are fragmentary, mostly anonymous and divided into the warring sides, i.e. to testimonies from German and Italian viewpoints and from the perspective of individual representatives of Slovenian civil society, among others from the Ljubljana judge Dr Jakob Prešeren. We can witness numerous, yet unfortunately likewise anonymous photographs from partisan life on the one hand and fewer reports on the Home Guard movement on the other.

One of the known partisan photojournalists, whose colour photographs have been preserved, is Čoro Škodlar; also active in the northwest margins of Slovenia were soldiers and officers of the American army, the amateur photographers Cruz Rios, John Woodward and William Ferguson. The historical review of this period is concluded with the soothing landscape and portrait photographs of Dr Janez Milčinski from the first post-war months.

Primož Lampič

www.mao.si