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 »  Home  »  Croatian Language  »  Velimir Trnski painting the 1671 love story of Petar and Katarina Zrinski
 »  Home  »  Culture And Arts  »  Velimir Trnski painting the 1671 love story of Petar and Katarina Zrinski
Velimir Trnski painting the 1671 love story of Petar and Katarina Zrinski
By Nenad N. Bach | Published  04/12/2008 | Croatian Language , Culture And Arts | Unrated
Katarina and Petar Zrinski, Part 1


Velimir Trnski, outstanding Croatian painter


Velimir Trnski: Zaručnica; Bride

 

Velimir Trnski


Rođen sam u Podravini (sjeverna Hrvatska). Nakon završene Akademije likovnih umjetnosti u Zagrebu školovanje sam nastavio na grafičkom odsjeku Rietveld akademije u Amsterdamu.


Dosad sam održao 103 izložbi u Austriji, Belgiji, Njemačkoj, Nizozemskoj, Hrvatskoj, Francuskoj, bivšoj Jugoslaviji i SAD-u i moji su radovi otkupljeni za privatne kolekcije u Amsterdamu, Beču, Berlinu, Münchenu, Haagu, New Yorku, Sydneyu, Tokiju i Zagrebu.


Od 1985. godine živim i radim u Parizu, Haagu i Zagrebu.

www.trnski.com


 

Velimir Trnski


I was born in Podravina, a region of northern Croatia.  Upon graduating at the Art Academy in Zagreb I continued my studies at the Rietveld Academy, in Amsterdam.

I have had 103 exhibitions so far, in Austria, Belgium, Germany, the Netherlands, Croatia, France, and the US.  My works are in private collections in Amsterdam, Vienna, Berlin, Munich, the Hague, New York, Sydney, Tokyo, and Zagreb.

Since 1985, I have been residing in Paris, the Hague and Zagreb.

www.trnski.com




Velimir Trnski: Čakovec Stari; Old Čakovec


Prvi puta kad sam pisao predgovor o njegovom stvaralaštvu ustvrdio sam kako je Velimir Trnski slikar i fotograf no ovoga puta mogao bi pridometnuti kako se je u ovom projektu iskušao i kao historiograf i (primijenjeni) filmski redatelj.

Izložba u Čakovcu potakla je eksperimentima i stilskim preinakama sklonog umjetnika na odavanje počasti uspomeni na Katarinu rođenu Frankopan, mlađahnu udovicu Petra Zrinskog no sagledanu i oličenu kroz rakurs (post)modernog senzibiliteta.

Trnski ovaj ciklus definira kao slojeviti spomenik Katarini no usprkos pomnog proučavanja povijesnih okolnosti i likovnih izvora, svjesno se odlučuje za potpunu umjetničku slobodu pretapanja povijesnog dekora i suvremene (filmske) inscenacije. Gotovo bih se usudio ustvrditi kako su povijesne činjenice životopisa muža koji je svojoj ženi uputio najčuveniju hrvatsku ljubavnu poslanicu "Moje drago serzce" preobražene u niz upadljivih (filmskih) kadrova u kojima je dosljedno u prvi plan istaknut senzualni lik protagonistice. Preklapanje povijesnog predloška i suvremene imaginacije naglašeno je i odbirom procedea kojega Velimir Trnski naziva slikanjem "layerima" (slojevima). Iako je i dosada pridavao veliki značaj metierskom umijeću, što je često dolazilo do izražaja i u efektnim prelazima i maštovitim kombinacijama slikarskih tekstura, Trnski je ovoga puta isticanjem prozirnih slojeva, ali i odbljescima preslika želio naglasiti - kako i sam piše u popratnim bilješkama - "bukvalno vremensku slojevitost". Takvim slikarskim postupkom, lik junakinje iz prvog plana još je nerazdvojnije povezan s pozadinskim likom muža, utvrde ili krajolika kao svojevrsna likovna metafora isprepletenosti Petrova i Katarinina usuda.

Jedna od najdojmljivijih hrvatskih povijesnih melodrama prikazana je u ovom slikarskom ciklusu Velimira Trnskog na izrazito suvremen, provokativan i atraktivan način.

Darko Glavan, Zagreb
povjesničar umjetnosti


When I wrote my first introductory note to his oeuvre I stated that Velimir Trnski was a painter and a photographer. This time, however, for this particular project, I could add that he also is a historiographer and a film director.

This experiment inclined and stylistic changes driven artist has been inspired, for his latest project, by an exhibition held in Čakovec. He, too, was roused to pay tribute to Katarina née Frankopan, the young widow of Petar Zrinski, but seen, and painted, from a (post)modern sensibility angle.

Trnski defines his latest cycle as a layered shrine to Katarina, but in spite of his careful and attentive studying of the historical circumstances and of the artistic sources, he makes a conscious decision to use his artistic freedom and give the historic setting a contemporary (cinematic) staging. It is almost, I dare say, as if he took the biographical facts of this husband, who wrote his wife that most famous Croatian love letter - Moje drago zercze, My Dear Soul, and transformed them into a series of remarkable (movie) frames in which the sensual figure of the young wife is consistently kept in the foreground. Overlapping the historic pattern with the contemporary imagination is further accentuated by what Trnski calls "painting in layers." Although he has always given great significance to the skills of his métier, which has revealed itself in the striking transitions, and imaginative combinations, of textures, this time Trnski decided, as he himself writes in the accompanying notes, to put emphasis on the "layers of time, literally," and he does so by highlighting translucent layers and reflections. Thus, the heroine from the foreground becomes even more inseparably connected with the background image of her husband, or a fortress, or landscape... a peculiar metaphor for intertwinement of Petar's and Katarina's fate.


One of the most deeply moving Croatian historic melodramas has been presented by Velimir Trnski in a most contemporary, provocative and attractive way.

Darko Glavan, Zagreb
art historian



Velimir Trnski: Carska truba; Trumpet Imperial


S nenadmašnom lakoćom slikar bilježi događaje, susrete, dolaske, odlaske, aktove, djetinjstva - sve u jednom tajnom kvadratu napukle tišine.

Ako je žena voda oplođena svjetlošću, onda je slikar uspio savršenom elipsom u njoj i izvan nje naslikati stvaranje početka.

Od prvih radova do niza ženskih likova, svako je ulje na svoj način ugravirano u vrijeme i prostor laserskom energijom. Zelena svila i rubinski konji SOUVENIRS anatomija su jednog TRENUTKA.

Slike Velimira Trnskog podsjećaju na nebeske zidove jabuka... na broševe, molitvu, ili pak pokoru.

U osami često naslanja čelo o prozor. Oni koji ga poznaju reći će bez zadrške: Trnski je slikar iz prelijepe zemlje, zemlje smaragdnih livada, neukroćena vjetra i kobaltna mora. Svaki potez olovke pečat je za sebe. Takva su mu djela, takav mu je život.

Je li Trnski hrvatski Klimt ili Vrubl? Nađimo prostora za budućnost i odgovor.

Maria Doverspike, Washington



With a lightness and an easiness unsurpassed, the artist chronicles events, encounters, comings and goings, nudes, childhood days - all in a mysterious frame of broken silence.

If a woman is water, impregnated by light, then the artist succeeded - with a perfect ellipse, inside and outside of her, the painter paints the creation of the beginning.

From his earliest works to the string of female faces, each of Trnski's oils bears time and space engraved, as if cut with a laser.  Green silk and ruby horses, SOUVENIRS,  they are an anatomy of a MOMENT in time.

Trnski’s paintings bring to mind heavenly walls of apples.... they recall brooches, they bring back a prayer, they call for atonement.

In solitude, he presses his forehead against the window.  Those that know him do not hesitate to say:  Trnski is a painter from a beautiful country, land of emerald meadows, land of unharnessed wind, land of cobalt-blue sea.  With each and every draw of his pencil he leaves a lasting imprint. Such is his art, such is his life.

Is Trnski a Croatian Klimt or Vrubl? Let's make room for future, and the answer.

Maria Doverspike, Washington




Velimir Trnski: Postojanost; Constancy

 

Djelo Velimira Trnskog zrači mirnom senzualnošću ispod koje se nazire slikarski naboj.

Nije li ta mirnoća samo maska jedne razdiruće strasti? Njegova se djela mogu smjestiti u čitavu jednu tradiciju koja pomalo podsjeća na bečki sjaj Klimta ili Kokoschke. Međutim, ne bi trebalo previše inzistirati na ovoj usporedbi. Kod Trnskoga je LIJEPO obilježeno realizmom obogaćenim dozom izvanvremenskog.

Stephane Rey, Bruxelles, 1992

 

Velimir Trnski's work radiates a calm sensuousness under which lurks the artist's real energy.

Isn't this calmness just a mask for a burning passion?  His works could be part of a tradition reminiscent of Klimt and Kokoschka.  However, one need not insist too much on such a comparison. With Trnski, BEAUTIFUL is marked with realism enhanced with a certain amount of extratemporal.

Stephane Rey, Bruxelles, 1992




Velimir Trnski: Konačna odluka; Definitiva Notizia

Please, go to the next page below.

Comments
  • Comment #1 (Posted by Rud Kuiper)

    Dear mister Bach,

    The pages about Velimir Trnski painting the 1671 love story of Petar and Katarina Zrinski are for my idea a good overview of the work of Trnski and the effort he took to make an artistic overview about these historical events.

    Thank you,

    Rud Kuiper
     
  • Comment #2 (Posted by sanja)

    Trnski has exceed himself once again.
    I have to say that combination of Čakovec old town, horses and women are great.

     
  • Comment #3 (Posted by barbara)

    i love the art, it's very different and very original. First saw it at Amsterdam around 2000 or earlier.....love, love, love....
     
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