Htjeti, mo\u0107i, znati utjeloviti emociju i atmosferu trenutka na najneposredniji na\u010din umjetnost je sama po sebi. Hrvatskom knji\u017eevniku Dragi Gervaisu to je prirodno po\u0161lo za rukom ve\u0107 u prvoj zbirci “\u010cakavski stihovi” izdanoj 1929. godine. Zbirka koja je, uz izmjene i nadopune, do\u017eivjela mnoga izdanja pozicionirala ga je me\u0111u najistaknutije hrvatske dijalektalne autore. Bilo je samo pitanje vremena kada \u0107e se susresti opus velikog majstora dijalektalne poezije Drage Gervaisa i slikarski potez ilustratora Dubravka Kastrapelija.<\/p>\n
Zadnjih petnaestak godina, akademski umjetnik Dubravko Kastrapeli bavi se ilustriranjem knji\u017eevnih djela od Miguel de Cervantesa, preko Marina Dr\u017ei\u0107a pa sve do Ivane Brli\u0107-Ma\u017eurani\u0107, a upravo toliko dugo ima na umu i opus Drage Gervaisa, \u0161to samo govori koliko dugo je sazrijevala ideja prije negoli se oslobodilo vrijeme za konkretizaciju i vizualizaciju odabranih misli i pjesama. \u010cinjenica da je Drago Gervais svoj opus posvetio rodnoj Istri, oslikavaju\u0107i dijalektom prvenstveno atmosferu svakodnevnog \u017eivota i karakter obi\u010dnih ljudi, otvorila je cijeli dijapazon prizora iz primorskog \u017eivota s nagla\u0161enom radnjom i dijalozima \u010dija je sceni\u010dnost postala podloga za ilustraciju pojedine pjesme u djelima Dubravka Kastrapelija. Nije lako prenijeti umjetnost pisane rije\u010di u likovni jezik, no kada je poezija toliko \u017eiva i sceni\u010dna, kroz potez autora istan\u010danog senzibiliteta ostvaruje se magi\u010dna transformacija lirike u ilustraciju.<\/p>\n
Kao \u0161to je Drago Gervais oblikovao svoje pjesme uz dozu toplog i dobronamjernog humora, dok je s ljubavlju i pra\u0161tanjem opisivao zgode i nezgode malih ljudi u njihovom svakodnevnom \u017eivotu, tako je i Dubravko Kastrapeli pristupio ilustraciji kroz igru. Inspiriran prvenstveno ozra\u010djem pjesama koje su u sebi nosile \u010ditav spektar emocija od malih radosti i prpo\u0161nosti \u017eivota pa sve do blage tuge i melankolije koja je u prvi plan isticala sjetu u prikazu smiraja \u017eivota, Kastrapeli je pojedinu pjesmu ilustrirao i po nekoliko puta u razli\u010ditim tehnikama i na razli\u010ditim formatima papira. Svaka interpretacija ponudila bi novu svje\u017einu, akcent i dinamiku ostvarenu kroz kolorit (ili izostanak istog), oblikovanje volumena, detalja, perspektive te razli\u010dit pristup u odabiru kadra. Nit poveznica izme\u0111u razli\u010ditih interpretacija pojedine pjesme le\u017ei u specifi\u010dnom fontu kojim autor ispisuje stihove, a koji u potpunosti korespondira s ilustracijama.<\/p>\n
vi\u0161a kustosica, Sonja \u0160vec \u0160panjol, mag. hist. art.<\/p>\n
Dubravko Kastrapeli ro\u0111en je 1971. godine u Zagrebu. Nakon zavr\u0161ene srednje elektrotehni\u010dke \u0161kole upisuje nastavni\u010dki smjer pri Akademiji likovnih umjetnosti u Zagrebu na kojoj diplomira 1995. godine u klasi profesora Kesera.<\/p>\n
Ilustriranjem knji\u017eevnih djela bavi se zadnjih petnaestak godina. Zapo\u010delo je Cervantesovim \u201cDon Quijoteom\u201d, da bi nakon toga nastavio s Marinom Dr\u017ei\u0107em, i\u0161\u010ditavaju\u0107i i istra\u017euju\u0107i njegova djela prepuna \u017eivopisnih likova i nevjerojatnih obrata. Rad na Marinu Dr\u017ei\u0107u urodio je sada ve\u0107 desetogodi\u0161njom suradnjom s Domom Marina Dr\u017ei\u0107a, u okviru kojeg su nastali stripovi \u201cNovela od Stanca\u201d i \u201cDundo Maroje\u201d te su realizirane dvije izlo\u017ebe. Tako\u0111er, Kastrapeli je ilustrirao \u201c\u010cudnovate zgode \u0161egrta Hlapi\u0107a\u201d Ivane Brli\u0107-Ma\u017eurani\u0107, dok se posljednje tri godina bavi vizualima u skladu s poezijom Drage Gervaisa.<\/p>\n
Do sada je ilustrirao brojne plakate, letke, knjige i ud\u017ebenike.<\/p>\n
dubravko.kastrapeli@gmail.com<\/a><\/p>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default” animate=”yes” custom_height=”1″][vc_column_text css=”.vc_custom_1741347983065{margin-top: 30px !important;margin-bottom: 30px !important;}”]\n To want, to be able, to know how to embody emotion and the atmosphere of the moment in the most direct way\u2014this is art in itself. Croatian writer Drago Gervais naturally achieved this in his first collection of poems \u201c\u010cakavski Stihovi\u201d (Chakavian Verses), published in 1929. This collection, which has undergone many editions with revisions and additions, established him as one of the most prominent Croatian authors writing in dialect. It was only a matter of time before the work of the great master of dialect poetry, Drago Gervais, would meet the artistic stroke of illustrator Dubravko Kastrapeli.<\/p>\n For the past fifteen years, academic artist Dubravko Kastrapeli has been illustrating literary works, from Miguel de Cervantes to Marin Dr\u017ei\u0107 and Ivana Brli\u0107-Ma\u017eurani\u0107. For just as long, he has had Drago Gervais’ work in mind, which shows how long the idea matured before there was time to concretize and visualize selected thoughts and poems. The fact that Drago Gervais dedicated his work to his native Istria, primarily portraying the atmosphere of everyday life and the character of ordinary people in dialect, opened up a whole range of coastal life scenes with a focus on action and dialogue. Their theatricality became the foundation for illustrating individual poems in the works of Dubravko Kastrapeli. It\u2019s not easy to transfer the art of written words into visual language, but when the poetry is so vivid and dramatic, a magical transformation of lyricism into illustration takes place through the stroke of an author with a refined sensibility.<\/p>\n Just as Drago Gervais shaped his poems with a touch of warm and benevolent humor, describing the mishaps and joys of ordinary people in their everyday lives with love and forgiveness, so did Dubravko Kastrapeli approach illustration through play. Primarily inspired by the atmosphere of the poems, which carried a whole spectrum of emotions\u2014from simple joys and the cheerfulness of life to a subtle sadness and melancholy that highlighted nostalgia in depicting the twilight of life\u2014Kastrapeli illustrated certain poems multiple times in different techniques and on various paper formats. Each interpretation offered a new freshness, accent, and dynamic achieved through color (or its absence), volume shaping, details, perspective, and varying approaches to the choice of frame. The thread connecting the different interpretations of individual poems lies in the specific font in which the author writes the verses, which perfectly corresponds with the illustrations.<\/p>\n Sonja \u0160vec \u0160panjol, Senior Curator, M.A. in Art History<\/p>\n Dubravko Kastrapeli was born in 1971 in Zagreb. After graduating from School of Electrotechnics, he enrolled in the teaching program at the Academy of Fine Arts in Zagreb, where he graduated in 1995 under the mentorship of Professor Keser.<\/p>\n He has been involved in illustrating literary works for the past fifteen years. It started with Cervantes’ “Don Quixote,” and he then continued with Marin Dr\u017ei\u0107, interpreting and researching his works full of colorful characters and incredible twists. His work on Marin Dr\u017ei\u0107 led to a decade-long collaboration with the House of Marin Drzic, within which the comic strips “Old Stan or A Fool Fooled” and “Uncle Maroye” were created, and two exhibitions were held. Kastrapeli also illustrated “The Brave Adventures of Lapitch” by Ivana Brli\u0107-Ma\u017eurani\u0107, and for the past three years, he has been working on visuals inspired by the poetry of Drago Gervais. \u00a0So far, he has illustrated numerous posters, flyers, books, and textbooks.<\/p>\n dubravko.kastrapeli@gmail.com<\/a><\/p>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default” animate=”yes” custom_height=”1″][vc_column_text css=”.vc_custom_1741348037916{margin-top: 30px !important;}”]\n Te manges, \u0161aj, te d\u017eanes te badankeres i atmosfera e momentoskiri ko jekh majbima\u0161karipaskoro \u010dhand si arto korkori peske. E hrvatskakeere lilvarneske Drago Gervais prakritikane cxidel katar vast adava katar o jekhto khedime gilengoro lil \u201e\u010cakavikane stihia\u201c ikaldi ano 1929. ber\u0161. O Lil khedime gilenca, e averipanca thaj d\u017eipherdipanca, d\u017eivdinkerdas but ikaldipa thaj dendas les than sar jekh katar e majbare hrvatikane dialektikane auktoria. Sas sade pu\u010dipa e vaxteskoro kana ka arakhel pe o opuso e bare phirneskoro e dialektikane poeziakoro Drago Gervais thaj o artikano \u010dal e ilustratoreskoro Dubravko Kastrapeli.<\/p>\n E palune de\u0161upand\u017e ber\u0161a, o akademikano artutno Dubravko Kastrapeli kerel ilustriripe ke literaturnikane pustika katar o Miguel de Cervantesa, vi Marin Dr\u017ei\u0107 thaj sa d\u017ei i Ivana Brli\u0107-Ma\u017eurani\u0107, a \u010da\u010dipaske odobor but isi les ki godi thaj o opuso katar Drago Gervais, so sade vakerel kobor but resljovelas i idea anglo te tromalkerel pe leske vaxt va\u0161i konkretizacia thaj vizualizacia e alusarde gindengoro thaj gilengoro. O \u010da\u010dipe kaj o Drago Gervais peskoro opuso dendas e biande Istrake, piktorindoj e dialektosa majanglal i atmosfera e sakodivutne d\u017eivdipaskiri thaj o karaktero e sadane manu\u0161engoro, putarel jekh sahno diapazono e pikturengoro katar o uzalderjavakoro d\u017eivdipe dende akcentosa ki buti thaj e dialogoja kolakoro scenipe ovel jekh than ilustraciake varesave gilengoro ani buti e Dubravko Kastrapeliske. Nanaj lokho te igarkere o arto e xramome laveskoro ani artutni \u010dhib, ama kana i poezia si odobor d\u017eivdi thaj scenikani, ko \u010dal e auktoreskoro saves isi la\u010dho senzibiliteto kerel pe jekh magikani transformacia e lirikakoro ani ilustracia.<\/p>\n Sar so o Drago Gervais kerel peskere gila tate thaj \u0161ukar iradakere humoresa, d\u017eikaj kamipasa thaj afikeripasa vakerel va\u0161e la\u010dhe thaj bila\u010dhe butja e tikne manu\u0161engoro ano lengoro sakodivutno d\u017eivdipe, adjaxar thaj o Dubravko Kastrapeli avel d\u017ei ilustracia prekal o khelipe. Isindoj les inspiracia majbut e khamaliapsa e gilengoro save so ano peste legaren sahno spektro e emociengoro katar o tikne lo\u0161a thaj kabilipe e d\u017eivdipaskoro vi sa d\u017ei gudlo mazunipe thaj melanholia savi so ano jekhto plano del i melanholia ano sikavdipe e agorikane d\u017eivdiaskoro, o Kastrapeli varesave gilja ilustririnel thaj nekobor var ane ververikane tehnike thaj ke ververikane formatoja e papireskoro. Sakoja interpretacia del jekh nevo tazipe, akcento thaj dinamika kerdi prekal o kolorito (vaj bi leskoro), formiripe e volumenoskoro, detalia, perspektive thaj ververikano resipe ano alusaripe e kadareskoro. O thav e phandipaskoro ma\u0161kar e ververikane interpretacie varesave gilengoro pa\u0161ljol ano specifikano fonto savesa o auktoro xramonel e stihia, a von pale ano sa keren korespondencia e ilustracienca.<\/p>\n u\u010deder kustosi, Sonja \u0160vec \u0160panjol, mag. hist. art.<\/p>\n Dubravko Kastrapeli si biame ano Zagrebo. Palo agorkeripe e ma\u0161karutne elektrotehnikane \u0161kolakoro xramonela pe ko sikavnikano drom ki Akademia e artikane artipangoro ano Zagrebo kolate kerela diploma ano 1995 ber\u0161 ani klasa e profesoreskiri Keser.<\/p>\n Ilustriripasa e literaturnikane lilengoro lel te kerel buti ano palune de\u0161upand\u017e ber\u0161a. Majanglal kerel e Cervanteseskoro \u201cDon Quijote\u201d, a pala adava d\u017eal dureder e Marin Dr\u017ei\u0107esa, drabarindoj thaj rodljarindoj leskiri buti thaj leskere simen thaj so ovel lencar. I buti ko Marin Dr\u017ei\u0107 kerel akana e de\u0161eber\u0161engere jekhethane butikeripasa e Kheresa Marin Dr\u017ei\u0107 thaj adjaxar ovena e stripia \u201cNovela e Stancoskiri\u201d thaj \u201cDundo Maroje\u201d vi kerel realizacia duje pradar\u0161anengoro. Thaj aver o Kastrapeli kerel ilustracie va\u0161o \u201cTaflime ovipa e\u00a0 \u010dirakoskoro Hlapi\u0107\u201d katar Ivana Brli\u0107-Ma\u017eurani\u0107, d\u017eikaj ane palune trin ber\u0161 kerel vizualia save so si phandle e poeziasa katar Drago Gervais. D\u017ei akana kerda thaj plakate, bro\u0161ure, lila thaj pustika.<\/p>\n dubravko.kastrapeli@gmail.com<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][toggles style=”minimal”][toggle color=”Default” heading_tag=”default” heading_tag_functionality=”default” title=”+Komentatorica+”][vc_column_text]\n Uz izlo\u017ebu \u201cPoezija Drage Gervaisa\u201d<\/p>\n Va\u017eno (iako u medijskom prostoru zanemareno) polje suvremenog problematiziranja odnosa rije\u010di i vizualnog, likovna je kritika. \u201cEseji o slikarstvu\u201d francuskog filozofa i knji\u017eevnika Denisa Diderota smatraju se prete\u010dom likovne kritike jer autor, kroz vlastite izvje\u0161taje o izlo\u017ebama \u2013 Salonima, raspravlja o knji\u017eevnosti, umjetnosti i umjetni\u010dkoj gesti, upli\u0107u\u0107i pritom osobno stajali\u0161te u kriti\u010dki sud temeljen uglavnom na tome svi\u0111a li mu se pojedini rad ili ne, \u0161to je s dana\u0161njeg stajali\u0161ta problemati\u010dno. Suvremena pozicija kriti\u010dara ovisi o njegovoj upu\u0107enosti u aktualna dru\u0161tvena, politi\u010dka, umjetni\u010dka i druga zbivanja te sposobnosti da vlastito \u201c\u010ditanje\u201d vizualne kulture, prenese publici.<\/p>\n No, odnos teksta i \u201cslike\u201d izaziva interes jo\u0161 od antike. \u201cUt pictura poesis\u201d (u prijevodu: Neka poezija bude kao slika) poznat je Horacijev stih rimskog pjesnika kojim ovaj autor poziva na pauzu u naraciji u obliku slikovitog opisa, a \u010dija je zada\u0107a opustiti slu\u0161atelja (kasnije \u010ditatelja), u napetom misaonom procesu. I upravo se to tuma\u010di kao po\u010detak dvojbe u narednim razdobljima o tome je li slika nadmo\u0107na nad tekstom ili ona tek zavodi duh. Pravi interdisciplinarni izazov donosi prijelaz iz 19. na 20. stolje\u0107e kada promi\u0161ljanje o tekstu i njegovoj vizualnoj mo\u0107i postaje temelj za poigravanje umjetni\u010dkim izri\u010dajem. Pa, primjerice, poema \u201cBacanje kocki nikada ne\u0107e ukinuti slu\u010daj\u201d francuskog pjesnika St\u00e9phanea Mallarm\u00e9a, koja nagla\u0161ava vizualnost pri \u010ditanju, inspirira konceptualnu umjetnost, a \u201cKaligrami\u201d Guillaumea Apollinairea primjer su istra\u017eivanja osjetilnog svijeta kroz kreiranje slika od stihova. U dana\u0161nje, slikovitim sadr\u017eajima optere\u0107eno vrijeme, pravi je izazov privu\u0107i pa\u017enju \u010ditatelja, a zada\u0107a kulturno-umjetni\u010dkih sadr\u017eaja je da ga (vizualno) opismeni na tom putu.<\/p>\n[\/vc_column_text][\/toggle][\/toggles][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]CRTA ZA BESKRAJ -PROGRAM<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_margin=”3%” bottom_margin=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ 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gradient_direction=”left_to_right”…<\/p>\n","protected":false},"author":1,"featured_media":12161,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[],"class_list":{"0":"post-12154","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izlozbe"},"_links":{"self":[{"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/posts\/12154","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/comments?post=12154"}],"version-history":[{"count":7,"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/posts\/12154\/revisions"}],"predecessor-version":[{"id":12234,"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/posts\/12154\/revisions\/12234"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/media\/12161"}],"wp:attachment":[{"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/media?parent=12154"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/categories?post=12154"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.knap.hr\/centar\/wp-json\/wp\/v2\/tags?post=12154"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Drago Gervais\u2019 Poetry<\/b><\/h1>\n
I poezia katar Drago Gervais<\/b><\/h1>\n