ORLANDO, SVETI VLAHO I MARIN DRŽIĆIZLOŽBA RADOVA DJECE POLAZNIKA LIKOVNE RADIONICE

DOMA MARINA DRŽIĆA

GRAD DUBROVNIKCITY OF DUBROVNIK

ORLANDO, SAINT BLAISE AND MARIN DRŽIĆEXHIBITION OF ART MADE BY CHILDREN ATTENDING THE

ART WORKSHOP AT THE HOUSE OF MARIN DRŽIĆ

DOM MARINA DRŽIĆA, DUBROVNIK 14. 5. – 1. 6. 2019.

ORLANDO, SVETI VLAHO I MARIN DRŽIĆ

IZLOŽBA RADOVA DJECE POLAZNIKA LIKOVNE RADIONICE DOMA MARINA DRŽIĆA

ORLANDO, SAINT BLAISE AND MARIN DRŽIĆ

EXHIBITION OF ART MADE BY CHILDREN ATTENDING THE ART WORKSHOP AT THE

HOUSE OF MARIN DRŽIĆ

DOM MARINA DRŽIĆA, DUBROVNIK 14. 5. – 1. 6. 2019.

ORLANDO, SVETI VLAHO I MARIN DRŽIĆ

IZLOŽBA RADOVA DJECE POLAZNIKA LIKOVNE RADIONICE DOMA MARINA DRŽIĆA

ORLANDO, SAINT BLAISE AND MARIN DRŽIĆ

EXHIBITION OF ART MADE BY CHILDREN ATTENDING THE ART WORKSHOP AT THE

HOUSE OF MARIN DRŽIĆ

ORLANDO, SVETI VLAHO I MARIN DRŽIĆ

IZLOŽBA RADOVA DJECE POLAZNIKA LIKOVNE RADIONICE DOMA MARINA DRŽIĆA

Valerija Jurjević

Ustanova u kulturi Grada Dubrovnika Dom Ma-rina Držića redovito organizira edukativne radio-nice za djecu. Za vrijeme njihovog višemjesečnog trajanja, ta prostorno najmanja dubrovačka kul-turna ustanova pršti od kreativnosti. Posebno se to odnosi na likovne radionice jer one polaznicima pružaju priliku razviti vještine koje im jedan sat li-kovnog odgoja tjedno u osnovnoj školi tek nago-vijesti. Zato Dom Marina Držića posebnu pozor-nost posvećuje pedagoškoj djelatnosti i radu s mladim osobama kako bi iskustvenim doživljaj-nim učenjem, između ostalog, usvojili nova zna-nja likovnim izražavanjem, upoznavanjem i obila-skom autentičnih lokacija koje se spominju u Držićevim djelima, odnosno kako bi polaznike ra-dionica što više zainteresirali za život renesansnog Dubrovnika, a posebice za život i djelo Marina Držića.

Najveći hrvatski komediograf i njegova književna ostavština, kao i vrijeme u kojem je živio, uvijek su prisutni kao motivi svih radionica u Domu Marina Držića. Ipak, Držić je u Orlandovoj godini glavno mjesto prepustio upravo njemu i nezaobilaznom Svetom Vlahu, a u svoje ime poslao vile, eterična bića iz mitologije, kao protutežu muškoj, kamenoj energiji najpoznatijih simbola Dubrovnika.

Grad Dubrovnik proglasio je 2019. godinu Or-landovom godinom, obilježavajući 600-tu obljet-nicu postavljanja Orlandovog stupa u urbanistič-kom srcu grada. Taj simbol neovisnosti, stabilnosti i pravednosti gradske vlasti podignut je na glav-nom trgu pred crkvom Svetog Vlaha 1419. godi-ne. Izradio ga je Bonino di Jakopo iz Milana uz pomoć domaćeg majstora Antuna Ragusea. Funk-cija mu je bila višestruka. Ne samo da je predstav-ljao najvažniji svjetovni simbol dubrovačke države na kojem se vijorio dubrovački barjak i s kojeg su se čitali proglasi dubrovačke vlade, već je služio i kao stup za kažnjavanje (kar), a njegov lakat kori-stio se kao mjera za tkaninu. Zato dubrovački la-kat iznosi 51,2 centimetra, točno koliko i lakat Orlandove desne ruke u kojoj drži mač.

Kiparsko - slikarsku radionicu “Orlando, Sveti Vlaho i Marin Držić” u organizaciji Doma Marina Držića, osmislila je dugogodišnja suradnica, aka-demska slikarica i profesorica likovne kulture, Raj-na Inić, a realizirala uz pomoć kolege, također aka-demskog slikara i profesora likovne kulture, Ivana Peraka. Dvadeset i četiri polaznika, podijeljena u četiri grupe, svaku su subotu od veljače do svibnja marljivo oblikovali skulpture u tehnici gipsa. Kao mentori likovnih radionica Doma Marina Držića,

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Rajna Inić i Ivan Perak uspješno surađuju već ne-koliko godina. Iako u samostalnom radu njeguju drugačiji likovni izričaj, odlično se slažu u radu s djecom, pristupajući radionicama ozbiljno i te-matski. Zauzvrat, Dom Marina Držića osigurava kvalitetne uvjete za rad, prostor, besplatan materi-jal te organizira završnu izložbu radova.

Likovne radionice Doma Marina Držića redovito izazivaju veliki interes, kako bivših polaznika, tako i novih sudionika. Stoga mentori nastoje uvijek osmisliti nešto novo i zanimljivo, što pred njih stavlja i nove izazove. Pokazuje se kako je to pravi put, jer djeca ne samo dosegnu postavljenu ljestvi-cu već je i nadmaše. Zato je ovo dosad najzahtjev-nija radionica. Prvi su put učenici stariji od dvana-est godina iz škola na području Grada Dubrovnika i susjednih Općina imali priliku oblikovati skul-pture. Mogli su birati između prikaza Orlanda, Svetog Vlaha i Držićevih vila, te klasičnog i mo-dernog načina modeliranja. Većina se odlučila na onaj klasični, što u ovom gradu prepunom povije-sne kamene plastike nimalo ne čudi. Zajedničkim su snagama oblikovali i skulpturu Marina Držića.

Zanimljivo je bilo promatrati sve faze nastanka ovih radova. Od drvenog stalka, preko osnovne forme od žice i novinskog papira, do brojnih slo-jeva gipsa. Skulpture su rasle pomalo i organski, izvlačeći na površinu sve više detalja. Fino obliko-vanje lica, kose i draperija moglo bi navesti neupu-ćenog promatrača na zaključak kako se radi o dje-lima puno zrelijih umjetnika. U završnoj fazi modeliranja gipsom, prije bojanja, skulpture su odavale dojam fine kamene čipke, površine nalik onoj koju je nagrizla morska sol. Akrilna boja i lak kojim su na kraju premazani učvrstili su i istaknuli njihovu “kamenitost”. Nije to slučajno, jer Orlan-do, Sveti Vlaho i Marin Držić simbolički su kame-ni temeljci Dubrovnika. Orlando kao simbol svje-tovne vlasti, Sveti Vlaho crkvene, a Marin Držić kao perjanica književne baštine ne samo Dubrov-nika, već Hrvatske i svijeta.

Prema legendi, srednjovjekovni vitez Orlando obranio je Dubrovnik od Saracena, svladavši ih

kraj Lokruma. No, podizanje Orlandova stupa za-pravo je vezano uz ulazak Dubrovačke Republike u sastav Ugarskoga Kraljevstva (1358–1526): vje-ruje se kako je ugarsko-hrvatski i češki kralj te nje-mački car Sigismund Luksemburški u grad donio simboliku Orlanda, čija je instalacija postala znak poštovanja prema njemu. I u Držićevo vrijeme Orlandov stup je bio simbol i orijentir Dubrovni-ka pa ne čudi što ga razmjerno često spominje u svojim djelima, pridajući mu razne konotacije. U Dundu Maroju ističe ga kao središnju točku u tr-govačkoj strukturi grada, kada listonoša Mazija prenosi Pometu “novosti” u Dubrovniku: “Novo je: Milašica sirenje prodava, prid Orlandom vino liče, junaci ga piju; krua ne manjka prid Lužom, ni vode na fontani” U istom djelu će jednom aludira-ti na Orlanda kao mjesto kažnjavanja (kar, berli-na) kada Pera, Marova ostavljena zaručnica, la-mentira: “Jaohi, bâbe, u koji ve ti čas iz Grada pođoh i lijepo ti se samohoć stavismo na karu!”. U komediji Arkulin naslovni lik spominjanjem Or-landa jedanput hoće ilustrirati vlastitu ljubavnu usplamtjelost (nasuprot hladnoći kipa), a drugom prilikom eufemistički brani svoje kukavištvo (to-božnje junaštvo), navodeći primjer slavnoga vite-za koji se također uvijek borio s jednim protivni-kom. (Izvor: Digitalno izdanje Leksikona Marina Držića).

Za razliku od Orlanda, Svetog Vlaha je Marin Držić u cijelom svom opusu spomenuo samo jednom, i to u svom najpoznatijem djelu, Dundu Maroju. Nakon što mu Tripčeta Kotoranin pri-opći kako je najbolje oprostiti se od novca koji je dao sinu, jer “drijevo se je razbilo u vas pod onjezi-jem veljijem stjenami”, stari Maroje kaže: “Jaoh, pod Sveti Vlasi!” To pomalo i čudi, jer je lik Svetog Vlaha, kako danas, tako i nekad, bio svepri-sutan - na utvrdama i kulama, s izvanjske i unu-tarnje strane zidina, nad glavnim gradskim vrati-ma i zgradama, na zastavi Dubrovačke Republike, službenim pečatima i novcu. Ovaj mučenik iz Ar-menije, zaštitnik divljih životinja, ratara i zaručni-ka, zaziva se protiv bolesti grla. Prema legendi Sve-ti Vlaho se 971. ukazao svećeniku crkve svetog

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Rajna Inić i Ivan Perak uspješno surađuju već ne-koliko godina. Iako u samostalnom radu njeguju drugačiji likovni izričaj, odlično se slažu u radu s djecom, pristupajući radionicama ozbiljno i te-matski. Zauzvrat, Dom Marina Držića osigurava kvalitetne uvjete za rad, prostor, besplatan materi-jal te organizira završnu izložbu radova.

Likovne radionice Doma Marina Držića redovito izazivaju veliki interes, kako bivših polaznika, tako i novih sudionika. Stoga mentori nastoje uvijek osmisliti nešto novo i zanimljivo, što pred njih stavlja i nove izazove. Pokazuje se kako je to pravi put, jer djeca ne samo dosegnu postavljenu ljestvi-cu već je i nadmaše. Zato je ovo dosad najzahtjev-nija radionica. Prvi su put učenici stariji od dvana-est godina iz škola na području Grada Dubrovnika i susjednih Općina imali priliku oblikovati skul-pture. Mogli su birati između prikaza Orlanda, Svetog Vlaha i Držićevih vila, te klasičnog i mo-dernog načina modeliranja. Većina se odlučila na onaj klasični, što u ovom gradu prepunom povije-sne kamene plastike nimalo ne čudi. Zajedničkim su snagama oblikovali i skulpturu Marina Držića.

Zanimljivo je bilo promatrati sve faze nastanka ovih radova. Od drvenog stalka, preko osnovne forme od žice i novinskog papira, do brojnih slo-jeva gipsa. Skulpture su rasle pomalo i organski, izvlačeći na površinu sve više detalja. Fino obliko-vanje lica, kose i draperija moglo bi navesti neupu-ćenog promatrača na zaključak kako se radi o dje-lima puno zrelijih umjetnika. U završnoj fazi modeliranja gipsom, prije bojanja, skulpture su odavale dojam fine kamene čipke, površine nalik onoj koju je nagrizla morska sol. Akrilna boja i lak kojim su na kraju premazani učvrstili su i istaknuli njihovu “kamenitost”. Nije to slučajno, jer Orlan-do, Sveti Vlaho i Marin Držić simbolički su kame-ni temeljci Dubrovnika. Orlando kao simbol svje-tovne vlasti, Sveti Vlaho crkvene, a Marin Držić kao perjanica književne baštine ne samo Dubrov-nika, već Hrvatske i svijeta.

Prema legendi, srednjovjekovni vitez Orlando obranio je Dubrovnik od Saracena, svladavši ih

kraj Lokruma. No, podizanje Orlandova stupa za-pravo je vezano uz ulazak Dubrovačke Republike u sastav Ugarskoga Kraljevstva (1358–1526): vje-ruje se kako je ugarsko-hrvatski i češki kralj te nje-mački car Sigismund Luksemburški u grad donio simboliku Orlanda, čija je instalacija postala znak poštovanja prema njemu. I u Držićevo vrijeme Orlandov stup je bio simbol i orijentir Dubrovni-ka pa ne čudi što ga razmjerno često spominje u svojim djelima, pridajući mu razne konotacije. U Dundu Maroju ističe ga kao središnju točku u tr-govačkoj strukturi grada, kada listonoša Mazija prenosi Pometu “novosti” u Dubrovniku: “Novo je: Milašica sirenje prodava, prid Orlandom vino liče, junaci ga piju; krua ne manjka prid Lužom, ni vode na fontani” U istom djelu će jednom aludira-ti na Orlanda kao mjesto kažnjavanja (kar, berli-na) kada Pera, Marova ostavljena zaručnica, la-mentira: “Jaohi, bâbe, u koji ve ti čas iz Grada pođoh i lijepo ti se samohoć stavismo na karu!”. U komediji Arkulin naslovni lik spominjanjem Or-landa jedanput hoće ilustrirati vlastitu ljubavnu usplamtjelost (nasuprot hladnoći kipa), a drugom prilikom eufemistički brani svoje kukavištvo (to-božnje junaštvo), navodeći primjer slavnoga vite-za koji se također uvijek borio s jednim protivni-kom. (Izvor: Digitalno izdanje Leksikona Marina Držića).

Za razliku od Orlanda, Svetog Vlaha je Marin Držić u cijelom svom opusu spomenuo samo jednom, i to u svom najpoznatijem djelu, Dundu Maroju. Nakon što mu Tripčeta Kotoranin pri-opći kako je najbolje oprostiti se od novca koji je dao sinu, jer “drijevo se je razbilo u vas pod onjezi-jem veljijem stjenami”, stari Maroje kaže: “Jaoh, pod Sveti Vlasi!” To pomalo i čudi, jer je lik Svetog Vlaha, kako danas, tako i nekad, bio svepri-sutan - na utvrdama i kulama, s izvanjske i unu-tarnje strane zidina, nad glavnim gradskim vrati-ma i zgradama, na zastavi Dubrovačke Republike, službenim pečatima i novcu. Ovaj mučenik iz Ar-menije, zaštitnik divljih životinja, ratara i zaručni-ka, zaziva se protiv bolesti grla. Prema legendi Sve-ti Vlaho se 971. ukazao svećeniku crkve svetog

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Stjepana, upozorivši ga na mletačke brodove u Gružu i pod Lokrumom koji kane osvojiti Du-brovnik. Kao zahvalu, Dubrovčani su ga izabrali za svoga zaštitnika (parca). Posebne su okolnosti vladale prilikom feste Svetog Vlaha koja se slavi 3 veljače. Tri dana prije i sedam dana poslije u grad su mogli ući dužnici koji su zbog dugova morali napustiti Dubrovnik, čak i zločinci, što je oglaša-vano razvijanjem zastave Svetog Vlaha na jarbolu uglavljenom na Orlandovu stupu. (Izvor: Digital-no izdanje Leksikona Marina Držića).

A vile? Njih Marin Držić često spominje u svojim djelima, od onih “pravih”, nadnaravnih, do lažnih, od krvi i mesa, obijesnih dubrovačkih mladića koji izvode šalu sa starim Vlahom u djelu Novela od Stanca. Držićeve mitološke vile su tajanstvene žene koje žive u prirodi, a diči ih posebna ljepota pa se neki od likova u njih zaljubljuju, npr. u Gri-

žuli, gdje se pojavljuje nekoliko vila, a jedna čak govori i prolog. Bez obzira vjerujemo li u njih, vile često inspiriraju umjetnike, kako velike, tako i male.

Izložene skulpture Orlanda, Svetog Vlaha, Drži-ćevih vila i samog Marina Držića, kruna su više-mjesečnog rada polaznika likovne radionice Doma Marina Držića “Orlando, Sveti Vlaho i Ma-rin Držić” i njihovih mentora, akademskih slikara i profesora likovne kulture, Rajne Inić i Ivana Pe-raka. Dodatna vrijednost, moglo bi se reći dragu-lji u toj kruni, zapravo su znanja, vještine i zado-voljstva koje su sudionici stekli u procesu te na taj način obogatili ne samo sebe, već i mentore, ali i sam Dom Marina Držića. Već sljedeća likovna ra-dionica zasigurno će ponuditi još veće izazove ma-lim kreativcima koje će oni, nadamo se, još uspješ-nije savladati.

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The House of Marin Držić, an institution in cul-ture of the City of Dubrovnik, regularly organizes educational workshops for children. During the several months of their duration, this smallest cul-tural institution of Dubrovnik is bursting at the seams from creativity. This particularly applies to art workshops since they give the participants the opportunity to develop skills that one class of art education per week at elementary school just touches upon. That is why the House of Marin Držić pays special attention to pedagogical activi-ties and work with young people, allowing the workshop participants to use experiential learn-ing, among other things, to acquire new knowl-edge through artistic expression, learning about and visiting the authentic locations mentioned in Držić’s works, or get more interested in the life of Renaissance Dubrovnik, and especially the life and work of Marin Držić.

The greatest Croatian comedy playwright and his literary legacy, as well as the time in which he lived, are always present as themes of all the work-shops at the House of Marin Držić. During the year of Orlando, however, Držić gave him and the inevitable Saint Blaise the spotlight, sending fair-ies, ethereal beings from mythology, on his own

ORLANDO, SAINT BLAISE AND MARIN DRŽIĆ

EXHIBITION OF ART MADE BY CHILDREN ATTENDING THE ART WORKSHOP AT THE

HOUSE OF MARIN DRŽIĆ

behalf to counterbalance the masculine stone en-ergy of the most famous symbols of Dubrovnik.

The city of Dubrovnik declared 2019 as the year of Orlando, marking the 600th anniversary of the installation of Orlando’s Column in the urban heart of the city. This symbol of independence, stability, and fairness of the city government was erected on the main square in front of the Church of Saint Blaise in 1419. It was made by Bonino di Jakopo from Milan with the help of the local mas-ter Antun Raguseo. Its function was multiple. Not only was it the most important secular sym-bol of the city-state from which the flag of Dubrovnik flew as well as the site for government proclamations, but it also served as a place of pub-lic punishment (kar). A part of the Column was also used as a fabric measurement—that is why the Ragusan cubit or “lakat” measures 51.2 cen-timeters, exactly as the length of the forearm of Orlando’s right hand holding the sword.

Sculptural-painting workshop “Orlando, Saint Blaise and Marin Držić”, organized by the House of Marin Držić, was devised by a longtime associ-ate, academy-trained painter and art professor Ra-jna Inić, and led with the help of her colleague,

Valerija Jurjević

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The House of Marin Držić, an institution in cul-ture of the City of Dubrovnik, regularly organizes educational workshops for children. During the several months of their duration, this smallest cul-tural institution of Dubrovnik is bursting at the seams from creativity. This particularly applies to art workshops since they give the participants the opportunity to develop skills that one class of art education per week at elementary school just touches upon. That is why the House of Marin Držić pays special attention to pedagogical activi-ties and work with young people, allowing the workshop participants to use experiential learn-ing, among other things, to acquire new knowl-edge through artistic expression, learning about and visiting the authentic locations mentioned in Držić’s works, or get more interested in the life of Renaissance Dubrovnik, and especially the life and work of Marin Držić.

The greatest Croatian comedy playwright and his literary legacy, as well as the time in which he lived, are always present as themes of all the work-shops at the House of Marin Držić. During the year of Orlando, however, Držić gave him and the inevitable Saint Blaise the spotlight, sending fair-ies, ethereal beings from mythology, on his own

ORLANDO, SAINT BLAISE AND MARIN DRŽIĆ

EXHIBITION OF ART MADE BY CHILDREN ATTENDING THE ART WORKSHOP AT THE

HOUSE OF MARIN DRŽIĆ

behalf to counterbalance the masculine stone en-ergy of the most famous symbols of Dubrovnik.

The city of Dubrovnik declared 2019 as the year of Orlando, marking the 600th anniversary of the installation of Orlando’s Column in the urban heart of the city. This symbol of independence, stability, and fairness of the city government was erected on the main square in front of the Church of Saint Blaise in 1419. It was made by Bonino di Jakopo from Milan with the help of the local mas-ter Antun Raguseo. Its function was multiple. Not only was it the most important secular sym-bol of the city-state from which the flag of Dubrovnik flew as well as the site for government proclamations, but it also served as a place of pub-lic punishment (kar). A part of the Column was also used as a fabric measurement—that is why the Ragusan cubit or “lakat” measures 51.2 cen-timeters, exactly as the length of the forearm of Orlando’s right hand holding the sword.

Sculptural-painting workshop “Orlando, Saint Blaise and Marin Držić”, organized by the House of Marin Držić, was devised by a longtime associ-ate, academy-trained painter and art professor Ra-jna Inić, and led with the help of her colleague,

Valerija Jurjević

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also an academy-trained painter and art professor, Ivan Perak. Every Saturday from February to May twenty-four participants, divided into four groups, have been diligently shaping plaster sculp-tures. Rajna Inić and Ivan Perak have been work-ing together as mentors of the workshops at the House of Marin Držić successfully for several years, and although they have different artistic ex-pressions in their independent work, together they do excellent work with children, approach-ing the workshops seriously and thematically. In return, the House of Marin Držić provides quality working conditions, space, free materials and or-ganizes the final exhibition of the works.

Art workshops at the House of Marin Držić regu-larly provoke great interest, both with previous and new participants. The mentors are, therefore, always looking for something new and interest-ing, challenging them as well. The fact that chil-dren have been not only meeting the set bench-mark but rather exceeding it, serves as proof that this is the right path, and that is why this has been the most demanding workshop so far. For the first time, students over the age of twelve from schools located in the City of Dubrovnik and its neigh-boring municipalities had the opportunity to cre-ate sculptures. They could choose between Orlan-do, Saint Blaise, and the fairies of Držić, as well as between classical and modern modeling styles. Most decided on the classical, which was no sur-prise considering this city is full of historic stone sculptures. Together they also formed the sculp-ture of Marin Držić.

It was interesting to observe all the phases of the creation of these works, from the wooden arma-ture and the basic construction from wire and newspapers to numerous layers of plaster. Sculp-tures grew slowly and organically, drawing more and more details to the surface. The fine design of the faces, hair, and drapery could lead an untrained observer to the conclusion that these were works of significantly more mature artists. In the final stage of plaster modeling and before

painting, the sculptures gave the impression of fine stone lace, with surfaces resembling those abraded by sea salt. The coats of acrylic paint and lacquer used as the finish solidified and empha-sized their “stone quality”. And not by chance, be-cause Orlando, Saint Blaise and Marin Držić are symbolical foundation stones of Dubrovnik. Or-lando as a symbol of secular authority, Saint Blaise of the Church, and Marin Držić as a crown jewel of literary heritage, not only of Dubrovnik but also of Croatia and the world.

According to the legend, the medieval knight Or-lando defended Dubrovnik from Saracens, defeat-ing them near Lokrum. However, the installation of Orlando’s Column is actually connected with the annexation of the Dubrovnik Republic into the Hungarian Kingdom (1358-1526): it is be-lieved that the Hungarian-Croatian and Bohemi-an king and the Holy Roman Emperor Sigismund of Luxembourg brought the symbolism of Orlan-do to the city, and the installation of the Column was a sign of respect for him. Already in Držić’s time, Orlando’s Column was a symbol and point of reference in Dubrovnik, so it is not surprising that he mentioned it rather often in his works, giving it various connotations. In Uncle Maroye (Dundo Maroje), he highlights the Column as the central point in the commercial structure of the city, where the messenger Maziya conveys “the news” in Dubrovnik to Scoffer (Pomet): “The news is: Milašica peddles cheese, in front of Or-lando the wine is sold and the good men drink it, at the Lodge there lacks no bread, nor water in the fountain”. In the same work, at one point he al-ludes to Orlando as the place of punishment (kar, berlina) when Pera, Maro’s abandoned fiancée complains: “Ah me, nurse, we have left the City and have freely placed ourselves in the pillory!”. In the comedy Arkulin, by mentioning Orlando at one point the title character wants to illustrate his own amorous fervor (as opposed to the coldness of the statue), while at another he euphemistically defends his cowardice (alleged heroism), citing an example of the famous knight who also always

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fought one opponent (Source: the Digital Edition of the Lexicon of Marin Držić).

Unlike Orlando, Marin Držić mentioned Saint Blaise in his entire body of work only once, in his most famous work, Uncle Maroye. After Tripcheta tells him that it is best to forget about the money he gave his son, because “that ship sank – it crashed on the Dubrovnik rocks”, old Maroye says, “Alas, under the church of Saint Blaise!” That fact is a bit surprising because in the past, much like today, the figure of Saint Blaise was omnipresent—on fortresses and towers, on the outside and inside of the walls, above the main city gates and buildings, on the flag of the Dubrovnik Republic, official seals, and money. This martyr from Armenia, the protector of wild animals, farmers, and those soon to be married, is called upon to fight throat dis-ease. According to the legend, in 971 Saint Blaise appeared in front of a priest of Saint Stephen’s Church, warning him about the Venetian ships in Gruž and under Lokrum, which were on their way to conquer Dubrovnik. As a thank you, the peo-ple of Dubrovnik have chosen him for their pa-tron (parac). Special circumstances applied during the Festivity of Saint Blaise celebrated on Febru-ary 3rd. Three days before and seven days after the date, debtors who had to leave Dubrovnik due to their debts and even criminals were allowed to en-ter the city, as announced by the unfolding of the

flag of Saint Blaise on the mast embedded in Or-lando’s Column. (Source: The Digital Edition of the Lexicon of Marin Držić).

And the fairies? Marin Držić often mentions them in his works, from those “real” and supernatural, to the fake ones, made of blood and flesh, the ram-pant Dubrovnik youngsters who prank old Blaise in the Tale of Stanac. Držić’s mythological fairies are mysterious women living in nature, marked by a special beauty, so some characters fall in love with them, for example in Grižula, where a few fairies appear and one even delivers the prologue. Whether we believe in them or not, fairies often inspire artists, both old and young.

The exhibited sculptures of Orlando, Saint Blaise, Držić’s fairies and Marin Držić are the pinnacle of the several months of work of the “Orlando, Saint Blaise and Marin Držić” art workshop partici-pants at the House of Marin Držić and their men-tors, academy-trained painters and art professors Rajna Inić and Ivan Perak. The knowledge, skills, and satisfaction that the participants gained in the process constitute additional value, enriching not only them but also their mentors, and the House of Marin Držić as well. Already the next art work-shop will surely offer an even bigger challenge for the young creatives, which they will, hopefully, overcome with even more success.

7

fought one opponent (Source: the Digital Edition of the Lexicon of Marin Držić).

Unlike Orlando, Marin Držić mentioned Saint Blaise in his entire body of work only once, in his most famous work, Uncle Maroye. After Tripcheta tells him that it is best to forget about the money he gave his son, because “that ship sank – it crashed on the Dubrovnik rocks”, old Maroye says, “Alas, under the church of Saint Blaise!” That fact is a bit surprising because in the past, much like today, the figure of Saint Blaise was omnipresent—on fortresses and towers, on the outside and inside of the walls, above the main city gates and buildings, on the flag of the Dubrovnik Republic, official seals, and money. This martyr from Armenia, the protector of wild animals, farmers, and those soon to be married, is called upon to fight throat dis-ease. According to the legend, in 971 Saint Blaise appeared in front of a priest of Saint Stephen’s Church, warning him about the Venetian ships in Gruž and under Lokrum, which were on their way to conquer Dubrovnik. As a thank you, the peo-ple of Dubrovnik have chosen him for their pa-tron (parac). Special circumstances applied during the Festivity of Saint Blaise celebrated on Febru-ary 3rd. Three days before and seven days after the date, debtors who had to leave Dubrovnik due to their debts and even criminals were allowed to en-ter the city, as announced by the unfolding of the

flag of Saint Blaise on the mast embedded in Or-lando’s Column. (Source: The Digital Edition of the Lexicon of Marin Držić).

And the fairies? Marin Držić often mentions them in his works, from those “real” and supernatural, to the fake ones, made of blood and flesh, the ram-pant Dubrovnik youngsters who prank old Blaise in the Tale of Stanac. Držić’s mythological fairies are mysterious women living in nature, marked by a special beauty, so some characters fall in love with them, for example in Grižula, where a few fairies appear and one even delivers the prologue. Whether we believe in them or not, fairies often inspire artists, both old and young.

The exhibited sculptures of Orlando, Saint Blaise, Držić’s fairies and Marin Držić are the pinnacle of the several months of work of the “Orlando, Saint Blaise and Marin Držić” art workshop partici-pants at the House of Marin Držić and their men-tors, academy-trained painters and art professors Rajna Inić and Ivan Perak. The knowledge, skills, and satisfaction that the participants gained in the process constitute additional value, enriching not only them but also their mentors, and the House of Marin Držić as well. Already the next art work-shop will surely offer an even bigger challenge for the young creatives, which they will, hopefully, overcome with even more success.

7

Stella Burđelez, ORLANDO kombinirana tehnika | mixed media, 68 x 21 x 18 cm

8

Ema Čeović, ORLANDO kombinirana tehnika | mixed media, 58 x 17 x 12 cm

9

Ema Čeović, ORLANDO kombinirana tehnika | mixed media, 58 x 17 x 12 cm

9

Lučia Galjer, ORLANDO kombinirana tehnika | mixed media, 66 x 20 x 16 cm

10

Altina Grajčevci, ORLANDO kombinirana tehnika | mixed media, 65 x 18 x 15 cm

11

Altina Grajčevci, ORLANDO kombinirana tehnika | mixed media, 65 x 18 x 15 cm

11

Asja Hebib, ORLANDO kombinirana tehnika | mixed media, 67 x 20 x 12 cm

12

Pia Majer, ORLANDO kombinirana tehnika | mixed media, 63 x 17 x 16 cm

13

Pia Majer, ORLANDO kombinirana tehnika | mixed media, 63 x 17 x 16 cm

13

Anđela Matić, ORLANDO kombinirana tehnika | mixed media, 69 x 25 x 15 cm

14

Petra Plastić, ORLANDO kombinirana tehnika | mixed media, 69 x 23 x 20 cm

15

Petra Plastić, ORLANDO kombinirana tehnika | mixed media, 69 x 23 x 20 cm

15

Nikola Tomić, ORLANDO kombinirana tehnika | mixed media, 59 x 23 x 18 cm

16

Lucija Ajvazoski, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 70 x 21 x 13 cm

17

Lucija Ajvazoski, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 70 x 21 x 13 cm

17

Lukrecia Đanović, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 70 x 25 x 18 cm

18

Lucija Đevoić, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 69 x 24 x 16 cm

19

Lucija Đevoić, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 69 x 24 x 16 cm

19

Karmen Đuraš, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 76 x 24 x 21 cm

20

Laura Lazarević, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 71 x 22 x 17 cm

21

Laura Lazarević, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 71 x 22 x 17 cm

21

Martin Mileta, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 72 x 23 x 19 cm

22

Nika Šoletić, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 69 x 21 x 16 cm

23

Nika Šoletić, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 69 x 21 x 16 cm

23

Kiara Tenžera, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 71 x 25 x 20 cm

24

Tyra Vladić, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 69 x 25 x 16 cm

25

Tyra Vladić, SVETI VLAHO | SAINT BLAISE kombinirana tehnika | mixed media, 69 x 25 x 16 cm

25

MARIN DRŽIĆ, grupni rad likovne radionice Doma Marina Držića MARIN DRŽIĆ, group work by participants of the art workshop held in the House of Marin Držić kombinirana tehnika | mixed media, 73 x 21 x 26 cm

26

Katarina Kanostrevac, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 64 x 44 x 20 cm

27

Katarina Kanostrevac, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 64 x 44 x 20 cm

27

Tatjana Lečić, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 54 x 30 x 30 cm

28

Antea Meštrović, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 63 x 35 x 27 cm

29

Antea Meštrović, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 63 x 35 x 27 cm

29

Mia Mihajlović, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 55 x 30 x 27 cm

30

Ema Pralas, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 63 x 40 x 31 cm

31

Ema Pralas, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 63 x 40 x 31 cm

31

Nikolina Račić, DRŽIĆEVA VILA | DRŽIĆ’S FAIRY kombinirana tehnika | mixed media, 65 x 37 x 25 cm

32

1. Stella Burđelez, ORLANDO kombinirana tehnika, 68 x 21 x 18 cm

2. Ema Čeović, ORLANDO kombinirana tehnika, 58 x 17 x 12 cm

3. Lučia Galjer, ORLANDO kombinirana tehnika, 66 x 20 x 16 cm

4. Altina Grajčevci, ORLANDO kombinirana tehnika, 65 x 18 x 15 cm

5. Asja Hebib, ORLANDO kombinirana tehnika, 67 x 20 x 12 cm

6. Pia Majer, ORLANDO kombinirana tehnika, 63 x 17 x 16 cm

7. Anđela Matić, ORLANDO kombinirana tehnika, 69 x 25 x 15 cm

8. Petra Plastić, ORLANDO kombinirana tehnika, 69 x 23 x 20 cm

9. Nikola Tomić, ORLANDO kombinirana tehnika, 59 x 23 x 18 cm

10. Lucija Ajvazoski, SVETI VLAHO kombinirana tehnika, 70 x 21 x 13 cm

11. Lukrecia Đanović, SVETI VLAHO kombinirana tehnika, 70 x 25 x 18 cm

12. Lucija Đevoić, SVETI VLAHO kombinirana tehnika, 69 x 24 x 16 cm

13. Karmen Đuraš, SVETI VLAHO kombinirana tehnika, 76 x 24 x 21 cm

14. Laura Lazarević, SVETI VLAHO kombinirana tehnika, 71 x 22 x 17 cm

15. Martin Mileta, SVETI VLAHO kombinirana tehnika, 72 x 23 x 19 cm

16. Nika Šoletić, SVETI VLAHO kombinirana tehnika, 69 x 21 x 16 cm

17. Kiara Tenžera, SVETI VLAHO kombinirana tehnika, 71 x 25 x 20 cm

18. Tyra Vladić, SVETI VLAHO kombinirana tehnika, 69 x 25 x 16 cm

19. MARIN DRŽIĆ grupni rad likovne radionice Doma Marina Držića, kombinirana tehnika, 73 x 21 x 26 cm

20. Katarina Kanostrevac, DRŽIĆEVA VILA kombinirana tehnika, 64 x 44 x 20 cm

21. Tatjana Lečić, DRŽIĆEVA VILA kombinirana tehnika, 54 x 30 x 30 cm

22. Antea Meštrović, DRŽIĆEVA VILA kombinirana tehnika, 63 x 35 x 27 cm

23. Mia Mihajlović, DRŽIĆEVA VILA kombinirana tehnika, 55 x 30 x 27 cm

24. Ema Pralas, DRŽIĆEVA VILA kombinirana tehnika, 63 x 40 x 31 cm

25. Nikolina Račić, DRŽIĆEVA VILA kombinirana tehnika, 65 x 37 x 25 cm

POPIS IZLOŽENIH DJELA

33

1. Stella Burđelez, ORLANDO kombinirana tehnika, 68 x 21 x 18 cm

2. Ema Čeović, ORLANDO kombinirana tehnika, 58 x 17 x 12 cm

3. Lučia Galjer, ORLANDO kombinirana tehnika, 66 x 20 x 16 cm

4. Altina Grajčevci, ORLANDO kombinirana tehnika, 65 x 18 x 15 cm

5. Asja Hebib, ORLANDO kombinirana tehnika, 67 x 20 x 12 cm

6. Pia Majer, ORLANDO kombinirana tehnika, 63 x 17 x 16 cm

7. Anđela Matić, ORLANDO kombinirana tehnika, 69 x 25 x 15 cm

8. Petra Plastić, ORLANDO kombinirana tehnika, 69 x 23 x 20 cm

9. Nikola Tomić, ORLANDO kombinirana tehnika, 59 x 23 x 18 cm

10. Lucija Ajvazoski, SVETI VLAHO kombinirana tehnika, 70 x 21 x 13 cm

11. Lukrecia Đanović, SVETI VLAHO kombinirana tehnika, 70 x 25 x 18 cm

12. Lucija Đevoić, SVETI VLAHO kombinirana tehnika, 69 x 24 x 16 cm

13. Karmen Đuraš, SVETI VLAHO kombinirana tehnika, 76 x 24 x 21 cm

14. Laura Lazarević, SVETI VLAHO kombinirana tehnika, 71 x 22 x 17 cm

15. Martin Mileta, SVETI VLAHO kombinirana tehnika, 72 x 23 x 19 cm

16. Nika Šoletić, SVETI VLAHO kombinirana tehnika, 69 x 21 x 16 cm

17. Kiara Tenžera, SVETI VLAHO kombinirana tehnika, 71 x 25 x 20 cm

18. Tyra Vladić, SVETI VLAHO kombinirana tehnika, 69 x 25 x 16 cm

19. MARIN DRŽIĆ grupni rad likovne radionice Doma Marina Držića, kombinirana tehnika, 73 x 21 x 26 cm

20. Katarina Kanostrevac, DRŽIĆEVA VILA kombinirana tehnika, 64 x 44 x 20 cm

21. Tatjana Lečić, DRŽIĆEVA VILA kombinirana tehnika, 54 x 30 x 30 cm

22. Antea Meštrović, DRŽIĆEVA VILA kombinirana tehnika, 63 x 35 x 27 cm

23. Mia Mihajlović, DRŽIĆEVA VILA kombinirana tehnika, 55 x 30 x 27 cm

24. Ema Pralas, DRŽIĆEVA VILA kombinirana tehnika, 63 x 40 x 31 cm

25. Nikolina Račić, DRŽIĆEVA VILA kombinirana tehnika, 65 x 37 x 25 cm

POPIS IZLOŽENIH DJELA

33

34

1. Stella Burđelez, ORLANDO mixed media, 68 x 21 x 18 cm

2. Ema Čeović, ORLANDO mixed media, 58 x 17 x 12 cm

3. Lučia Galjer, ORLANDO mixed media, 66 x 20 x 16 cm

4. Altina Grajčevci, ORLANDO mixed media, 65 x 18 x 15 cm

5. Asja Hebib, ORLANDO mixed media, 67 x 20 x 12 cm

6. Pia Majer, ORLANDO mixed media, 63 x 17 x 16 cm

7. Anđela Matić, ORLANDO mixed media, 69 x 25 x 15 cm

8. Petra Plastić, ORLANDO mixed media, 69 x 23 x 20 cm

9. Nikola Tomić, ORLANDO mixed media, 59 x 23 x 18 cm

10. Lucija Ajvazoski, SAINT BLAISE mixed media, 70 x 21 x 13 cm

11. Lukrecia Đanović, SAINT BLAISE mixed media, 70 x 25 x 18 cm

12. Lucija Đevoić, SAINT BLAISE mixed media, 69 x 24 x 16 cm

13. Karmen Đuraš, SAINT BLAISE mixed media, 76 x 24 x 21 cm

14. Laura Lazarević, SAINT BLAISE mixed media, 71 x 22 x 17 cm

15. Martin Mileta, SAINT BLAISE mixed media, 72 x 23 x 19 cm

16. Nika Šoletić, SAINT BLAISE mixed media, 69 x 21 x 16 cm

17. Kiara Tenžera, SAINT BLAISE mixed media, 71 x 25 x 20 cm

18. Tyra Vladić, SAINT BLAISE mixed media, 69 x 25 x 16 cm

19. MARIN DRŽIĆ group work by participants of the art workshop held in the House of Marin Držić, mixed media, 73 x 21 x 26 cm

20. Katarina Kanostrevac, DRŽIĆ’S FAIRY mixed media, 64 x 44 x 20 cm

21. Tatjana Lečić, DRŽIĆ’S FAIRY mixed media, 54 x 30 x 30 cm

22. Antea Meštrović, DRŽIĆ’S FAIRY mixed media, 63 x 35 x 27 cm

23. Mia Mihajlović, DRŽIĆ’S FAIRY mixed media, 55 x 30 x 27 cm

24. Ema Pralas, DRŽIĆ’S FAIRY mixed media, 63 x 40 x 31 cm

25. Nikolina Račić, DRŽIĆ’S FAIRY mixed media, 65 x 37 x 25 cm

LIST OF EXHIBITS

35

1. Stella Burđelez, ORLANDO mixed media, 68 x 21 x 18 cm

2. Ema Čeović, ORLANDO mixed media, 58 x 17 x 12 cm

3. Lučia Galjer, ORLANDO mixed media, 66 x 20 x 16 cm

4. Altina Grajčevci, ORLANDO mixed media, 65 x 18 x 15 cm

5. Asja Hebib, ORLANDO mixed media, 67 x 20 x 12 cm

6. Pia Majer, ORLANDO mixed media, 63 x 17 x 16 cm

7. Anđela Matić, ORLANDO mixed media, 69 x 25 x 15 cm

8. Petra Plastić, ORLANDO mixed media, 69 x 23 x 20 cm

9. Nikola Tomić, ORLANDO mixed media, 59 x 23 x 18 cm

10. Lucija Ajvazoski, SAINT BLAISE mixed media, 70 x 21 x 13 cm

11. Lukrecia Đanović, SAINT BLAISE mixed media, 70 x 25 x 18 cm

12. Lucija Đevoić, SAINT BLAISE mixed media, 69 x 24 x 16 cm

13. Karmen Đuraš, SAINT BLAISE mixed media, 76 x 24 x 21 cm

14. Laura Lazarević, SAINT BLAISE mixed media, 71 x 22 x 17 cm

15. Martin Mileta, SAINT BLAISE mixed media, 72 x 23 x 19 cm

16. Nika Šoletić, SAINT BLAISE mixed media, 69 x 21 x 16 cm

17. Kiara Tenžera, SAINT BLAISE mixed media, 71 x 25 x 20 cm

18. Tyra Vladić, SAINT BLAISE mixed media, 69 x 25 x 16 cm

19. MARIN DRŽIĆ group work by participants of the art workshop held in the House of Marin Držić, mixed media, 73 x 21 x 26 cm

20. Katarina Kanostrevac, DRŽIĆ’S FAIRY mixed media, 64 x 44 x 20 cm

21. Tatjana Lečić, DRŽIĆ’S FAIRY mixed media, 54 x 30 x 30 cm

22. Antea Meštrović, DRŽIĆ’S FAIRY mixed media, 63 x 35 x 27 cm

23. Mia Mihajlović, DRŽIĆ’S FAIRY mixed media, 55 x 30 x 27 cm

24. Ema Pralas, DRŽIĆ’S FAIRY mixed media, 63 x 40 x 31 cm

25. Nikolina Račić, DRŽIĆ’S FAIRY mixed media, 65 x 37 x 25 cm

LIST OF EXHIBITS

35

Široka ulica 7 | 20000 Dubrovnik | www.muzej-marindrzic.eu

Dom Marina Držića | dom_marina_drzica

Izdavač | Publisher: Dom Marina Držića | House of Marin Držić

Za izdavača | For the Publisher: Nikša MatićTekst kataloga | Catalogue text: Valerija Jurjević

Postav izložbe | Exhibition layout: Rajna Inić i Valerija Jurjević

Kustosica | Curator: Valerija JurjevićPrijevod na engleski jezik | English translation: Kristina Juričić

Likovno oblikovanje | Design & Layout: Nedim Meco - Mec dizajn Dubrovnik

Fotografije | Photographs: Vedran Levi

Tehnička realizacija | Technical support: Marita Dužević

Tisak | Printed by: Kerschoffset, Zagreb

Dubrovnik, svibanj 2019.

ORLANDO, SVETI VLAHO I MARIN DRŽIĆIZLOŽBA RADOVA DJECE POLAZNIKA LIKOVNE RADIONICE

DOMA MARINA DRŽIĆA

GRAD DUBROVNIKCITY OF DUBROVNIK

ORLANDO, SAINT BLAISE AND MARIN DRŽIĆEXHIBITION OF ART MADE BY CHILDREN ATTENDING THE

ART WORKSHOP AT THE HOUSE OF MARIN DRŽIĆ