Vile od grafikeGraphic Arts Fairies

Hommage Marinu DržićuAn Homage to Marin Držić

1567. – 2017.

Vile od grafikeGraphic Arts Fairies

Nevenka Arbanas Maja S. Franković

Zdenka Pozaić

Hommage Marinu DržićuAn Homage to Marin Držić

1567. – 2017.

GRAFIČKA MAPADOM MARINA DRŽIĆA

DUBROVNIKMMXVII

VILE OD GRAFIKEHOMMAGE MARINU DRŽIĆU 1567. – 2017.

Povodom 450. obljetnice smrti Marina Držića (1567.-2017.), najvećeg hrvatskog komediografa i jednog od najvažnijih autora europske renesansne komediografije, ali i jednog od najznačajnijih hrvatskih pisaca uopće, tri su najznačajnije suvremene hrvatske grafičke umjetnice odlučile dati svoj autorski hommage velikom piscu. Nevenka Arbanas, Maja S. Franković i Zdenka Pozaić povezane su ne samo generacijski ili po iznimnom i sveobuhvatnom djelatnom, metijerskom i pedagoškom grafičkom iskustvu i erudiciji, već su u svojem stilskom izričaju bliske tradiciji organičke i kolorističke apstrakcije.

Nevenka Arbanas u svojem grafičkom prikazu delikatno se referira na motiv grada-države iz koje je Držić potekao, ne samo kroz prikaz elemenata dubrovačke fortifikacijske arhitekture i motiva renesansnog Dubrovnika unutar zidina, već ju zanima i tipografija 16. stoljeća kao značajan element nove vizualne vrijednosti grafičke matrice. Ovu grafičarku uvijek posebno zanima idealno kompozicijsko ulančavanje elemenata različitih grafičkih matrica, uz slojevitost tekstura i motiva pa tako i u ove tri grafike pratimo kontrapunktiranje mrljastih jetkanih tekstura s finom i preciznom linijom suhe igle i bakropisa u boji. Kontrapunktiranje arhitekture s pismom, kao dominantne simbolike Držićeve erudicije, ali i visokog stupnja kulturnog i urbanog prosperiteta Dubrovnika, koji se kroz povijest doslovno branio topovima jasan je lajtmotiv sva tri lista. U strogom i vrlo suzdržanom tonskom rasponu – atipičnim za kolorističku sugestivnost njezinog opusa, ali karakterističnim za grafiku Držićevog doba – Nevenka Arbanas u potpunosti svoj umjetnički stil podređuje ideji obilježavanja važnih Držićevih toponima (Ragusa, Venezie), ne zaboravljajući pri tomu obraditi i motiv Držićevih likova u autentičnoj renesansnoj odjeći, koji jednako tako mogu biti građani Dubrovnika ili Venecije.

I Maja S. Franković u svoja je tri otiska na više razina bliska grafičkom razmišljanju Nevenke Arbanas. Napuštajući radi specifičnog grafičkog zadatka polje lirske i kolorističke apstrakcije te maksimalnu redukciju opisnosti i narativnosti u grafikama, Maja S. Franković jednako tako stišava svoj koloristički registar i podređuje ga renesansnom duhu, uz akcente plave i crvene boje, ali i kroz uporabu bakropisa i suhe igle. Gusto umrežene dionice grafičkih listova Nevenke Arbanas ovdje su zamijenjene jasno odijeljenim tripartitnim formama matrica na svakom listu, gdje umjetnica inzistira na prostoru bjeline. U prostornom rasporedu matrica svakog lista upućeno će grafičko oko nedvojbeno prepoznati rukopis Maje S. Franković, upravo prema specifičnom tlocrtu njezinog otiska: tzv. lebdeće forme u prostoru papira, tipične za neke njezine grafičke cikluse, ovdje su podređene ideji tri različite matrice, koja svaka u sebi nosi narativni, konkretni prikaz i polje slobodne apstraktne geste.

Suptilnost organičko-apstraktnih detalja rukopisa – u kojima se umjetnica igra umijećem akvatinte i reservagea - povezana je sa slobodno interpretiranim prikazom Držićeva pisma i motiva mora, portretom mladog Marina Držića, motivom grada unutar zidina iz 16. stoljeća te efektnim unošenjem elementa renesansnih vijenaca i ornamenata obilja. Harmonično jukstaponiranje različitih veličina matrica na sva tri lista, dalo je otiscima Maje S. Franković ujednačenu razinu ekspresije i elegancije, upravo idealnog renesansnog sklada.

Zdenka Pozaić jednako inventivno prati ideju obilježavanja značajne Držićeve obljetnice, no njezin je tonski registar ostao iznimno raspjevan, očito probuđen ne samo atmosferom i trajnom aktualnošću Držićevih kazališnih komada, već idejom renesansnog hedonizma i vitalizma. Najistaknutija suvremena hrvatska grafičarka u tehnici linoreza i drvoreza u boji, dakle, tehnikama visokog tiska, Zdenka Pozaić u sva tri otiska nastavlja svoj dominantni stilski kôd blizak lirskoj i kolorističkoj apstrakciji, ali ga – jednako kao Nevenka Arbanas i Maja S. Franković – iznimno dinamično dopunjava elementima renesansnog ornamenta uz hommage Držićevom liku Negromanta iz komedije Arkulin i piščevu nadimku Vidra. Kako je kroz lik Negromanta govorio sâm Držić u svojoj komediji, tako je i njegov nadimak nosio dvostruko simboličko značenje, posebice u kontekstu spremanja urote protiv dubrovačkih gospara, kao okretne i lukave zvjerke. To je potencirano u trećem grafičkom listu, gdje se motiv kazališnog zastora transformira u „ono što se događa iza zastora“, čime umjetnica metaforički povezuje ondašnji i današnji trenutak društvene zbilje. Izdašna uporaba plave boje simbolički ukazuje na toponime morskih gradova kojima se Držić kretao, čime je umjetnica zaokružila kompleksnu interpretaciju lika Marina Držića.

Pred nama je grafička mapa visokih inventivnih metijerskih i konceptualnih dometa, u čijem je usklađenom likovnom sazvučju sve tri umjetnice postignuta iznimna kvalitativna emanacija autentičnog renesansnog concetto- a, u djelu otjelotvorene Ideje.

Iva Körbler

GRAPHIC ARTS FAIRIESAN HOMAGE TO MARIN DRŽIĆ (1567 – 2017)

On the occasion of the 450th anniversary of the death of Marin Držić (1567-2017), the most famous Croatian playwright and one of the key authors of the European Renaissance comedy, but also one of the most eminent Croatian writers in history, three most important contemporary Croatian graphic artists have decided to pay their hommage to this great writer. Nevenka Arbanas, Maja S. Franković and Zdenka Pozaić are not only of similar age and sharing exceptional and comprehensive graphical experience and erudition in terms of their work, metier and pedagogy, they also have similar stylistic expression that is close to the tradition of organic and colorist abstraction.

In her prints Nevenka Arbanas refers carefully to the motif of the city-state from which Držić originated, not only by depicting the elements of Dubrovnik fortification architecture and motifs of Renaissance Dubrovnik within the walls, but also by showing interest in the 16th century typography as an important element of the new visual value of the graphic matrix. This graphic artist has always been particularly interested in the perfect compositional arrangement of elements of various graphic matrices, with layers of textures and motifs; consequently, in these three prints we can also follow the juxtaposition of patchy etched textures with fine and precise line of drypoint and color copper etching. Juxtaposing the architecture with the written words, as the dominant symbol of Držić’s erudition, but also of a high degree of cultural and urban prosperity of Dubrovnik, which literally defended itself with cannons through history, is a clear leitmotif of all three prints. By using the strict and very restrained tonal range – atypical of the coloristic suggestiveness of her oeuvre, but typical of printmaking in Držić’s era – Nevenka Arbanas has completely subordinated her artistic style to the idea of celebrating important Držić’s toponyms (Ragusa, Venezie), while not forgetting to process also the motif of Držić’s characters in an authentic Renaissance clothing, who can at the same time be considered as citizens of both Dubrovnik and Venice.

Maja S. Franković’s three prints are also quite close to the graphic style of Nevenka Arbanas on various levels. By abandoning her lyrical and colorist abstraction and the maximum reduction of the descriptiveness and narration in her prints due to the specific graphic task, Maja S. Franković has also toned down her coloristic inventory and subordinated it to the spirit of Renaissance, with accents of blue and red, but also through the use of etching and drypoint techniques. The closely networked elements of the prints by Nevenka Arbanas have here been replaced by clearly separated tripartite forms of matrices on each print, in which the artist insists on the space of whiteness. In the spatial arrangement of matrices of each sheet, the connoisseurs will undoubtedly recognize Maja S. Franković’s signature, particularly through a specific plan of her imprint: the so-called floating form in the paper space, typical of some of her graphic cycles, has here been subordinated to the idea of three different matrices, each of them carrying a narrative, concrete representation and a field of free abstract gesture.

The subtlety of organic and abstract details in manuscripts – in which the artist plays with the art of aquatint and reservage – is associated with freely interpreted depiction of Držić’s writing and sea motifs, a portrait of young Marin Držić, the 16th century motif of the city within the walls and the noticeable introduction of elements of Renaissance wreaths and ornaments representing abundance. Harmonious juxtaposition of various matrices’ sizes on all three sheets has provided the prints of Maja S. Franković with an uniform level of expression and elegance, which is the ideal Renaissance harmony.

Zdenka Pozaić is equally inventive in following the idea of celebrating this significant Držić’s anniversary, but her tonal inventory has remained extremely buoyant, obviously awoken not only by the atmosphere and the permanent actuality of Držić’s theater pieces, but also by the idea of Renaissance hedonism and vitalism. The most prominent Croatian contemporary graphic artist in the field of color linocut and woodcut techniques, i.e. relief printing techniques, Zdenka Pozaić, in her three prints, remains faithful to her dominant style code which is close to lyrical and coloristic abstraction, but she – just as Nevenka Arbanas and Maja S. Franković – complements it extremely dynamically with elements of Renaissance ornaments, thus paying hommage to Držić’s character Necromant from the Arkulin comedy and to the the author’s nickname Vidra. Since Držić in his comedy spoke through the character of Necromant, so did his nickname of a cunning little beast had a double symbolic meaning, especially in the context of hatching a conspiracy against Dubrovnik gentleman. This has been emphasized in the third print, where the motif of a theater curtain transforms into that “what is happening behind the curtain”, which the artist uses to metaphorically link the former and the present moment of social reality. The generous use of blue color symbolically indicates the seaside towns which Držić had been visiting, allowing the artist to complete the complex interpretation of the character of Marin Držić.

What we see in front of us is an album of prints of highly inventive ranges in terms of metier and concept, in which a harmonious artistic consonance of all three artists has helped in achieving an exceptional qualitative emanation of the authentic Renaissance concetto in the work embodying the Idea.

Iva Körbler

Nevenka Arbanas (Batina, 1950.); završila je Školu primijenjenih umjetnosti u Zagrebu, Odsjek grafike (1970.), diplomirala na Akademiji likovnih umjetnosti u Zagrebu (1975.), a poslijediplomski studij završila kod Alberta Kinerta (1977.) te stječe titulu magistra za područje grafičkih izraza. Usavršavala se u Parizu i Pragu (S.W. Hayter; L. Čepelak) u tehnikama višebojne grafike te akvatinte i litografije. 1979. usavršavala se na Akademiji Minerva u Gröningenu (Nizozemska). Godine 2017. obranila je doktorsku disertaciju s područja grafike na ALU u Zagrebu.

Od 1999. godine predaje na Grafičkom odjelu zagrebačke Akademije likovnih umjetnosti. Danas je u umjetničko-nastavnom zvanju redovite profesorice. U grafici primjenjuje kombinirane tehnike.

Do danas održala je šezdeset samostalnih i oko 200 skupnih izložbi u zemlji i inozemstvu. Objavila je niz grafičkih mapa i bibliofilskih izdanja te petnaest rješenja poštanskih maraka. Godine 1997. tiskana joj je monografija s tekstom Luke Paljetka, biblioteke Prizma, u izdanju NSK u Zagrebu.

Autorica je knjiga Grafičke tehnike, u izdanju Laserplus, Zagreb, 1999., i sveučilišnog udžbenika Grafičke tehnike dubokog tiska u izdanju Sveučilišta Sjever, Koprivnica, 2016.

Od 1975. članica je HDLU- a u Zagrebu, a od 1997. godine članica California Society of Printmakers u Emeryvilleu, Kalifornija (SAD).

Radovi joj se nalaze u više muzeja, galerija i privatnih zbirki (Zagreb, Rijeka, Osijek, Kairo, Bonn, Mulhouse, Ljubljana, Novo Mesto).

Dobitnica je brojnih nagrada za grafiku (Zagreb, Osijek, Lublin, Kairo, Aleksandrija), među kojima Premije Hrvatske akademije znanosti i umjetnosti na 18. zagrebačkoj izložbi grafike (1994.), Nagrade žirija na 1. hrvatskom trijenalu grafike, Kabinet grafike, HAZU (1997.) te Nagrade za najbolju godišnju izložbu Galerije Forum u Zagrebu (2003.).

Nevenka Arbanas (Batina, 1950); in 1970 she finished the School of Applied Arts in Zagreb (Department of Graphic Arts), graduated from the Academy of Fine Arts in Zagreb (1975), and completed her postgraduate studies in the class of Professor Albert Kinert (1977) upon which she obtained a Master’s Degree in Graphic Expression. She continued her education in Paris and Prague (S.W. Hayter; L. Čepelak) where she studied the techniques of multi-color graphics, aquatint and lithography. In 1979 she took some courses at the Minerva Academy in Gröningen (the Netherlands). In 2017 she defended her doctoral dissertation in the field of Graphic Arts at the Academy of Fine Arts in Zagreb.

Since 1999 she has been teaching at the Department of Graphic Arts at the Zagreb Academy of Fine Arts. Today she is a tenured professor holding the position of artist-teacher. She applies mixed techniques in her work.

So far, she has presented her work at 66 solo and more than 200 group exhibitions both at home and abroad. She has also published a series of albums of prints and limited edition books and proposed fifteen ideas for the design of postage stamps. Her monograph written by Luko Paljetak (Prizma edition) was published in 1997 by the National and University Library in Zagreb.

She is the author of the Graphic techniques book, published by Laserplus (Zagreb, 1999), and a university textbook entitled Intaglio printmaking techniques published in 2016 by the University North in Koprivnica.

She has been a member of the Croatian Association of Artists in Zagreb since 1975, and since 1997 a member of the California Society of Printmakers in Emeryville, California (USA).

Her works can be found in many museums, galleries and private collections (Zagreb, Rijeka, Osijek, Cairo, Bonn, Mulhouse, Ljubljana, Novo Mesto).

She has received numerous awards in the field of Graphic Arts (Zagreb, Osijek, Lublin, Cairo, Alexandria), including the Prize of the Croatian Academy of Sciences and Arts at the 18th Zagreb Exhibition of Prints (1994), the Jury Award at the 1st Croatian Prints Triennial (the Department of Prints and Drawings, Croatian Academy of Sciences and Arts, 1997) and the Award for the best annual exhibition of the Forum Gallery in Zagreb (2003).

Maja S. Franković (Rijeka, 1951.); od 1970.-1971. pohađa avangardnu školu i centar primijenjenih umjetnosti Camden Arts Centre u Londonu. Diplomirala je grafiku na Sveučilištu u Rijeci 1984. godine. Magistrirala je grafiku na Akademiji likovnih umjetnosti u Ljubljani 1989. godine.

Redovita je profesorica u trajnom zvanju na Akademiji primijenjenih umjetnosti Sveučilišta u Rijeci, gdje predaje grafičke tehnike. Od 2001. do 2005. godine članica je Poglavarstva Grada Rijeke za područje kulture. Od 2005. do 2009. radi kao diplomat / ministar-savjetnik u Stalnom predstavništvu RH pri UNESCO-u u Parizu. Dekanica je Akademije primijenjenih umjetnosti Sveučilišta u Rijeci u periodu 2011.-2012. godine.

Studijski je boravila u Londonu i New Yorku kao i Parizu, gdje već 20 godina radi u litografskom atelieru Cité Internationale des Arts. Osnovala je i vodi Ljetnu školu litografije u Brseču te je umjetnička voditeljica galerije Eugen K. u Brseču. Gost je profesor na poslijediplomskom specijalističkom studiju grafike renomiranog studija Il Bisonte u Firenci u kojem 2003. predaje litografiju. Članica je HDLU-a Rijeke.

Intenzivno se bavi litografijom u boji i dubokim tiskom velikog formata. Tiskala je dvadeset i dvije grafičke mape, sama i u suradnji s renomiranim hrvatskim umjetnicima i književnicima, kao i sto pedeset bibliofilskih izdanja umjetničkih knjiga. Njezine umjetničke knjige izlažu se na izložbama grafika diljem svijeta, izložbama knjiga umjetnika i na sajmu art knjiga u Frankfurtu te na Međunarodnom grafičkom bijenalu u Ljubljani. Grafike joj se nalaze u brojnim zbirkama i kolekcijama muzeja i knjižnica u Hrvatskoj i Europi. Izlagala je na više od 60 samostalnih izložbi u Hrvatskoji i Europi te na više od 350 zajedničkih izložbi i grafičkih bijenala u Hrvatskoj i svijetu.

Godine 1998. tiskana joj je monografija u izdanju Filozofskog fakulkteta u Rijeci, talijanske povjesničarke umjetnosti Lie de Pra Cavalleri, a 2007. monografija Maja S.F. : Jedno desetljeće, u izdanju Muzeja moderne i suvremene umjetnosti u Rijeci uz autorske tekstove Mikice Maštrović, Branka Franceschija i Enesa Quiena.

Dobitnica je četrnaest hrvatskih i tri međunarodne nagrade za grafiku; između ostalih odlikovana je Redom Danice hrvatske s likom Marka Marulića (1993.), dobitnica je godišnje nagrade za slikarstvo HDLUR-a (2000.), nagrade za osobit doprinos u promoviranju grafičkog medija na 3. Međunarodnom grafičkom bijenalu Splitgraphic u Splitu (2007.) te Premije HAZU na 5. trijenalu hrvatske grafike (2009.).

Maja S. Franković (Rijeka, 1951) studied at the Avant-garde Art School and Center of Applied Arts “Camden Arts Centre” in London from 1970 to 1971. She graduated in Graphic Arts from the University of Rijeka in 1984. She earned a Master’s Degree in Graphic Arts at the Academy of Fine Arts in Ljubljana in 1989.

She is a tenured professor at the Academy of Applied Arts of the University of Rijeka, where she teaches Graphic Techniques. From 2001 to 2005 she was a member of the City administration body of Rijeka in the field of culture. From 2005 to 2009 she worked as a diplomat / minister counsellor at the Permanent Delegation of the Republic of Croatia to UNESCO in Paris. She was the dean of the Academy of Applied Arts at the University of Rijeka from 2011 to 2012.

She studied in London and New York, but also in Paris, where she has been working at the lithography studio of the Cité Internationale des Arts for 20 years. She is the founder and professor at the Summer school of Lithography in Brseč, and also the artistic director of the Eugen K. Gallery in Brseč. In 2003 she was a visiting professor at the postgraduate study in Graphic Arts at the renowned Il Bisonte studio in Florence, where she taught lithography. She is a member of the Croatian Association of Artists in Rijeka.

She is dedicated to color lithography and large-format gravure printing. She has printed twenty-two albums of prints, both alone and in collaboration with renowned Croatian artists and writers, as well as one hundred fifty limited editions of artists’ books. Her book arts have been exhibited at prints exhibitions around the world, exhibitions of artists’ books, at the Frankfurt Book Fair and at the Ljubljana International Biennial of Graphic Arts. Her prints can be found in numerous collections at museums and libraries in Croatia and Europe. She has presented her work at more than 60 solo exhibitions in Croatia and Europe and more than 350 group exhibitions and graphic biennials in Croatia and worldwide.

In 1998 a monograph about her, written by the Italian art historian Lia de Pra Cavalleri, was published by the Faculty of Humanities and Social Sciences in Rijeka, and in 2007 a monograph called Maja S.F.: A Decade by Mikica Maštrović, Branko Franceschi and Enes Quien was published by the Museum of Modern and Contemporary Art in Rijeka.

She has received fourteen Croatian and three international awards in the field of Graphic Arts; among others, she was awarded the Order of Danica Hrvatska for her contribution to culture (1993), she received the annual Croatian Association of Artists in Rijeka award for painting (2000), several awards for a significant contribution in promoting the graphic medium at the 3rd International Graphic Art Biennial “Splitgraphic” in Split (2007) and the Prize of the Croatian Academy of Sciences and Arts at the 5th Croatian Graphic Triennial (2009).

Zdenka Pozaić (Čazma, 1940.); Školu primijenjene umjetnosti (Grafički odjel) u Zagrebu završila je 1960., a 1966. diplomirala na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Alberta Kinerta. 1968. završila je Specijalku za grafiku kod profesora Marijana Detonija.

Od 1964. do 1969. boravi po dva do pet mjeseci godišnje u Engleskoj (Richmond, Windsor, London) i putuje tom zemljom te Škotskom i Irskom. U Victorijinu i Albertovu muzeju prvi se put susreće s japanskom grafikom, što je potiče i inspirira za osobna istraživanja u tehnikama drvoreza i linoreza. Početkom devedesetih godina prošlog stoljeća počinje raditi reljefe u drvu i keramiku, a 1995/96. okušala se u slikanju na emajlu.

Imala je preko sedamdeset samostalnih izložbi (Zagreb, Erlangen, Zürich, Osor, Pula, Labin, Brseć, Rijeka, Osijek, Split, Zabok, Dubrovnik, Ljubljana, Bonn, Suwalki, Prag) i sudjelovala na više od 300 skupnih izložbi u zemlji i inozemstvu (Njemačka, Italija, Francuska, Kanada, Poljska, Češka, Slovačka, Portugal, Južna Koreja, Irska, Mađarska, Nizozemska, Ukrajina, Bugarska, Litva, Turska, Rumunjska, Indija, Australija, Švedska, Španjolska, Egipat, Kina, Iran, Indonezija, Bjelorusija, Slovenija, Belgija, Bosna i Hercegovina)

Radovi joj se nalaze u fundusima više muzeja, galerija i grafičkih zbirki u zemlji (NSK Zagreb, Kabinet grafike HAZU Zagreb, Moderna galerija Zagreb, Galerija Branka Ružića Slavonski Brod, Muzej Moslavine Kutina, Gradski muzej Bjelovar) te u Češkoj, Slovačkoj, Poljskoj, Francuskoj, Bugarskoj i dr.

Dobitnica je više nagrada i priznanja za grafiku i Ex libris u Hrvatskoj i svijetu (Češka, Italija, Bugarska), među kojima Nagrade žirija 5. Hrvatskog trijenala grafike Kabineta grafike HAZU (2009.). Dobitnica je Odličja Reda Danice Hrvatske s likom Marka Marulića (1999.). Članica je HDLU-a Zagreb, ULUPUH-a i počasna članica KERAMEIKON-a Varaždin.

Godine 2012. objavljena joj je monografija u nakladi Art magazina Kontura autorâ Ive Körbler i Tonka Maroevića.

Objavila je šest pjesničko-grafičkih mapa i četrdeset osam naslova u bibliofilskoj ediciji Riječ i slika. Pokrenula je Biblioteku DUB u kojoj objavljuje primjere iz davnije povijesti hrvatskog pjesništva (Marko Marulić, Ivo Vojnović), Biblioteku Pjesnici u kojoj je objavila pjesničko-grafičke mape: Češka / Deset pjesnika, Dragutin Tadijanović / Deset pjesama, Italija / Deset pjesnika, Hrvatska / Deset pjesnika, zatim Biblioteku Pjesnik sa 11 pjesama Vaclava Havela iz ciklusa Na rubu proljeća, Antuna Šoljana s 10 odabranih pjesama, Vladimira Holana Noć s Hamletom te najnoviju Biblioteku Kajdanka: Luko Paljetak/Zdenka Pozaić – CHOPIN, Luko Paljetak/Zdenka Pozaić – FRANZ LISZT, Richard Wagner/Zdenka Pozaić – WAGNER i Zvonimir Mrkonjić/Zdenka Pozaić – MOZART.

Zdenka Pozaić (Čazma, 1940); in 1960 she finished the School of Applied Arts in Zagreb (Department of Graphic Arts), and in 1966 she graduated from the Academy of Fine Arts in Zagreb in the class of Professor Albert Kinert. In 1968 she completed a post-graduate course in printmaking in the class of Professor Marijan Detoni.

From 1964 to 1969 she spent two to five months a year in England (Richmond, Windsor, London) and traveled the country as well as Scotland and Ireland. During her visits to the Victoria and Albert Museum she got acquainted with Japanese prints, which served as an inspiration for her personal research in the field of woodcut and linocut techniques. In the early nineties she started making reliefs in wood and ceramics, and in 1995/96 she tried her hand at painting in enamels.

She has held over seventy solo exhibitions (Zagreb, Erlangen, Zürich, Osor, Pula, Labin, Brseć, Rijeka, Osijek, Split, Zabok, Dubrovnik, Ljubljana, Bonn, Suwalki, Prague) and participated in over 300 group exhibitions both at home and abroad (Germany, Italy, France, Canada, Poland, Czech Republic, Slovakia, Portugal, South Korea, Ireland, Hungary, the Netherlands, Ukraine, Bulgaria, Lithuania, Turkey, Romania, India, Australia, Sweden, Spain, Egypt, China, Iran, Indonesia, Belarus, Slovenia, Belgium, Bosnia and Herzegovina).

Her works form part of the holdings of numerous museums, galleries and prints collections both at home (National and University Library in Zagreb, the Department of Prints and Drawings of the Croatian Academy of Sciences and Arts in Zagreb, Modern Gallery in Zagreb, Branko Ružić Gallery in Slavonski Brod, Moslavina museum in Kutina, Bjelovar City museum) and in the Czech Republic, Slovakia, Poland, France, Bulgaria and others.

She has received numerous awards and honors for printmaking and Ex Libris in Croatia and abroad (France, Italy, Bulgaria), including the Jury Award at the 5th Croatian Prints Triennial (the Department of Prints and Drawings, Croatian Academy of Sciences and Arts, 2009). She was awarded the Order of Danica Hrvatska for her contribution to culture (1999). She is a member of the Croatian Association of Artists in Zagreb, the Croatian Association of Artists of Applied Arts and an honorary member of the KERAMEIKON, the Croatian Ceramic Association from Varaždin.

A monograph about her by Iva Körbler and Tonko Maroević was published in 2012 by the art magazine Kontura.

She has published six albums of poems and prints and forty-eight titles in a limited edition by Riječ i slika. She has launched the DUB edition in which she publishes specimens from older Croatian poetry (Marko Marulić, Ivo Vojnović), the Poets edition, in which she has published the poetry and print albums: Czech Republic / Ten poets, Dragutin Tadijanović / Ten poems, Italy / Ten poets, Croatia / Ten poets; the Single Poet edition with 11 poems by Vaclav Havel from the At the edge of spring cycle, 10 selected poems by Antun Šoljan, A Night with Hamlet by Vladimir Holan; and the most recent Music Notebook edition: Luko Paljetak / Zdenka Pozaić – CHOPIN, Luko Paljetak / Zdenka Pozaić – FRANZ LISZT, Richard Wagner / Zdenka Pozaić – WAGNER and Zvonimir Mrkonjić / Zdenka Pozaić – MOZART.

Ova grafička mapa sadrži ukupno 20 listova papira formata 50 x 35 cm. Na 3 lista papira tehnikom dubokog tiska u boji (akvatinta, bakropis u boji, suha igla) otisnute su grafike Nevenke Arbanas, na 3 lista papira tehnikom

dubokog tiska u boji (akvatinta, bakropis, reservage i suha igla) otisnute su grafike Maje S. Franković i na 3 lista papira tehnikom visokog tiska u boji (linorez i drvorez u boji) otisnute su grafike Nevenke Pozaić. Na dva lista papira tehnikom ofseta otisnut je predgovor Ive Körbler na hrvatskom i engleskom jeziku, a na 6 listova papira

tehnikom ofseta otisnuti su životopisi Nevenke Arbanas, Maje S. Franković i Zdenke Pozaić na hrvatskom i engleskom jeziku. Na posebnom listu otisnuta je naslovna stranica, a na dva lista impresum na hrvatskom i

engleskom jeziku.

Papir na kojemu je otisnuta ova grafička mapa je 285 g/m2 Fabriano Rosaspina Bianco i 220 g/m2 Fabriano LR Bianco.

Slog pisma je Book Antiqua, veličine 14 točaka. Grafike su otisnute grafičkim bojama marke Charbonnel, Amra i Cranfield. Kutije od ljepenke i knjigovežnog platna izradila je Knjigovežnica Firšt.

Sve grafičke listove ručno su otisnule Nevenka Arbanas, Maja S. Franković i Nevenka Pozaić u svojim ateljeima i svi su označeni kao autorski otisci. Svaka grafika otisnuta je u 25 primjeraka i označena brojkama od 1 do 25.

Ova grafička mapa posvećena je 450. godišnjici smrti Marina Držića.

Broj primjerka: ___________

Izdavač: Dom Marina DržićaZa izdavača: Nikša Matić

Urednik izdanja: Nikša MatićPredgovor izdanja: Iva Körbler

Prijevod na engleski jezik: Kristina JuričićGrafičko oblikovanje: Nedim Meco

Tisak tekstova: Alfa-2 d. o. o.

Dubrovnik, studeni 2017.

This album of prints contains a total of 20 sheets, sheet size 50 x 35 cm. The prints designed by Nevenka Arbanas were printed on 3 sheets of paper using the color intaglio printmaking technique (aquatint, color copper etching,

drypoint); the prints designed by Maja S. Franković on 3 sheets of paper using the color intaglio printmaking technique (aquatint, copper etching, reservage and drypoint) and the prints by designed Nevenka Pozaić on 3

sheets of paper using the color relief printing technique (color linocut and woodcut). The foreword by Iva Körbler both in Croatian and English version was printed on two sheets of paper using the offset printing technique, and the biographies of Nevenka Arbanas, Maja S. Franković and Zdenka Pozaić were printed in Croatian and English on 6 sheets of paper using the same technique. The cover page was printed on a single sheet, and the impressum

in Croatian and English on two sheets.

The paper used for printing the album of prints: 285 g/m2 Fabriano Rosaspina Bianco and 220 g/m2 Fabriano LR Bianco.

The text is written in Book Antiqua font at 14 points. The inks used for making the prints were as follows: Charbonnel, Amra and Cranfield. The boxes made of cardboard and bookbinding canvas were produced by

Knjigovežnica Firšt.

All the prints have been manually printed by Nevenka Arbanas, Maja S. Franković and Nevenka Pozaić at their respective ateliers and they have all been marked as original imprints. Each print is available in 25 copies and they

are all marked with numbers 1 to 25.

This album of prints is dedicated to the 450th anniversary of the death of Marin Držić.

Copy number: ___________

Published by: House of Marin DržićFor the publisher: Nikša Matić

Editor: Nikša MatićForeword by: Iva Körbler

Translated by: Kristina JuričićGraphic design by: Nedim MecoTexts printed by: Alfa-2 d. o. o.

Dubrovnik, November 2017