Kostja Gatnik

Kostja Gatnik

ostja Gatnik je danes najbolj znan kot ilustrator in kot avtor stripov, ki
so v Sloveniji bistveno premaknili meje tega likovnega žanra, sam pa ga še
vedno doživljam predvsem kot slikarja. Ne spomnim se, kdaj sem prvič
videl njegove slike, vsekakor pa se spominjam, kakšen vtis so name
naredile tiste, ki jih je leta 1974 razstavil v ljubljanski Mali galeriji.

Gatnikovo slikarstvo iz tega časa praviloma označujejo kot neorealistično.
Takšna označba je razumljiva predvsem v kontekstu obdobja, v katerem se je
umetnik uveljavil. V sedemdesetih letih je bil še vedno živ spomin na informel pred-
hodnih desetletij, novo desetletje pa je (tudi) pri nas obvladovala ''umetnost
dolgčasa'', minimalizem. Temu se je upirala vrsta figuralikov, tako starejših (med
temi se je zaradi razpoloženjske sorodnosti z Gatnikovimi deli treba spomniti vsaj
na Marka Šuštaršiča in na njegov zadnji cikel) kakor mladih, večinoma - kakor
Gatnik - rojenih v štiridesetih letih. Njihove poti so bile različne, vsekakor pa je
Gatnikova ena bolj značilnih. Na njegova zgodnja dela je vplivalo predvsem
ameriško slikarstvo, vendar ne (kakor v primerih nekoliko starejših slovenskih

umetnikov, pa tudi nekaterih njegovih sodobnikov) newyorška šola štiridesetih,
petdesetih in šestdesetih let, ampak novejši tokovi šestdesetih in sedemdesetih.
Med temi sta bila najpomembnejša popart s svojo značilno ikonografijo in opart
z značilnim likovnim jezikom, torej smeri, ki sta si bili načeloma zelo različni (če

že ne sploh nasprotni), kljub temu pa njuno kombinacijo pogosto srečujemo na
zgodnjih delih Gatnika in njegove generacije.

Na takšnih delih je mogoče opaziti še nekatere druge vplive, npr. odmeve
''ostrorobega'' slikarstva in psihedelične umetnosti, ki pa so po zgodnjem
obdobju praviloma izginili. Na začetku sedemdesetih let jih je nadomestil

predvsem vpliv superrealizma; ta je predvsem zaradi fotografske natančnos-
ti, s kakršno so upodobljeni detajli, npr. kamni, opazen tudi na Gatnikovih
slikah, vendar umetnika brezosebna superrealistična objektivnost ni

zanimala. To je značilno tudi za večino njegovih slovenskih sodobnikov:
izjem, kakršno je s svojimi deli predstavljal Berko, je bilo malo, saj je
večina ustvarjalcev superrealistične detajle kombinirala s takšnimi

ali drugačnimi fantazijskimi poudarki, predvsem s surrealističnimi.

Drugače kakor v primerih takšnih slikarjev pa surrealistične
tradicije na Gatnikovih slikah ni čutiti. Tovrstne simbolike ni

uporabljal niti takrat, ko je slikal sicer nedvomno erotične
akte, ob katerih se je najprej oziral proti findesieclovskemu
tipu femme fatale (za čas okoli leta 1970 še en tipičen, le da bolj
oddaljen vpliv), pozneje pa je erotiko poudarjal s pomočjo
svetlobnih snopov, torej tako fantazijskega kakor izrazito

likovnega elementa. Svetloba in njeno izžarevanje, ki
pogosto temelji na učinku barvnega polja, je tudi
eden ključnih elementov slik, ki jih je ustvaril v prvi
polovici sedemdesetih let. Še eden je v osnovi sim-
bolistična motivika nepričakovanega srečanja, npr.
srečanja z osrednjim elementom najbolj pogosto
reproducirane umetnikove slike, Trapeza iz leta 1973,
ki je gledalca vsaj v tistem času neizogibno spomnil na
monolit iz - takrat in danes - kultnega Kubrickovega
filma 2001: Odiseja v vesolju.

Na Gatnikovih delih ima torej glavno vlogo sproščena domišljija, tako umet-
nikova kakor gledalčeva, pomembno pa je tudi, da umetnik svoje ''resničnosti''
ni hotel doreči. In če se po vsem tem vrnemo k problemu označbe: Gatnikova
dela nikoli niso bila ''neorealistična'' v takšnem ali drugačnem smislu - morda
bi se jim vsaj približno prilegala samo označba ''magični realizem'', predvsem, ker
jo uporabljamo takrat, kadar ni jasno, kam naj bi neka fantazijska dela sicer
uvrstili.

Lev Menaše

ostja Gatnik je brez dvoma kultna osebnost v slovenski likovni kulturi tiste-
ga časa, ki se ga pripadniki starajoče srednje generacije še dobro spominjamo.
Ta oznaka je presežniška, vendar je prav toliko reduktivna, kajti temelji na
Gatnikovem monumentalnem posegu v pop-kulturo v enem najplodnejših
zgodovinskih trenutkov našega dela dvajsetega stoletja. Z njo zajamemo
vizualne forme kot so strip, plakat, nosilci zvoka in predvsem likovna podoba
študentskega tednika Tribuna. Evokacijo Gatnika kot osebnosti pomeni neko-
liko ekskluzivna Magna purga in popularni Janez Blond, torej strip. Če pa se
vprašamo po genezi in značaju teh stvaritev, se soočimo s svojevrstnim preple-
tom visoke umetnosti in pop-kulture ter z uporniško držo ustvarjalca, katerega
najmočnejše orožje je ironija. Njegov opus je protejski, razpet med slikarstvo
in grafično oblikovanje, ilustracijo in fotografijo, med strip in marionetke.
Vedno pa nas prevzame z intelektualnim angažmajem, pravim izumljanjem
likovnih rešitev in perfekcionizmom pri vsaki, še tako majhni nalogi.

Gatnik sodi v skupino ustvarjalcev,
ki so že ob prvem nastopu takoj po
diplomi na Akademiji likovnih umet-
nosti v Ljubljani v pomenljivem letu
1968 označili novo tendenco v
slovenski likovni umetnosti. Tedaj
poimenovana ekspresivna figuralika
je bila prav posebne vrste amalgam
mentorskih drž Marija Preglja in
Maksima Sedeja, zavestnega iskanja
svoje identitete in predvsem
odklona od zgledov in prizadevanj
predhodnih generacij - malce starej-
ših, ki so se še vedno napajale iz zgle-
dovanja pri pariški šoli in mlajših, ki
so jih pritegnili različni neo-avant-
gardizmi in čezoceanski idoli.

Večji del akademskega študija je
tedaj še vedno sestavljala risba, ki
je temeljno spoznavno in metjejsko
orodje od renesanse naprej. Gatnik
je imel srečo, da je med profesorji
imel same sijajne risarje. Na specialki
je po Pregljevi smrti mentorsko delo
prevzel Zoran Didek. Nadarjenost
se je tu srečala s kompetentno spodbudo in Gatnik je razvil svoj dar do vir-
tuoznosti. O tem pričajo njegova prva dela, ki praviloma temeljijo na suvereni
in zanesljivi obrisni risbi. In če je vsaka slika pomemben projekt, ki zahteva svoj
čas, energijo in koncentracijo, je risba nekaj vmesnega, efemernega, sled
trenutnega užitka ali zabeležka idejnega prebliska. Ko prelistavamo njegove
risbe, se nam posveti, kako majhnih formatov so, ne glede na vsebino in funkcijo.

Osnova takšnega dela je bila risba kot sredstvo in sled miselnega procesa, ki
je vnaprej zahtevala uglašenost izraznega registra z vsebino. Izjemne in vro-
jene risarske spretnosti Kostja ni nikoli jemal samo kot metjejskega orodja,
temveč je tako kot v vseh drugih medijih v njej iskal izzivov. Te je lahko našel
v merjenju moči z veliki imeni zahodne tradicije, ki se nam pokaže v morda kon-
vencionalni nalogi, vendar v tehniki, ki terja ne le dar, koncentracijo in
sposobnost, temveč tudi izkušenost. Kaligrafska poteza s tušem in čopičem,
povezana s kulturami daljnega vzhoda, je nepopravljiva v podobi prav tako kot
v pisavi. Od prve do zadnje poteze mora slediti misli v zanesljivem teku in
natančnem zaporedju, da ne iztiri, na koncu pa ne prenese popravkov ali
odvečnosti. Majhen, s tušem pomazan list je v svoji odmerjenosti in popolnos-
ti lahko tako velik, kot največja slika.

Posebne vrste izziv je konturna črta, ki se od začetka do konca ne odlepi od
temeljnika in se izteče sama vase. Akt, 1999, je izpeljan z enim premorom, enim
odstopom ali kontrolo med prepletom dveh neskončnih črt. Prva nam opredeli
volumen telesa z rokami v bok tako, da vešče izkoristi dvojno funkcijo iste
črte, črte, ki je hkrati zunanja in notranja kontura, črta, ki oklepa telo in ga
sugestivno odpira. Druga zanka doda aktu gibanje z dodano dvignjeno in
spuščeno roko ter zariše ločnico med lasmi in obrazom. Računalniška skica,
generirana s tehnologijo zadnjega desetletja, lahko prihrani veliko časa in je
predvsem bolj učinkovita od ročne obdelave mutacij do končnega izdelka.
Vendar brez znanja in spretnosti iz prvega primera na to raven dela sploh ne
pridemo. Risba še vedno ostaja predpogoj vsakega likovnega ustvarjanja in v
znaku, kakršen je logotip znane računalniške firme Hermes Softlab, je vse to
skrito. V njem lahko prepoznamo način razmišljanja in ustvarjalni princip, las-
ten Kostji Gatniku.

Kompleksni opus Kostje Gatnika je zaznamovalo razpiranje pojma vizualnega
in vizualnih komunikacij zadnje četrtine dvajsetega stoletja. S svojim ustvar-
janjem je posegel na različna področja-od slikarstva, grafičnega oblikovanja
in ilustracije do fotografije, ki jih združuje izjemna inteligenca in redko
izpostavljena visoka merila kvalitete v neizprosnem samonadzoru. V njem ustvar-
jalec združuje svetove, ki so se zdeli nepremostljivo razdvojeni, in uporablja
najboljše, kar v njih najde. Svojemu izjemnemu risarskemu daru dodaja izved-
beno bravuro in merila kvalitete, kot jih pozna visoka umetnost, s katerimi
oblikuje podobe, vsebine in vrednote neinstitucionalnih nosilcev popularne
kulture, marginalnih okolij in skupin v vitalna sporočila, ki odražajo epohalne
spremembe našega časa. Če je moralna drža Kostje Gatnika dobila levičarsko
avro, je to zaradi intelektualnih simpatij leve kritične javnosti s kulturno
alternativo, subkulturo in njenimi družbenimi manifestacijami. Zagotovo pa
deli usodo levičarske intelektualne produkcije: ta je vedno proizvod elite, pa
naj bo družba še tako egalitarna.

Kostja Gatnik je v slovenski kulturi osebnost, ki nam je že pred desetletji
začela spreminjati predstave o umetništvu, ustvarjalnosti, likovnosti in
področju vizualnih komunikacij. Poslanstvo komunikativne ustvarjalnosti se
ni spremenilo, spremenil pa se je pristop, ki ga lahko opišemo samo s
čarovniškim dotikom ustvarjalca. Izbiro medija Kostji Gatniku narekuje
sporočilo.

Andrej Smrekar

Biografija

Kostja Gatnik se je rodil 11. septembra 1945 v Ljubljani. V letih od 1964 do 1969 je
študiral na Akademiji za likovno umetnost v Ljubljani pri Mariju Preglju in
Maksimu Sedeju. Po diplomi je nadaljeval študij na slikarski specialki pri Maksimu
Sedeju in Zoranu Didku. Poznamo ga kot avtorja knjižnih oprem (M. Dekleva: Haiku;
M. Malenšek: Lučka na daljnem severu; S. Pregl: Smejalnik in cvililna zavora; Bohinjske
pravljice; A. Paasilinna: Očarljivi skupinski samomor), stripov (Peter Klepec in Magna Purga),
plakatov (Stopoteka; Korni grupa; Atomsko sklonište - Mentalna higiena; Zelena dolina; Triglav -
Katastrofe; Punk25), filmskih (8 slik za sceno v filmu Zvesta žena) in gledaliških scen
(Mala drama - Raglja), kostumov in lutk (O ptički, ki je ukradla zlato jabolko), celostnih
podob (Ljubljanski kinematografi - znak, papirji, oglas in animirana filmska špica), znakov
(znak Radio televizije Ljubljana; častni znak svobode Republike Slovenije; znak Zavarovalnice
Triglav), ovitkov nosilcev zvoka (T. Domicelj: Srečanji, EP; Pankrti: Pesmi sprave, LP),
fotografij, risb, akvarelov in slik.

Kostja Gatnik je bil nagrajen za delo na področjih slikarstva, stripa, ilustracije in
grafičnega oblikovanja. Leta 1969 je prejel študentsko Prešernovo nagrado, leta
1983 Levstikovo nagrado, leta 1997 plaketo Hinka Smrekarja za najlepšo slovensko
knjigo za otroke in mladino za Majnice Toneta Pavčka in zlato diplomo na 3. bienalu
slovenske knjižne ilustracije, leta 2008 plaketo Hinka Smrekarja za ilustracije teo-
retičnih besedil o humorju in nagrado Hinka Smrekarja na področju ilustracije.

Prešernovo nagrado za leto 2010 je prejel za življenjsko delo na področju likovne
umetnosti.

Priložene reprodukcije

Študentski list Tribuna, 5. 11. 2010, št. 4 - Kostja Gatnik je bil tehnični in likovni urednik lista
Brez naslova, akril, 1969 - študentska Prešernova nagrada
Strip Magna purga, Tribuna, 1972/1973
Novi rock 85, plakat, 1985
Brez naslova, akril, 1987
Ilustracija za Emzin, sitotisk - Plaketa Hinka Smrekarja, 2006
Svetlana Makarovič: Pekarna Mišmaš, akvarel, 2007/2008 - Nagrada Hinka Smrekarja, 2008
Tone Pavček: Majnice, 1996 - Plaketa Hinka Smrekarja za najlepšo slovensko knjigo leta in
zlata diploma na 3. Slovenskem bienalu ilustracije leta 1997

Galerija Prešernovih nagrajencev
za likovno umetnost Kranj

Glavni trg 18, 4000 Kranj, 04/202 57 16
www.gpn.kranj.si
[email protected]

Vodja galerije: Marko Arnež ● Organizacija: Marko Arnež, mag. Barbara Kalan, Petra Polak
Izdal: Gorenjski muzej, www.gorenjski-muzej.si - zanj: marija Ogrin, v. d. direktorice

Besedilo: dr. Lev Menaše in dr. Andrej Smrekar
Prevod: Jana Kranjec Menaše in David Limon

Lektura in korekture: Milena Ilić in mag. Barbara Kalan ● Fotografija: Arhiv avtorja, T. Stojko
Oblikovanje: Marko Tušek ● Tisk: Tiskarna GTO Košir
Naklada: 300 izvodov

Delovanje galerije omogoča Mestna občina Kranj.

Kranj, december 2010



owadays, Kostja Gatnik is best known as an illustrator and comic book artist, one of
those who essentially shifted the borders of this particular art genre in Slovenia, but I
personally still preserve the strongest impression of him as a painter. I no longer remem-
ber when exactly I first saw his paintings, but I certainly remember the impact of the paint-
ings he exhibited in Mala galerija/Small Gallery in Ljubljana in 1974.

Gatnik's work from that period is usually defined as neorealistic. Such a definition is
understandable particularly in the context of the period in which the artist made his
name: in the 1970s, the memory of the informel from the previous decades was still very
much alive, while the new decade was (also) in Slovenia ruled by the ''art of boredom'', the
minimalism. Defying it were a number of figural painters, so older (among these, Marko
Šuštaršič and his last cycle should at least be mentioned, due to the similarity of the
mood in his and Gatnik's works) as young ones, mostly - like Gatnik - born in the 1940s.
Their artistic paths had been different, but in any case Gatnik's was one of the more typ-
ical. His early works had primarily been influenced by American painting, but not (as is
the case with a little older Slovene artists, and also with some of his contemporaries) by
the 1940s, 1950s, 1960s New York school, but rather by more recent currents of the 1960s
and 1970s. The most important among these were the pop art with its characteristic
iconography and the op art with its characteristic art language, i. e. two in principle very
different (if not outright adverse) orientations, the combination of both is nevertheless
often to be found in the early works of Gatnik and his generation.

In such works some other influences may be noticed, e. g. the reflections of the ''sharp
edge'' painting and of psychedelic art, which, however, as a rule disappeared after the
early period. In the early 1970s they were replaced by the influence of superrealism which
is, mainly due to the photographic exactness of the depicting of details, such as stones,
also noticeable in Gatnik's paintings, but the artist was not really interested in the imper-
sonal superrealist objectivity. The same is also characteristic of the majority of his
Slovene contemporaries: there were only few exceptions, e. g. Berko's works, but most
artists combined superrealist details with phantasy accents of one kind or another, above
all with surrealist ones.

Unlike the cases of the above mentioned painters, surrealist tradition is not to be found
in Gatnik's works. He did not use this kind of symbolism even when painting otherwise
undoubtedly erotic nudes, which at first reflected the fin-de -siecle type of femme fatale
(another typical, if a bit more distant influence in the period around 1970); he later on
emphasized the eroticism by means of light beams, therefore by means of a phantasy element
which is also a distinctly visual element. The light and its radiation, often based upon
the effect of a colour field, represent one of the key elements of the paintings that the

artist created in the first half of the 1970s. Another is the basically symbolist motif of
an unexpected encounter, e. g. the encounter with the central element of his most fre-
quently reproduced painting, Trapeze from 1973, which, at the time at least, unavoidably
reminded the viewer of the monolith from the - then as today - cult Kubrick's film 2001:
A Space Odyssey.

The main role in Gatnik's works therefore belongs to relaxed imagination, so the artist's
as the viewer's, but it is also important that the artist did not wish to finalize his "real-
ity". And to finally return to the problem of definition: Gatnik's works have never been
''neorealist'' in any sense - perhaps the definition ''magic realism'' would suit them better,
above all because it is used when we are not quite certain where else to place certain
phantasy works.

Lev Menaše

ostja Gatnik is undoubtedly a cult figure in Slovene art, espe-
cially among those who remember the late Sixties and the
Seventies. This label implies a surpassing achievement, but is
also reductive, referring as it does to Gatnik's monumental
intervention in pop culture in one of the most fruitful periods
of the 20th century. The work in question encompasses visual
forms such as comic strip, posters, record sleeves and, above
all, the graphic design of the student weekly Tribuna. Evoking
of the name Gatnik usually refers to the somewhat exclusive
Magna purga and the popular Janez Blond - in other words, comic
strip. If we enquire into the genesis and character of these cre-
ations, we encounter a marriage of high art and pop culture,
as well as their creator's rebellious stance and his most pow-
erful weapon, irony. His work is protean, torn between painting and graphics, illustra-
tion and photography, comic strip and puppets. But we are always captivated by his intel-
lectual engagement, his inventive visual solutions, and his perfectionism in even the
smallest assignment.

Gatnik belongs among that group of artists who upon their first appearance after grad-
uating from the Academy of Fine Arts in Ljubljana in the significant year of 1968 marked
a new trend in Slovene visual art. The expressive figurative art of the time was a partic-
ular amalgam of the approaches of the mentors Marij Pregelj and Maksim Sedej, a con-

scious seeking of its own identity and a departure from the examples and strivings of pre-
vious generations - the slightly older ones who still drew inspiration from the Paris
school and the younger ones who were attracted by various neo-avantgarde and transat-
lantic idols.

At that time, the major part of study at the academy was made up of drawing, which has
been a basic tool of the profession since the Renaissance. Gatnik was fortunate that his
teachers included some superb draughtsmen. At the specialisation level, upon Pregelj's
death, the role of mentor was assumed by Zoran Didek. Gatnik's talent thus met with suit-
able encouragement and he was able to develop his gift to the virtuoso level. His first
works bear witness to this, depending as they do on accomplished and reliable outline
drawing. If each painting is an important project, demanding time, energy and concentra-
tion, drawing is somewhat ephemeral, the trace of a moment of enjoyment or the record-
ing of a flash of inspiration. However small the format, irrespective of the content and
function, Gatnik's drawings are dazzling.

The foundation of this work was drawing as a medium and tracing the thought process,
which presupposed the harmony of expressive register with content. Kostja did not take
his exceptional gift merely as a professional tool, but sought within it, as in every medi-
um, challenges. He could find these by measuring himself against the great names of
Western tradition, which becomes apparent in assignments that are perhaps convention-
al, but which involve a technique that demands not only a gift, concentration and abili-
ty, but also experience. The calligraphic stroke using brush and ink connected with Far
Eastern cultures cannot be corrected in writing or in images. From the first movement
to the last it must follow thought in a dependable flow and precise order, so that it does
not go astray, as at the end it cannot tolerate correction or redundancy. In its sense of
measure and perfection, a small sheet of paper smeared with ink can be as big as the
biggest painting.

A particular challenge is represented by the contour which from start to finish does not
deviate from the initial line and ends back upon itself. Akt (Nude), from 1999, is executed
with only one break in the interweaving of two endless lines. The first defines the vol-
ume of the body and the arms at the side, skilfully exploiting the dual function of the
same line - a line which is at the same time both an external and internal contour, which
frames the body but also suggestively opens it. The other adds movement, a raising and
lowering of the arms, and defines the border between hair and face. A computer sketch,
generated using the technology of recent decades, can save a lot of time and is above all
more effective than hand-drawn mutations leading to the final product. But without the

initial knowledge and skill, we do not even arrive at this destination. Drawing remains
the precondition of all visual creation, and in the logo of the well-known computer firm
Hermes Softlab all this is contained. In it we can discern the creative principle special
to Kostja Gatnik.

The complex oeuvre of Kostja Gatnik was marked by the opening up of the concepts of the
visual and visual communication in the final quarter of the 20th century. His work extend-
ed into a range of fields - from painting, graphic design and illustration to photography
- and has in common an exceptional intelligence and a rare high benchmark of quality
maintained through merciless self-control. Within it, he brings together worlds that
seemed hopelessly divided, taking from each the best of what he finds. To his exceptional
draughtsman's gift he adds boldness of execution and the standard of quality known to
high art to shape the images, content and values of the non-institutional bearers of pop-
ular culture, of marginalised environments and groups, and a vital message that express-
es the epochal changes of our time. If Kostja Gatnik's moral stance has taken on a left-
ist aura, it is because of the intellectual sympathies of the leftist critical public towards
alternative culture and subcultures and their social manifestations. And certainly it
shares the fate of leftist intellectual production: however egalitarian the society is, it
is still a product of the elite.

Kostja Gatnik is the Slovene cultural figure who decades ago started to change the way
we looked at artistry, creativity, visual art and visual communication. The mission of
communicative creative work has not changed; what has changed is the approach, which
we can only ascribe to the artist's magical touch. To Kostja Gatnik, the choice of medi-
um dictates the message.

Andrej Smrekar

Biography

Kostja Gatnik was born on 11 September 1945 in Ljubljana. From 1964 to 1969 he studied at
the Academy of Fine Arts in Ljubljana under Marij Pregelj and Maksim Sedej. At post-
graduate level, he specialised in painting under Maksim Sedej and Zoran Didek. He is
known for his work in comic strips (Peter Klepec and Magna Purga) and as a designer of book
covers (Milan Dekleva: Haiku; Mimi Malenšek: Lučka na daljnem severu; Slavko Pregl: Smejalnik
in cvililna zavora; Bohinjske pravljice; Arto Paasilinna: Očarljivi skupinski samomor), posters
(Stopoteka; Korni grupa; Atomsko sklonište - Mentalna higiena; Zelena dolina; Triglav - Katastrofe;
Punk25), film sets (8 paintings for the film Zvesta žena), stage sets (Mala drama - Raglja), cos-
tumes and puppets (O ptički, ki je ukradla zlato jabolko), symbols and logos (for Radio televizija
Ljubljana and Zavarovalnica Triglav; also the častni znak svobode Republike Slovenije)
and record sleeves (Tomaž Domicelj: Srečanji, EP; Pankrti: Pesmi sprave, LP); he is also recog-
nised as a creator of corporate image (Ljubljanski kinematografi - logo, letterhead, advertise-
ment and animated sequence) and a photographer, as well as for his drawings, water-
colours and paintings.

He has received numerous awards for his work in painting, comic strip, illustration and
graphic design. In 1969 he received the student Prešeren Award; in 1983 the Levstik Award;
in 1997 a Hinko Smrekar plaque for the best designed children's book (Majnice by Tone
Pavček) and a gold certificate at the 3rd biennial of Slovene literary illustration; in 2008
a Hinko Smrekar plaque for illustrating theoretical texts on humour and the Hinko
Smrekar Award for illustration.

In 2010 he received the prestigious Prešeren Award for his life's work in the visual arts.

List of illustrations:

Student newspaper Tribuna, 5. 11. 2010, št. 4 - Kostja Gatnik was the technical and artistic editor
Untitled, acrylic, 1969 - student Prešeren Award
Cartoon Magna Purga, Tribuna, 1972/1973
New rock 85, poster, 1985
Untitled, acrylic, 1987
Illustration for Emzin, screen printing - Hinko Smrekar plaque, 2006
Svetlana Makarovič: Pekarna Mišmaš, water colour, 2007/2008 - Hinko Smrekar Award, 2008
Tone Pavček: Majnice, 1996 - Hinko Smrekar plaque for the best designed children's book of the year and
a gold certificate at the 3rd biennial of Slovene literary illustration in 1997

Študentski list Tribuna, 5. 11. 2010, št. 4 - Kostja Gatnik je bil tehnični in likovni urednik lista

Brez naslova, akril, 1969 - študentska Prešernova nagrada





Novi rock 85, plakat, 1985

Strip Magna purga,

, Tribuna, 1972/1973

Brez naslova

va, akril, 1987

Ilustracija za Emzin, sitotisk - P

Plaketa Hinka Smrekarja, 2006

Svetlana Makarovič: Pekarna Mišmaš, akvarel

l, 2007/2008 - Nagrada Hinka Smrekarja, 2008

Tone Pavček: Majnice, 1996 - Plaketa Hinka Smrekarja za najlepšo slovensko knjigo leta in zlata diploma
na 3. Slovenskem bienalu ilustracije leta 1997



Galerija Prešernovih nagrajencev
za likovno umetnost
Kranj
Glavni trg 18
4000 Kranj
04/202 57 16
www.gpn.kranj.si
[email protected]

Kranj, december 2010

Ta publikacija
je v tiskani različici izšla
v obliki mape

(na fotografijah)