Marija Lucija Stupica

marija lucija stupica 1950–2002

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marija lucija stupica 1950–2002

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marija lucija stupica 1950–2002

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lucijin hortus Judita Krivec Dr agan
conclusus

Knjižni ilustraciji pripada v slovenski likovni umetnosti dvajsetega
stoletja nadvse pomembno mesto, saj je ob uveljavljanju modernih
tokov v slikarstvu med bralci knjig ustvarila nekaj izjemnih, med-
narodno prepoznavnih umetniških opusov. Eden njih pripada Mari-
ji Luciji Stupica in njenemu edinstvenemu svetu pravljic, ki hranijo
vso patino stoletij, obenem pa se gostoljubno odpirajo sodobniku,
v bistvenih življenjskih preizkušnjah nič drugačnemu od davnih
prednikov. Umaknjena onkraj vsakdanje banalne stvarnosti v pros-
tor in čas, ustvarjena le po meri brezmejne umetničine domišljije,
spominjajo na srednjeveški hortus conclusus – ograjen vrt z Devico
Marijo ali samorogom, ki so ga kot najprimernejšo prispodobo ved-
no znova v zgodovini odkrivali umetniki-liriki, zagledani v osebni,
intimni svet. Ni slučaj, da ji je bilo blizu prav devetnajsto stoletje z
vsemi nasprotji in s svetoboljem, ki je njeno likovno izpoved pove-
zalo ne le s skrbno izbrano literaturo tistega časa, temveč tudi s sli-
karji-ilustratorji danes klasičnih pravljic in z mojstri introvertiranih
vizij svoje dobe kakršen je bil romantični umetnik K. D. Friedrich.
V opustelih nabrežjih in nedosegljivih pogorjih je razkrival trpek
in samoten, čeprav čudežno lep svet kozmosa, ki se za usodo po-
sameznika komaj meni. Tudi Marija Lucija Stupica je v zrcalu, ki
ga je nastavljala svojemu času, uspela ujeti tankočutne, včasih do
neznosnosti ranljive, a čudežno lepe osebe, nič bolj brezčasne, kot
jih odsevajo kričave poosebitve genius saeculi na uglednih razsta-
vah sodobne umetnosti. Svoj umetniški izraz bi torej lahko našla
tudi v vrsti danes bolj izpostavljenih likovnih področij, a odločila
se je za ilustracijo, v kateri je nadaljevala tradicijo filigransko izbru-
šene in metjejsko odlične slikarske sopotnice nepozabnim svetov-
nim pripovedim, pri tem pa razkrivala njihovo drugo, senčno stran.
Saj ne, da ne bi marala sonca, a svoje porcelanasto krhke deklice
in otožne mladeniče je pred njegovimi močnimi in slepečimi žarki
raje varno zastrla z otožnim oblačnim nebom, s težkimi žametnimi
zavesami, ali še raje, odevala s skrivnostnim plaščem noči. Marija
Lucija Stupica je vedno skrbno izbirala besedila, nadvse je cenila
domišljijo in prefinjen, včasih jedek humor, verjela je, da imajo pra-
4 ve pravljice poleg vesele in dobre tudi drugo plat – žalost in zlo,

nepogrešljiv šarm pa jim daje tudi srhljivost. In otroci imajo radi
pustolovščine in strah. Zato je rada slikala Grimmove, Hoffmanno-
ve in Andersenove pravljice, posebej ljuba pa ji je bila Bürgerjeva
balada Lenora, kjer je lahko upodobila dramatičen svet strastnih
čustev, zloslutnih podzavestnih prividov in vročičnih blodenj obu-
pane mladenke, ki ji smrt ugrabi ljubega. Umetnost, ki lahko po F.
Nietzscheju edina porazi neizbežno krutost življenja, se tudi s to fi-
ligransko risbo v žametni paleti barv tihotapi v velike slikanice na-
menjene otrokom, v poezijo in zgodbe za vse ostale, da navdušeno
pripoveduje o čudežih na svetu. Posebej tistih v decembru, ko ljudje
v dolgih večerih pričakujejo praznike in so bližje drug drugemu kot
med letom. Takrat je čas za sanjarjenje in pravljice. Lesketajoče in
pričakovanj polne adventne večere, ki so ustvarili eno najlepših bo-
žičnih pripovedi o Hrestaču, je imela Marija Lucija najraje. Nanje je
s posebnim hrepenenjem čakala vse leto.

5

marija lucija stupica Judita Krivec Dr agan
and her hortus
conclusus

Book illustration holds a very special place in the Slovenian fine
arts of the 20th century. While modern approaches were adopted
in painting, a couple of exceptional, internationally recognisable
oeuvres have been created in this field. One of them is Marija Lucija
Stupica with her unique world of fairy tales which hold all venera-
bility of the centuries and, at the same time, welcome the present
that is not much different in essential life ordeals than the distant
past. Removed from the everyday banal reality to the space and time
which are created only by the boundless author’s imagination, these
illustrations remind us of the medieval hortus conclusus – the en-
closed garden with the Virgin Mary or a unicorn. Throughout his-
tory, this was one of the favourite metaphors of artists-lyrists who
focused on their intimate world. It is no coincidence, that Stupica
was so fond of the 19th century in particular, with all of its contrasts
and world-weariness that associated her artistic expression not only
with the carefully selected literature of that time but also with paint-
ers-illustrators of fairy tale classics and masters of introvert visions
of the period such as the romantic artist K. D. Friedrich. His deso-
lated shores and unreachable mountain chains reflected a miracu-
lously beautiful universe, both lonesome and bitter, barely noticing
the human and their destiny. In reflections of her time, Marija Lucija
Stupica never failed to depict deeply sensitive personalities, at times
unbearably vulnerable but also strikingly beautiful. They are time-
less as much as any garish personification of the genius saeculi at
esteemed contemporary art exhibitions. She could find her artistic
expression in a number of fine arts fields which are more prominent
today, but she decided for illustration. Here, she continued the tra-
dition of creating painting companions to unforgettable world tales,
which are highly sophisticated and excellent in the metier, but also
recognisable for their other, darker side. Not that she would not like
the sun, but she always preferred to protect her fragile girls and
gloomy young men from its strong and blinding beams. She put them
under dark gloomy skies, draped by heavy velvet curtains, or even
better, she covered them in the mysterious coat of the night. Marija
6 Lucija Stupica always selected her texts carefully, appreciating im-

agination and refined sense of humour, at times bitter as well. She
believed that there is also the other side to fairy tales beside joy and
kindness, and that is sorrow and evil. Eeriness is another charm not
to be missed, for children love adventures and fear. This is why she
loved painting fairy tales written by Grimm, Hoffmann and Anders-
en. One of her favourites was the ballad Lenore by Bürger where she
could depict the dramatic world of her passionate feelings, ominous
subconscious illusions and feverish delusions of a desperate young
girl who just lost her beloved to death. As F. Nietzsche once said, only
art could defeat the inevitable cruelty of life. It is art in this delicate
drawing with a soft range of colours that quietly enters large picture
books for children as well as poetry and stories for everyone else to
tell the enthusiastic story about the miracles of this world. Particu-
larly about the miracles of December when people await holidays in
the long evenings and are brought together more closely than in other
months of the year. This is the time for daydreaming and fairy tales.
Glittery advent evenings filled with expectation which created one
of the loveliest Christmas tales, the Nutcracker, were Marija Lucija’s
favourite. She awaited them all year long with a special longing.

7

Hans Christian Andersen
MALA MORSKA DEKLICA /
The Little Mermaid
1986

popoln mir in nadja zgonik
komaj obvladano
vznemirjenje*

Včasih ti odplava domišljija, da si zamisliš zgodbo, ki bi se lahko 9
razvila iz dogodka, v katerem si se nepričakovano znašel. Drugič
sanjariš in z mislimi potuješ po olepšanih svetovih ali v domišljiji
osebam, ki ti grenijo življenje, rišeš vragove rožičke in grde, pre-
tegnjene jezike. Z besedo, ki ti nepričakovano zdrsne z jezika, se
znajdeš v smešni zadregi nepričakovanega razkritja tvoje notranje
skrivnosti. V vseh teh situacijah se prizori v tvoji domišljiji izrisu-
jejo v podobah. Domišljijsko odpotovanje v svet podob ne pomeni
zgolj bega od resničnosti, ki je prozaična in neizpolnjujoča. Če bi
imeli opraviti le z željo po vplivanju na resničnost, s slo po mašče-
vanju in osredotočenostjo na zamišljen cilj, ki bi zahteval realno
izpolnitev, bi to bila slikovna magija, v kateri bi si pomagali z uroki.
Svet domišljijskih podob je avtonomen. Tudi če spodbuda zanj pri-
haja iz resničnosti, podobe povratno nanj nimajo več vpliva. Tako
ustvarjen svet je svet misli in duševnega doživljanja, ki je vzpostav-
ljen kot prostor, kjer se notranji konflikti s premišljevanjem lahko
razrešijo. To je mogoče le zato, ker je domišljija v nenehnem stiku s
snovjo resničnega življenja prav prek podob.

Stik med zgodbami življenja in podobami, ki si jih riše domi-
šljija, je podoben vezi med besedili pravljic ter zgodb in njihovimi
ilustracijami. Ko ugotavljamo, da misli in dogodki vzpodbujajo raz-
raščanje podob, so knjižna besedila prav tak vzgib, da se začne sno-
vanje podob v ilustratorjevi ustvarjalni domišljiji. Značilnost zveze
med besedili in podobami je, da se sporočilo besedilne pripovedi
odlepi od zgodbe in si nadene identiteto meta-teksta, ki šele išče
jezik, naj bo ta zapisani, govorjeni ali pa likovni. Zato smo lahko v
dvomu, če je med naštetimi sploh mogoče določiti pravega nosilca
zgodbe, in če je upravičeno vzpostavljati vrednotenjska razmerja
med posameznimi ravnmi izraza. Vsaka od diskurzivnih možnosti
že sama zase izpolni nalogo pripovedovanja zgodbe v celoti. Ven-
dar ni namen zgodb in pravljic le v tem, da posredujejo pripoved.
Zasnovane so bile tako, da je – če naj jih dojamemo v vsem njihovem
bogastvu – mogoče in potrebno iz njih izluščiti nek globlji smisel.
Otrok si želi vnovič in vnovič poslušati isto pripoved. Ne naveliča
se pravljice, čeprav njeno vsebino že tako dobro pozna, da sam ve,

kako se bo odvijal tok dogodkov. V njegovem notranjem doživljanju
pripovedi ga ne zanima le sledenje nizu narativnih scen. Svoje misli
gosti ob razmišljanju o globljem pomenu pripovednih prizorov. Ot-
rok se uči vrednotiti dogodke. Razločuje med dobrimi in slabimi ju-
naki zgodbe, premišljuje o težavah, ki jih mora izbrani junak prema-
gati, da bo dosegel osebnostno izpolnitev in nagrado, o družbenih
vrednotah in pravičnosti ter srečni prihodnosti, ki čaka vsakogar,
ki bo skozi preizkušnje odrasel v zrelo in celovito osebnost.

Bruno Bettelheim je v svojem delu Rabe čudežnega1 ugo-
tavljal, da ima zgodba, ki jo nekdo pripoveduje, za otroka povsem
drug pomen od besedila, ki ga preberemo, ne da bi se vanj čustveno
vživeli. Šele ob živi pripovedi se v narativni niz lahko vpletejo oseb-
nostni vidiki pripovedovalca. Zaradi tega je treba otroku pravljice
pripovedovati in ne brati, če naj le dosežejo svoj cilj, da se vzposta-
vijo kot ustvarjeni svet otrokove osebne domišljije. Potrebno je torej
čustveno angažirano podajati pripoved, poustvarjati razpoloženja iz
zgodbe, junake oblikovati v psihološko izrazite like ter dramaturško
izostriti pomen zapletov. Ilustriranje pravljičnih motivov bi lahko
imenovali za enega od vidikov osebnega podajanja pripovedi. Likov-
na interpretacija s kompleksnostjo lastnega izraza, v kateri se zdru-
žuje pripovedna moč črte s čustvenim učinkovanjem barve, omogoči
posebej tesen stik med otrokovim ter pravljičnim svetom domišljije.

Zato so pravi ilustratorji snovalci novih zgodb, ki tečejo v
ozadju literarizirane pripovedi. »Pravljica je abecednik, iz katere-
ga se otrok uči razbirati svojo duševnost v jeziku podob, se pravi
edinem jeziku, ki ga razume, preden doseže intelektualno zrelost.
Otrok mora biti izpostavljen temu jeziku in se mora naučiti odzivati
nanj, če naj postane gospodar svoje duše,« je zapisal Bruno Bettel-
heim.2 Zaradi tega je izraz »oblikovalka motivov«, ki ga je uporabil

1 Bruno Bettelheim, Rabe čudežnega. O pomenu pravljic (prev. Jana Unuk), Ljubljana
1999. Knjiga je v izvirniku nosila naslov The Uses of Enchantment. Meaning and impor-
tance of Fairy Tales in je izšla v New Yorku leta 1975.

10 2 Bettelheim, Rabe…, nav. delo., str. 227.

Niko Grafenauer, ko je opredelil ustvarjalno-eksistenčno pozicijo
ilustratorke Marije Lucije Stupica, označujoč pojem, ki opredeljuje,
da so podobe, ki jih slikarka ustvarja za knjige, kot na nov način
izpisana stara besedila. Postavlja se vprašanje o identiteti te nove,
v vidno preložene predstavitve besedila. Kaj se v njej dogaja, kar jo
dela drugačno – ali zato res tudi avtonomno? – od starega pomena
pravljičnega dela?

Ena najbolj srhljivih metafor za sugestivnost izmišljene po-
dobe, ki jo izrišeta razum in domišljija, je lik Olimpije iz E. T. A.
Hoffmannovega Peščenega moža.3 V pripovedki o mladostniškem
zorenju se zaplet izriše ob Natanaelovi prevzetosti s človeškim av-
tomatom, lepo lutko Olimpijo, ki jo je temačni izumitelj izdelal kot
živo, če ne resničnejšo od žive. Natanaelu se je namreč zdela bolj
vredna ljubezni od njegove človeško čuteče Klare. Olimpija ga je
prevzemala s svojo popolno, brezhibno lepoto, z razumevanjem, ki
mu ga je izkazovala s tem, da je vedno prikimavala njegovim mis-
lim in neizmerno potrpežljivostjo, saj ga je bila pripravljena poslu-
šati ure in ure dolgo. Ko je Klara, ki je bila vseskozi razumevajoča do
Natanaela in njegovih deviantnih fantazij, želela razložiti razmerje
med skrivnostnim in temačnim ter svetlim, prazničnim in v življenj-
sko veselje usmerjenim občutjem, kar je bilo kot nasprotje razčle-
njeno in razbito v Natanaelovi, pa uravnoteženo v Klarini duši, je v
svojem pismu Natanaelu zapisala besede, s katerimi bi lutko lahko
nagovoril Natanael: »V to hladno dušo ne seže noben žarek skriv-
nostnega, ki človeka dostikrat oklepa z nevidnimi rokami; ona za-
gleda samo pisano površje sveta in se kakor otročje dete veseli zlato
bleščečega se sadeža, ki v notranjosti skriva smrtonosen strup!«4
Zato je Klara v navideznem dialogu ugovarjala Natanaelu, če ne
verjame, »da bi lahko tudi v vedrih – sproščenih – srcih prebivala

3 Pripovedko, naslovljeno Der Sandmann (Peščeni mož) je E. T. A. Hoffmann uvrščal pod 11
posebno literarno obliko, imenovano nokturno. Izšla je v zbirki Nachtstücke leta 1817 v Ber-
linu. V slovenskem jeziku je bil Peščeni mož prvič objavljen leta 1996 v E. T. A. Hoffmann.
Pripovedke, Založba Mladinska knjiga, v prevodu Katarine Bogataj - Gradišnik.
4 Hoffmann, Peščeni…, nav. delo, str. 15.

slutnja o neki temni sili, ki si sovražno prizadeva, da bi nas ugonobi-
la prav v našem lastnem bitju?«5 Klara je vedela, da gre za obstoječ
notranji konflikt, ki ga je potrebno razrešiti. »Če obstaja temna sila,
ki prav sovražno in izdajalsko vdene v našo notranjost nit, s katero
nas zgrabi in odvleče po nevarnosti polni pogubni poti, na katero
sicer nikdar ne bi stopili – če obstaja taka sila, tedaj se mora razvi-
jati v nas tako, kakor se razvijamo mi sami, postati mora celo del
nas samih; samo tako namreč vanjo verjamemo in ji dodelimo tisti
prostor, ki ga potrebuje, da dokonča tisto skrivnostno delovanje. Če
imamo dovolj trdnega, z življenjsko vedrino okrepljenega duha, da
tuje sovražno učinkovanje vselej spoznamo kot tako in z mirnim
korakom stopamo po poti, na katero sta nas postavila nagnjenje in
poklic, tedaj tista grozljiva podoba gotovo propade v neuspešnem
boju za stvaritev, ki naj bi postala naša lastna ogledalna podoba.«6

Hoffmannovski svet in svet ilustracij Marije Lucije Stupica
imata nekaj skupnega. Brezbrežna imaginacija, občutek za krhkost
sveta ter zavest, da so poleg predmetov krhki tudi ljudje in odnosi
med njimi, ter strah in otožnost, ki vejeta iz tega spoznanja, nas
prestavljajo v isti svet domišljije. Iz miselne zasnove ilustracij Mari-
je Lucije Stupica se nas dotika kot od nekod iz daljne preteklosti, ki
pa nam je prav domača, romantični duh. Njene podobe nas najprej
zasanjajo, da nas mehko prestavijo v svet domišljije, zgrajen do po-
tankosti. V njem ne umanjka nič, kar je od našega resničnega sveta.
Osebe, rastline, živali, predmeti, vsi nosijo ista imena in atribute
kot v stvarnosti. Vendar sta odločujoča njihova razpostavitev in iz-
bor. Ob pogledu na naslikano prizorišče nam je v hipu jasno, da so
vsi akterji, ki nastopajo v prizoru, skrbno in natančno izbrani samo
zato, da nas povedejo v zgodbo. Ker so tudi predmeti lahko dramske
osebe, jim je potrebno na slikah izdelati prizorišča, ki so kot odrske

5 Prav tam.

12 6 Prav tam.

inscenacije za prizore. Ko mislimo na Andersenovo Pastirico in di- 13
mnikarja iz leta 1984 ter Hoffmannovega Hrestača in Mišjega kralja
iz leta 1996 v poustvaritvi Marije Lucije Stupica, imamo pred očmi
ogolela prizorišča, ki se zdijo kot obrabljene odrske deske, na kate-
rih je na nek nenavaden način zbrana celotna gledališka izkušnja.
Umetnica nam jih pripravlja zato, da osameli lik, ukleščen v zamr-
znjen slikarski izraz, lahko oživi, tako kot v otroški domišljiji oživ-
ljajo najljubše igrače. Govorimo o animizmu, veri, da se v predmetih
skriva duša, ki je glavna pogonska sila pravljičnega sveta, in zato
hkrati tudi tisti svet, ki ga ne more obiti ilustratorjeva domišljija.

Če primerjamo notranjo razdvojenost nastopajočih v ilustra-
cijah Marije Lucije Stupica z določenim trenutkom iz preteklosti,
se znajdemo v času največjega preloma zahodne civilizacije iz sre-
dnjega v novi vek. Na eni strani misticizem, na drugi racionalizem
(lahko bi govorili tudi o razlomu med ideali in nelepo stvarnostjo).
Ta razlika je prav taka kot pretres v umetnosti, ko ni bilo več mogo-
če uporabljati preživetih obrazcev poznega srednjega veka in so sli-
karje prisilile v uporabo nove, racionalne umetniške sheme, kot je
na primer načelo centralne, znanstvene perspektive. Zato bi govo-
rili o primerjavah s Fra Angelicom, ali morda še bolje z Vittorejem
Carpacciom. Ko si zamišljamo njegovega beneškega Svetega Jurija
v boju z zmajem, vidimo izpraznjeno prizorišče, ki ga oživljajo stra-
šljivi fragmenti razkosanih telesih, lobanj, kosti. Nerodovitna po-
krajina poganja grozo. Perspektive odkruška mesta bežijo vstran.
Princesa je le stranska vertikala slike. Spopad in s tem vrhunec dra-
me se dogaja v praznem središču. Praznina nas vznemirja in pušča
v dvomu o razrešitvi konflikta bolj kot bi nas izostritev prizora na
udarec s sulico.

Tudi v ilustracijah Marije Lucije Stupica ostaja prostor za
dvom. Negotovost, v kateri nas puščajo prizorišča, v katerih je malo
predmetov – seveda, nobeden odveč – torej so navidezno izpraznje-
na, zato da se nas lahko vsak od njih dotika s svojimi pomeni, ostaja
vedno prisotna in nas vznemirja. Ni končnega odgovora o vsebini
dela. Tudi perspektive z različnimi očišči nas zavajajo. Centralna
točka pogleda se skrije nekam za rob slike.

Ilustracije oživljajo teksture. Marija Lucija Stupica se pog-
lablja v površine, bodisi nevtralnih ozadij, ki jih pikturalno boga-
ti, posveča se draperijam, strukturam snovi, da taktilno obogati
naslikani prizor. Zato tudi prepletenost korenin v gozdu, zaplete-
nost drevesnih vej in morskega rastlinja tako v Rdeči kapici bratov
Grimm iz leta 1999 kot v Andersenovi Morski deklici iz leta 1986,
kjer lahko gre za pridajanje skritih pomenov svetu prav trde resnič-
nosti, pravzaprav spominja na zapleteno notranje doživljanje sveta.

Ilustracije Marije Lucije Stupica so polne vznemirjenja. Tega
v sestavo podob prispeva zavest, da nekaj ni v redu, da je svet, ki
se na prvi pogled kaže urejen, popoln, v katerem vse teče po večno-
stnem ustaljenem redu, da se je prav v tem svetu pritajila za lepo,
bleščečo podobo boleča skrivnost. Gre za hrepenenje po tem, da se
dotihotapimo do rešitve skrivnosti – sicer dobro vemo, kako boleče
je spoznanje – pa nas vseeno neustavljivo mika dotikati se z njim.
Za skritost, oddaljenost, odmaknjenost in truda polno doseganje
spoznanja je treba segati v oddaljene, težko dostopne kraje. Zato
se kot metafora za ta naš trud lahko uveljavi v čas odmaknjena pre-
teklost. Ilustracije Marije Lucije Stupica so vedno, hkrati s tem da
so vez z zgodbo, tudi stik s svetom, kot je nekoč bil. Po eni strani se
zdijo ponovitev romantičnega postopka, ko je umetnik želel zbežati
pred resničnostjo. Vendar gre v tem primeru za funkcionalno rabo
umika, saj ga lahko razberemo kot utelesitev zamisli o obstoju skri-
tega ter varnega in ustvarjalnega prostora domišljije. S svojo za-
maknjenostjo v preteklost so ilustracije Marije Lucije Stupica jasen
znak o umiku pred sodobnim svetom v tisti čas, ki je še dopuščal
možnost bega, ter imel skrivnostne, odmaknjene prostore za dru-
gi, nujni dopolnjujoči del resničnosti. Zato so njene ilustracije kot
označevalke poti, ki te popelje najprej v odmaknjen čas preteklosti,
da bi se v njem lahko utopil v skrivnostnem svetu domišljije.

Poleg sveta, ki je sestavljen iz dobre in slabe polovice, so v
pravljicah oživljeni predmeti tisti nastopajoči, ki v zgodbah odigra-
jo glavno vlogo. Z mitom o ustvaritvi človeka-avtomata iz Pešče-
nega moža lahko primerjamo ustvarjanje nadomestne resničnosti,
14 ki nastaja v svetu zapisanih pravljic, te pa si nadevajo oblike nas-

likanih podob. Vemo, da je skozi zgodovino bila podobi pripisana
prav posebna moč. Čaščenje podob in njihovo uničevanje pričata o
velikem pomenu, ki ga nosi slika, seveda ne sama na sebi kot snov
in odslikava prizora iz resničnosti, pač pa kot nosilka pomenov.
»Verjemi, da Ti te tuje podobe nič ne morejo; samo vera v njihovo
sovražno moč lahko naredi, da Ti bodo zares sovražne,« piše Klara
Natanaelu.7 Moč domišljijskih podob, ki najde svojo najpodobnejšo
obliko v sliki, je silovita. Če verjameš vanjo, se bodo iz nje v domi-
šljiji zarisale najresničnostnejše podobe, v katerih boš lahko rasel,
izživel strahove ter usmerjal upanja in hrepenenja.8

Srhljivost, ki se vpleta v racionalno družbo, je subverzivna.
Otroku kaže možnost, da obstaja onstran hitre zadovoljitve želje,
ki se uresniči z materialistično izpolnitvijo v direktni izrabi užitka,
tudi svet, kjer prek zapletene pa tudi konfliktne notranje rasti, doži-
viš globlje zadovoljstvo. Strašnost in mir sta to, zadoščenje, pobeg
in tolažba, privlačnost srha, ker vemo, da nas na koncu te premaga-
ne poti čakata pomiritev ter sreča.

7 Hoffmann, Peščeni…, nav. delo, str. 16. 15
8 »Da lahko otrok obvlada psihološke probleme odraščanja – premaga narcistična
razočaranja, ojdipske stiske, tekmovalnost med brati in sestrami, se odreče otroškim
odvisnostim, doseže občutek samostojnosti in lastne vrednosti ter si izoblikuje občutek
za moralno dolžnost – mora najprej razumeti, kaj se dogaja v zavestnem delu njegove
duševnosti, šele potem lahko obvladuje tudi tisto, kar se dogaja v njegovem nezavednem.
Tega razumevanja in z njim zmožnosti obvladovanja ne more doseči z racionalnim
spoznavanjem narave in vsebine lastnega nezavednega, temveč se z njim seznani prek
dnevnih sanjarjenj. Na nezavedne pritiske se odziva tako, da razmišlja o ustreznih
elementih zgodbe, jih premešča in o njih fantazira. S tem umešča nezavedno vsebino v
zavestne fantazije, ki mu potem omogočajo, da se z njo ukvarja. Neprecenljiva vrednost
pravljic je v tem, da dajejo otrokovi domišljiji nove razsežnosti, ki jih sam ne bi mogel
odkriti, in kar je še pomembnejše, oblika in struktura pravljic otroku nudita podobe, s
katerimi lahko strukturira svoja dnevna sanjarjenja in z njimi bolje usmerja življenje.«
Bettelheim, Rabe…, nav. delo, str. 11–12.
* Besedilo je bilo napisano za razstavo ilustracij Marije Lucije Stupica v Galeriji Miklova
hiša v Ribnici leta 2001, ki je zatem gostovala v Galeriji Murska Sobota, naslednje leto
pa v Mestni galeriji Piran. Razstava je bila prvi retrospektivni pregled njenega ustvarja-
nja v letih od 1981 do 2000, ki sva ga pripravili ilustratorka in avtorica besedila. Zaradi
njene zgodnje smrti leta 2002 je ostal edini, pri katerem je sodelovala. Besedilo je bilo z
naslovom Ilustratorski svet Marije Lucije Stupice kot svet zapletene mladostne notranje
rasti objavljeno v knjigi Nadja Zgonik, Študije iz slovenskega modernizma po letu 1945,
Ljubljana 2010, str. 185–194.

absolute peace and nadja zgonik

barely mastered

excitement*

When in the daytime your imagination glides and you think of a story
developing from an event you’ve accidentally been part of. When you
daydream and project your thoughts through adorned worlds. When
you draw, in your fantasy, the Devil’s horns and nasty stretched-out
tongues to people who annoy you and aggravate your life. When you
find yourself ridiculously perplexed after a sudden disclosure of
some intimate secret with a word unexpectedly slipping from your
tongue. Conceived scenes always find visual representations. The
imaginary translation into visual pictures denotes not only a flight
from prosaic and unfulfilling reality. If we only dealt with the passion
for revenge and remain focused on the established aim in need of re-
alisation, we would speak of spells. The world of imaginary images is
autonomous. Even if its impetus finds its source in reality, the images
have no reverse influence on it. The world thus created is the world of
notions and inner experiences, constituted as a space where internal
conflicts are solved; this is possible precisely because of the contact
between imagination and the real world, the substance – image. And
this is also why it can exist in its own right.

The connection between stories of life and images drawn by
imagination resembles the connection between texts of fairy tales
and stories, and their illustrations. When we claim that thoughts
and events stimulate the growth of images, textual documents are
precisely the compelling force that launches the process of visual-
isation in the illustrator’s mind. The connection between texts and
images suggests that text is no longer narration written in words;
rather, it acquires the identity of meta-text that still seeks the lan-
guage, be it written, spoken or painterly. The doubt therefore remains
as to whether it is possible at all to determine the real bearer of the
story, and whether it is appropriate to lay down value relationships
between different levels of expression. Each of the discursive possi-
bilities itself fulfils the task of narrating the whole story. However,
the purpose of stories and fairy tales is not merely to convey narra-
tion. Their design enables and forces us to mine a deeper meaning
if we are to comprehend the entirety of their riches. A child wants to
16 listen to the same story over and over again. He does not get bored

with the fairy tale, although he knows very well the content and de-
velopment of events. In his inner comprehension of the story he pays
attention not only to the pursuit of the line of narrative scenes but
rather condenses his thoughts in contemplation of the deeper mean-
ings of narrative patterns. The child learns to evaluate the events; he
discerns between good and bad figures in the story and thinks about
the problems which the model hero has to overcome to attain his per-
sonal fulfilment and the reward, about social values and equity and
the happy thereafter, and the prospect of everybody going through
trials and growing into a mature and integral personality.

In his Uses of Enchantment1 Bruno Bettelheim points out that
a story told has an entirely different meaning for the child, if com-
pared with a text read with no emotional involvement, since it is only
the live narration that can incorporate the personal viewpoints of
the narrator. We should therefore narrate fairy tales to a child in-
stead of reading them, if they are to reach their goal of establishing
themselves as a contrived world of the child’s own imagination. The
narration should be presented with emotional engagement; it should
recreate attitudes from the story, fashion heroes into psychologically
articulated figures, and dramaturgically focus the meaning of the
storyline. Illustrations of fairy-tale themes could be said to be an
aspect of the personal rendering of narration. Fine art interpreta-
tion, with its complex manner of expression, combining the narra-
tive power of line with the emotional influence of colour, enables a
particularly close connection between a child’s imagination and the
imaginative world of the fairy tale.

Genuine illustrators are therefore creators of new stories run-
ning behind the literary narration. “The fairy tale is the primer from
which the child learns to read his mind in the language of images,

1Bruno Bettelheim, The Uses of Enchantment, Vintage Books, New York, 1991. 17

the only language which permits understanding before intellectual
maturity has been achieved. The child needs to be exposed to this
language, and must learn to be responsive to it, if he is to become
master of his soul,” wrote Bruno Bettelheim.2 The term used by Niko
Grafenauer to characterise the creative and existential position of
the illustrator Marija Lucija Stupica, “the designer of themes”, de-
notes that the painter’s images created for books represent old texts
written in a new fashion. A question could be posed about the iden-
tity of this new, visual representation of the text. What does it say
that makes it different – and thus also autonomous – from the old
meaning of the fairy tale?

One of the most thrilling metaphors for the suggestiveness of
the invented image drawn by reason and imagination is the figure of
Olympia from The Sandman by E. T. A. Hoffmann.3 The plot in this
story about adolescent maturing turns around Nathanael’s fascina-
tion with a human automaton, the beautiful doll Olympia, made by
the obscure inventor as if alive – perhaps even more real than any
living creature, for Nathanael finds her more worth loving than the
humanly Clara. Olympia enchants him with her perfect, impeccable
beauty, with her understanding expressed in her always nodding to
his ideas and with her patient listening to him for hours and hours.
When Clara, persistent in her acceptance of Nathanael and his devi-
ant fantasies, wishes to explain the relationship between the myste-
rious and gloomy on the one side, and the light, merry and joyful sen-
sation of life on the other – the difference exemplified in Nathanael’s
fragmented and atomised spirit versus Clara’s balanced one – she
wrote a letter to Nathanael using the words which could be his own:
“Of the Mysterious which often clasps man in its invisible arms
there’s not a ray can find its way into this cold heart. She sees only

2 Bruno Bettelheim, op. cit., p. 161.
3 E.T.A. Hoffmann classified his fairy tale Der Sandman (The Sandman) as a special
literary form, called nocturno. It was published in the Nachtstücke series in Berlin in
1817. /Translator’s note: All quotations are from electronic version of The Sandman,

18 World Library, 1999./

the varied surface of the things of the world, and, like the little child,
is pleased with the golden glittering fruit, at the kernel of which lies
the fatal poison.” 4 In an apparent dialogue Clara goes on to oppose
Nathanael and asks whether he thinks “that the intuitive prescience
of a dark power working within us to our own ruin cannot exist also
in minds which are cheerful, natural free from care?” 5 Clara knew
that it was a real intimate conflict that has to be solved. “If there
is a dark and hostile power which traitorously fixes a thread in our
hearts in order that, laying hold of it and drawing us by means of it
along a dangerous road to ruin, which otherwise we should not have
trod – if, I say, there is such power, it must assume within us a form
like ourselves, nay, it must be ourselves; for only in that way can we
believe in it, and only so understood do we yield to it so far that it is
able to accomplish its secret purpose. So long as we have sufficient
firmness, fortified by cheerfulness, to always acknowledge foreign
hostile influences for what they really are, whilst we quietly pursue
the path pointed out to us by both inclination and calling, then this
mysterious power perishes in its futile struggles to attain the form
which is to be the reflected image of ourselves.” 6

The Hoffmannian world and the world of Marija Lucija Stu-
pica’s illustrations have something in common. Boundless imagina-
tion; a sense of the world’s brittleness; an awareness that it is not
only objects that are fragile but also people and relationships be-
tween them; and fear and melancholy proceeding from this recogni-
tion – all these transport us into the like world of imagination. The
mental design of Stupica’s illustrations touches us with their roman-
tic spirit, as if from a distant past which is, however, entirely familiar.
Her images first make us dream, softly convey us into the imagina-
tive world elaborated in minute detail. Nothing is missing in it – it

4 Ibid. 19
5 Ibid.
6 Ibid.

contains whatever can be found in the real world. People, plants, an-
imals, objects – they all have the same names and attributes as in
reality. The defining features, however, are their arrangement and
selection. When looking at the painted setting it becomes instantly
clear that all the actors present in the scene have been carefully and
precisely selected only to lead us into the story. Since objects can
also act as dramatic personae, the paintings have to portray their
environments in the form of stage settings. When I think of Stupica’s
remakes of Andersen’s The Shepherdess and the Chimney-sweep
(1984) and Hoffmann’s The Nutcracker and the Mouse King (1996),
I can visualise barren settings that seem like worn-out stage planks
which condense, in a startling manner, the entire theatrical experi-
ence. The artist creates them so that a lonesome figure, clasped in
frozen painterly expression, can become alive, just as children’s fa-
vourite toys become alive in their imagination. We speak of animism,
the belief in things having a soul, which is the main driving force of
the fairy-tale world, and thus also the world that the illustrator’s im-
agination cannot bypass.

When comparing the inner ambiguity of actors in Stupica’s
illustrations with a certain moment in the past, I find myself in the
period of the major break between the Middle Ages and the modern
era. Mysticism on the one side, rationalism on the other (I could also
speak of the clash between ideals and unpleasant reality); this dif-
ference resembles the tumult in art when the use of the outdated pat-
terns of the late Middle Ages became impossible and when painters
were forced to use a new, rational artistic scheme, exemplified in the
principle of central, scientific perspective. I would therefore speak
of comparison with Fra Angelico or, better still, Vittore Carpaccio.
When I imagine his Venetian St. George Fighting the Dragon from
Scuola di San Giorgio degli Schiavoni, I can see an emptied scene,
enlivened by horrifying fragments of dismembered bodies, skulls
and bones. The barren landscape inspires dread. The perspectives of
a scrap of a town are retreating. The princess is just a side vertical of
the painting. The fight, and thus the peak of the drama, takes place
20 in the empty centre. The emptiness excites and leaves us in doubt

about the outcome of the conflict more than a focus on the thrust with 21
a lance would.

Marija Lucija Stupica’s illustrations also leave room for
doubt. The uncertainty in which we are left when facing settings with
only a few objects – not one is excessive, to be sure, and the scenes are
apparently emptied so that every object can touch us with its signifi-
cation – is omnipresent and exciting. There is no final answer to the
contents of the work. Perspectives with different viewpoints mislead.
The central point of the gaze is hidden somewhere beyond the edge
of the painting.

Illustrations enliven textures. Stupica elaborates surfaces of
neutral, pictorially enriched backgrounds; she engages in draperies,
structures of substance, in order to enhance the tactility of the paint-
ed scene. Hence the entanglement of roots in the forest, the entwine-
ment of branches and see plants, both in Little Red Riding Hood by
the Brothers Grimm (1999) and Andersen’s Mermaid (1986) – which
we could see as the adding of hidden meanings to the world of con-
crete things – actually remind of a sophisticated intimate experience
of the world.

Stupica’s illustrations are full of excitement. This results,
within the composition of the images, from an awareness that some-
thing is wrong – that the world which at first glance seemed to be well
ordered and perfect, with everything running according to its eter-
nal arrangement – that in this world there is a painful secret hiding
behind the pleasant, shiny image. It is the desire to sneak into the
explanation of the mystery; despite knowing very well how painful
recognition is, we are unstoppably lured to touch it. To grasp mys-
tery, distance, removedness and strenuously reached recognition,
one has to reach for distanced, hardly accessible places. Therefore,
the metaphor for this effort can be the past, removed in time. Stu-
pica’s illustrations are always both a link with the story and a link
with some former world. They seem to be a repetition of Romantic
procedure, when artists wished to run away from reality. In this case,
however, it is a functional use of retreat, since we can read it as an
embodiment of the notion of the existence of the hidden, the safe and

creative space of imagination. With their enchantment with the past,
Stupica’s illustrations are a clear sign of retreat from the contem-
porary world to a time which still allowed for the option of escape
and which had mysterious, distanced places for another, necessary,
complementary part of reality. This is why her illustrations serve as
markers along the path leading into the distant past, only to sub-
merge into its secret world of imagination.

In addition to a world composed of good and bad halves, it
is the enlivened objects that play the major roles in fairy tales. The
myth of the creation of a man-automaton in The Sandman can be
compared with the creation of a substitute reality, which originates
in the world of written fairy tales; but these fairy tales then take on
the form of painted images. We know that throughout history the
image has been ascribed a special power. Worshipping images and
their destruction demonstrate the great importance of painting, not
in itself, but rather as a bearer of meanings. “Try and convince your-
self that these foreign influences can have no power over you, that
it is only the belief in their hostile power which can in reality make
them dangerous to you,” writes Clara to Nathanael.7 The power of im-
aginary pictures, which finds its most adequate form in painting, is
overwhelming. If you believe in it, it will draw from your imagination
the most real images in which you will grow, outlive fear, and direct
hopes and urges.8

The shudder intermingling with rational society is subver-
sive; it shows the child the prospect that beyond the quick satisfac-
tion of desire, reached through material fulfilment in the consump-
tion of pleasure, there is also a world in which one can experience
deeper enjoyment, reached through complicated and conflictive
inner growth. Terror and peace are of this kind, and gratification,
escape and consolation, the attractiveness of shudder – for we know
that conciliation and happiness await us in the end.

22

7 Ibid. 23
8 “In order to master the psychological problems of growing up – overcoming narcissistic
disappointments, oedipal dilemmas, sibling rivalries; becoming able to relinquish
childhood dependencies; gaining a feeling of selfhood and of self-worth, and a sense
of moral obligation – a child needs to understand what is going on within his conscious
self so that he can also cope with that which goes on in his unconscious. He can achieve
this understanding, and with it the ability to cope, not through rational comprehension
of the nature and content of his unconscious, but by becoming familiar with it through
spinning out daydreams – ruminating, rearranging, and fantasizing about suitable story
elements in response to unconscious pressures. By doing this, the child fits unconscious
content into conscious fantasies, which then enable him to deal with that content. It is
here that fairy tales have unequaled value, because they offer new dimensions to the
child’s imagination which would be impossible for him to discover as truly on his own.
Even more important, the form and structure of fairy tales suggest images to the child
by which he can structure his daydreams and with them give better direction to his life.”
Bettelheim, The Uses of Enchantment, op. cit., pp. 6-7.
* The text was written for the exhibition of illustrations of Marija Lucija Stupica at the
Gallery Miklova hiša in Ribnica in 2001, which toured to the Gallery Murska Sobota
and next year to the Municipal Gallery Piran. The exhibition was the first retrospective
overview of her artistic work from 1981 to 2000, which was realized in collaboration
between the illustrator and the author of the text. Due to her early death in 2002, it
remained the only one in which she had participated. The text was published under the
title World of illustration of Marija Lucija Stupica as world of complex youthful inner
growth, in the book, Nadja Zgonik, Študije iz slovenskega modernizma po letu 1945,
Ljubljana, RI ALUO, 2010, pp. 185–194.

marija lucija stupica 1950–2002

Rojena je bila 13. decembra 1950 v Ljubljani. Leta 1976 je
diplomirala na Akademiji likovnih umetnosti v Ljubljani in prav
tam nadaljevala študij na slikarski specialki. Že v času študija se je
ukvarjala z ilustriranjem knjig za otroke in sodelovala v otroškem
periodičnem tisku. Leta 1973 je prejela takrat najvišjo Levstikovo
nagrado za Andersenovo Kraljično na zrnu graha in tudi študentsko
Prešernovo nagrado.

Po končanem študiju se je povsem posvetila knjižnemu sli-
karstvu – ilustraciji za otroke in mladino. Njeno delo je neločljivo
povezano z deli velikih pravljičarjev kot sta brata Grimm in H. Ch.
Andersen, ilustrirala pa je že tudi dela Oscarja Wilda in mnogih
drugih domačih in tujih pisateljev.

V tujini najbolj znana slovenska ilustratorka je za svoje delo
prejela vse najpomembnejše domače strokovne nagrade (tri Levsti-
kove nagrade, nagrado Prešernovega sklada, dva Grand Prixa
Hinka Smrekarja Slovenskega bienala ilustracij kot najvišjega do-
mačega priznanja na področju ilustracij) in tudi nekatere izmed
pomembnejših v tujini (Beograjski knjižni sejem, Zlato jabolko Bie-
nala ilustracij v Bratislavi, verjetno najpomembnejša pa je uvrstitev
v finalni izbor za Andersenovo nagrado IBBY).

Razstavljala je – samostojno in na preglednih razstavah – v
mnogih galerijah doma in v tujini, med drugim tudi na bienalih
ilustracij v Bratislavi in Barceloni, v Centro Culturale Le Zitelle v
Benetkah, v Palazzo Martinengno v Brescii, v Centre Georges Pom-
pidou v Parizu, v Pallazo Ducale v Genovi (ob praznovanjih 500.
obletnice Kolumbovega odkritja Amerike), v Palácio Foz (Fundaçao
Maria Ulrich) v Lizboni, v Centrocivico v Luganu, v Palacio Yanduri
v Sevilli …

Bila je tudi redna, vsakoletna udeleženka pomembne pre-
gledne Mednarodne razstave ilustracij v italijanskem mestecu
Sarmede, kjer so ji v letu 2003 pripravili tudi veliko retrospektivno
razstavo kot eni najpomembnejših svetovnih ilustratork.

24

Marija Lucija Stupica was born in December 13, 1950 in Ljubljana.
In 1976, she graduated from the Academy of Fine Arts and went
on to continue her post-graduate work in painting at the Academy.
Already as a student, she had begun illustrating children`s books
and contributing to children`s periodicals. In 1973, she won the
highest national award given to illustrators at the time, the Levstik
Award, for her illustrations of Andersen`s fairy tale, The Princess
and the Pea.

Marija Lucija Stupica has been represented in many of
the most important international surveys of illustrators and has
participated in many international exhibits of illustrations. Among
others, the artist has won three Levstik Awards, the Prešeren Prize
(the national award for achievement in the area of Slovenian art),
the Golden Apple BIB and the Smrekar Award given at the Slovenian
Biennale for Illustrators, currently the highest national award for
illustration.

25

nagrade

awa r d s

LEVSTIKOVE NAGRADE / THE LEVSTIK AWARDS

1973 Za ilustracije v: Andersen, Hans Christian: Kraljična na
zrnu graha. For the illustrations in the book: Andersen, Hans
Christian: The Princess and the Pea.

1983 Za ilustracije v: Lobel, Arnold: Regica in skokica. For the il-
lustrations in the book: Lobel, Arnold: Frog and Toad.

Za ilustracije v: Stupica, Marija Lucija: Dvanajst mesecev. For
the illustrations in the book: Stupica, Marija Lucija: 12 Months.

1986 Za ilustracije v: Andersen, Hans Christian: Pastirica in di-
mnikar. For the illustrations in the book: Andersen, Hans
Christian: The Shepherdess and the Sweep.

Za ilustracije v: Murn, Josip: Pripovedka o oblaku. For the
illustrations in the book: Murn, Josip: A Tale of a Cloud.

KAJUHOVA NAGRADA / THE KAJUH AWARD

1987 Za ilustracije v: Grafenauer, Niko: Majhnica in Katrca škra-
teljca. For the illustrations in the book: Grafenauer, Niko: Ma-
jhnica and Katrca škrateljca.

ZLATA SLIKANICA / THE GOLDEN BOOK AWARD

1975 Za ilustracije v: Andersen, Hans Christian: Kraljična na
zrnu graha. For the illustrations in the book: Andersen, Hans
Christian: The Princess and the Pea.

Za ilustracije v: Makarovič, Svetlana: Pekarna Mišmaš. For
the illustrations in the book: Makarovič, Svetlana: The Mish-
mash’s Bakery.

26

ŠTUDENTSKA PREŠERNOVA NAGRADA ZA SLIKARSTVO /
THE STUDENT’S PREŠEREN AWARD FOR PAINTING

1976

NAGRADA PREŠERNOVEGA SKLADA /
THE PREŠEREN FUND AWARD

1989 Za knjižne ilustracije, posebej za ilustracije Andersenovih
pravljic. For her book illustrations, in particular for illustra-
tions of the Andersen's fairy tales.

NAGRADA HINKA SMREKARJA / HINKO SMREKAR AWARD

1993 Za ilustracije v: Andersen, Hans Christian: Mala morska de-
klica. For the illustrations in the book: Andersen, Hans Chris-
tian: The Little Mermaid.

1997 Za ilustracije v: Hoffmann, Ernst Theodor Amadeus: Hrestač
in Mišji kralj. For the illustrations in the book: Hoffmann, Er-
nst Theodor Amadeus: The Nutcracker and the Mouse King.

MEDNARODNI KNJIŽNI SEJEM V BEOGRADU /
INTERNATIONAL BOOK FAIR BELGRADE

1981 Prva nagrada za ilustracije v: Grafenauer, Niko: Lokomotiva,
lokomotiva. The First Prize for the illustrations in the book:
Grafenauer, Niko: Locomotive, Locomotive.

1984 Prva nagrada za ilustracije v: Andersen, Hans Christian:
Pastirica in dimnikar. The First Prize for the illustrations in
the book: Andersen, Hans Christian: The Shepherdess and
the Sweep.

27

Za ilustracije v: Stupica, Marija Lucija: Dvanajst mesecev. For
the illustrations in the book: Stupica, Marija Lucija: 12 Months.

1988 Prva nagrada za ilustracije v: Andersen, Hans Christian:
Svinjski pastir. The First Prize for the illustrations in the
book: Andersen, Hans Christian: The Swineherd.

ZLATNO PERO BEOGRADA /
THE GOLDEN QUILL OF BELGRADE

1976 Za ilustracije: Makarovič, Svetlana: Vrček se razbije. For the
illustrations in the book: Makarovič, Svetlana: A Mug brakes.

BIENALE ILUSTRACIJ BRATISLAVA /
BIB – BIENNIAL OF ILLUSTRATIONS BRATISLAVA

1985 Zlato jabolko za ilustracije v: Andersen, Hans Christian: Pas-
tirica in dimnikar. The Golden Apple Award for the illustra-
tions in the book: Andersen, Hans Christian: The Shepherd-
ess and the Sweep.

ANDERSENOVA NAGRADA IBBY /
HANS CHRISTIAN ANDERSEN AWARD IBBY

1988 Nominacija za Andersenovo nagrado za ilustracijo. Nomina-
tion for the Andersen’s illustrator’s award.

2000 Finalistka za Andersenovo nagrado za ilustracijo. Finalist
for the Andersen’s illustrator’s award.

28

Hans Christian Andersen
Zaročenca / The Sweethearts or The Top and Ball
pravljice / fairy tales
1998

marija lucija stupica 1950–2002

Galerija Prešernovih nagrajencev za likovno umetnost Kranj, 3. decem-
ber 2015–29. januar 2016 /
Prešeren Award Winners of Fine Arts Gallery Kranj, 3 December 2015–29
January 2016

Vodja galerije / Head of gallery:
Marko Arnež
Organizacija in postavitev razstave / Organisation and exhibition set up:
Marko Arnež, Hana Stupica
Izbor del / Selection of works:
Hana Stupica
Založil in izdal / Published by:
Zavod za turizem in kulturo Kranj

Besedila / Texts:
Judita Krivec Dragan, dr. Nadja Zgonik
Jezikovni pregled / Proofreading:
mag. Barbara Kalan
Prevod v angleški jezik / English translation:
Borut Cajnko, Katarina Ropret
Lektoriranje angleškega jezika / English proofreading:
Joel Smith
Fotografije / Photographs:
Jane Štravs, Mladinska knjiga, Hana Stupica
Oblikovanje / Design:
Hana Stupica

Tisk / Print:
Tiskarna GTO Košir
Naklada / Print run:
200 izvodov / copies

Založil in izdal / Published by: Zavod za turizem in kulturo Kranj;
zanj / represented by: Branko Fartek, v. d. direktorja / Deputy Director

Delovanje galerije omogoča Mestna občina Kranj. /
The functioning of the gallery is made possible by the Muncipality of Kranj.

Kranj, december / December 2015

Wilhelm Grimm in Jacob Grimm31

Rdeča kapica /
Little Red Riding Hood

1999

Oscar Wilde
Srečni kraljevič /
The Happy Prince
1993

CIP - Kataložni zapis o publikaciji 
Narodna in univerzitetna knjižnica, Ljubljana 
75.056(497.4):929 Stupica M.L. 
STUPICA, Marija Lucija, 1950-2002 
        Marija Lucija Stupica : 1950-2002 : [Galerija Prešernovih nagrajencev za likovno
umetnost, Kranj, 3. december 2015 do 29. januar 2016] / [besedila Judita Krivec Dra-
gan, Nadja Zgonik ; prevod v angleški jezik Borut Cajnko, Katarina Ropret ; fotografije
Jane Štravs, Mladinska knjiga, Hana Stupica]. - Kranj : Zavod za turizem in kulturo, 2015 
ISBN 978-961-6815-07-9 

32 282260736 

Ta publikacija
je v tiskani obliki izšla
v obliki mape

(na fotografijah)