Bine Rogelj

Bine Rogelj

Biografija

Bine (Albin) Rogelj se je rodil leta 1929 v Ljubljani. Na ALU v Ljubljani je
študiral slikarstvo pri profesorju Gojmirju Antonu Kosu. Diplomiral je leta
1955. Študij je nadaljeval na specialki za slikarstvo pri profesorju Maksimu
Sedeju in ga zaključil 1957.
Kot ilustrator se je leta 1953 zaposlil pri humorističnem listu Pavliha in mu
ostal zvest do upokojitve 1985.
Albin Rogelj je bil tudi član državne reprezentance v skokih na olimpijadi v
Kulmu in v Ponte di Legnu.
Zadnjo veliko pregledno razstavo je imel 2006 v Ljubljani, v Cankarjevem domu,
z naslovom "Slike in karikature".
Nagrado Prešernovega sklada je prejel leta 1970 za grafično delo na področju
karikature.

Biography

Bine (Albin) Rogelj was born in 1929 in Ljubljana. He studied at the Academy
of Fine Arts in Ljubljana with Professor Gojmir Anton Kos. He graduated in
1955, and completed his specializing in painting with Professor Maksim Sedej
the Elder in 1957.

In 1953, he was employed as an illustrator with the comic paper Pavliha where
he remained till his retirement in 1985.

He was also a member of the Yugoslav state team in ski jumps at the Olympic
games in Kulm and in Ponte di Legno.

His last retrospective was held in Ljubljana in 2006, in Cankarjev dom, titled
"Paintings and Cartoons".

He received the Prešeren Fund Award in 1970 for his graphic work in the field
of cartoons and caricature.

akor večina Slovencev sem Albina Roglja najprej poznal kot smučarskega
skakalca, potem kot Bineta, karikaturista, ki je svoja dela objavljal v Pavlihi
(podatku je danes verjetno že koristno dodati opombo, da je bil Pavliha v
desetletjih po drugi svetovni vojni najpomembnejša slovenska humoristična revi-
ja), končno pa še kot slikarja. Tega, kdaj in kje sem prvič videl njegove slike, se ne
spomnim, spomnim pa se, da so bile kljub temu, da so se vsebinsko od karikatur
seveda razlikovale, že na prvi pogled prepoznavne kot njegovo delo.

To me je takrat presenetilo, pa čeprav me ne bi smelo. Rogelj nikoli ni bil "trojna"
osebnost: čeprav njegova športna dejavnost z obema umetniškima na prvi pogled ni
povezana, dejansko ravno tako odraža in določa njegov osebni ter umetniški
značaj. Kakor za večino športnikov je za skakalce značilna težnja k popolnosti in
k (navidez) skrajno poenostavljeni in elegantni prečiščenosti, pa tudi sposobnost
hitre, (spet navidez) nagonske reakcije na nepredvidene situacije. Vsakega šport-
nika pa zaznamuje tudi tekmovalnost, ki se ne more in tudi ne sme podrediti tak-
šnim ali drugačnim avtoritetam - kakor umetnik se mora zanašati predvsem nase,
na svojo presojo.

Vsemu temu je treba še dodati, da je Rogelj kot umetnik odrasel v petdesetih
letih, v obdobju, ki je bilo v slovenski umetnosti med vsemi v marsičem najbolj
razburkano in razburljivo. Od njega starejši ustvarjalci so v tem času že podrli
ograde predhodnega obdobja, mladi pa so vso širino moderne umetnosti lahko
odkrivali tudi neposredno. Ob vseh informacijah, ki so nam danes dostopne
dobesedno v trenutku, si je seveda komaj mogoče predstavljati, kako silna se je ta
širina sredi petdesetih let prejšnjega stoletja morala zazdeti tistim, ki so jo prvič
doživeli, seveda pa odmeve takšnih šokov lahko začutimo tudi v Rogljevem opusu.
Njegova zgodnja dela odsevajo zglede ljubljanskih akademskih učiteljev, pred-
vsem Maksima Sedeja st. in Gabrijela Stupice, v njih pa lahko začutimo tudi za
dani trenutek značilne vplive najpomembnejšega tržaškega ustvarjalca, Lojzeta
Spacala; v poznejših se polje vplivov silovito razširi in sega od kubističnega ter
poznejšega Picassa prek Kleeja (ki je nekaj časa odločilno vplival na Rogljevo
slikarstvo) vse do informela.

Podobno kakor v primerih drugih predstavnikov njegove generacije je bila načelo-
ma "neformalna" in nemalokrat že kar ostro antiformalistična svoboda informela
odločilna tudi v Rogljevem. V okviru te smeri je predvsem lahko dokončno razvil
značilno potezo, ki zaznamuje njegova najbolj samosvoja dela, pa naj gre pri tem za
karikature ali za tabelne slike. V obeh primerih je osnova skrbno premišljena kom-
pozicija, pretehtano urejanje osnovnih likovnih elementov, poteza pa nastopi na
drugi stopnji in ob tem pogosto prikrije prvo. Šele v tem trenutku je dokončno
doseženo značilno "rogljevsko" likovno razpoloženje, ki ga ustvarja nasprotje
med čisto linijo in med z gostim prepletom hitrih "akcijskih" potez oblikovanimi
partijami. Tako doseženo likovno vzdušje podpira tudi barva, ki ima v primeru

karikatur bolj skromno, a še vedno opazno vlogo, v primeru tabelnih slik pa
postane liniji enakovreden soigralec, pri čemer pa je za Roglja značilno, da ga
manj ko dramatičnost kontrastov - čeprav se na njegovih slikah srečujemo tudi s
takšnimi, praviloma sicer "drobnimi" poudarki - zanimajo finese tekstur raznovrst-
nih barvnih nanosov. Skratka: tako v teh kakor v drugih primerih Roglja zazna-
muje pretanjeno lovljenje ravnotežja na takšnih ali drugačnih mejah.

Lev Menaše

ike the majority of Slovenes, I first learned about Albin Rogelj as a ski jumper,
then as Bine the cartoonist, publishing his works in Pavliha (nowadays, it is prob-
ably useful to add that in the decades following the Second World War Pavliha
was the most important Slovene comic paper), and finally as a painter. I no longer
remember when and where I first saw his paintings, but I do remember that
although they differed considerably from his cartoons, they could still immedi-
ately be recognized as his work.

I was at the time somewhat surprised by this fact, but as a matter of fact I should
not have been. Rogelj has never had a "triple" personality: though his sports
activities have, at first sight at least, no link to the two artistic ones, they in
fact reflect and determine his personal and artistic character. As of the major-
ity of sportsmen, it is characteristic of ski jumpers to have a tendency to obtain
perfection and (seemingly) utterly simplified and elegant purity, but also to have
a capability of fast, (again seemingly) instinctive reactions to unforeseen situa-
tions. Every sportsman is also marked by competitiveness, which cannot and must
not subject to any kind of authority - just as an artist, he must above all rely
upon himself, upon his own judgement.

It is necessary to add that Rogelj the artist reached adulthood in the 1950s, i.
e. in the period of Slovene art that was in many ways the most tumultuous and
exciting of them all. His artistic elders had by then already pulled down the
fences of the previous period, and the young ones could discover all the exten-
siveness of modern art in a direct way. With all the information being nowadays
within our reach literally in a moment, it is hard to imagine how immense must
this extensiveness had seemed in the mid 1950s to those who were experiencing it
for the first time; the echoes of such shocks can also be felt in Rogelj's opus.
His early works reflect the works of his Academy teachers, mainly Maksim Sedej
the Elder and Gabrijel Stupica, but also the influence of Lojze Spacal, the most
important artist from Trieste, whose influence was characteristic of that peri-
od. Later on, the range of influences became much wider, reaching from the

early to the late Picasso and to Klee (who for a while was the decisive influence
on Rogelj's work) and all the way to informel.

Similarly to other representatives of his generation, the declaratively "non-for-
mal" and often sharply antiformalist liberty of informel played a decisive role
in Rogelj's work. Within this style he could perfect his characteristic stroke to
the degree that marks his most original works, whether they be cartoons or
paintings. In both cases, the foundation is a carefully planned composition, a
well considered arrangement of basic visual elements; the stroke takes over at
the second stage, often concealing the first one. It is only at this moment that
the typical "Rogelj-like" atmosphere is obtained, created by the contrast between
the line itself and the parts, shaped by the dense intertwining of quick, "action-
like" strokes. The thus acquired visual atmosphere is also supported by the
colour, the role of which is rather modest, though noticeable in cartoons,
while in the case of paintings it becomes an equal partner; it is characteristic of
Rogelj that he is less interested in the dramatic quality of contrasts - although
such, as a rule "tiny" accents may be encountered in his paintings -and more inter-
ested in the fineness of textures of various colour layers. Putting it shortly: so
in these (visual) cases as in other (sports) ones, Rogelj is marked by the delicate
balancing on these or other boundaries.

Lev Menaše

Pridni Slovenec,
50 x 70 cm, mešana tehnika na papirju, 2000

Preža, 30 x 49 cm, olje na platnu, 1993

Priložene reprodukcije

Kocke, 75 x 110 cm, olje na platnu, 1963
Katedrala na otoku, 75 x 110 cm, olje na platnu, 1992
Ponavljajte za menoj, 75 x 75 cm, olje na platnu, 1991
Polemika, 50 x 70 cm, tuš na papirju, 2001
Evropski rog, 50 x 70 cm, mešana tehnika na papirju, 2005
Brez besed, 50 x 70 cm, mešana tehnika na papirju, 2000
Brez besed, 50 x 70 cm, tuš s črno kredo na papirju, 2001
Portal, 70 x 100 cm, akvarelni svinčniki na papirju, 2005

List of illustrations:

Cubes, 75 x 110 cm, oil on canvas, 1963
Island Cathedral, 75 x 110 cm, oil on canvas, 1992
Repeat After Me, 75 x 75 cm, oil on canvas, 1991
Polemics, 50 x 70 cm, Indian ink on paper, 2001
European Horn, 50 x 70 cm, mixed media on paper, 2005
Without Words, 50 x 70 cm, mixed media on paper, 2000
Without Words, 50 x 70 cm, Indian ink and black chalk on paper, 2001
Portal, 70 x 100 cm, watercolour pencils on paper, 2005

Galerija Prešernovih nagrajencev
za likovno umetnost
Kranj

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

Organizacija: Marko Arnež, Gorenjski muzej, Petra Polak
Izdal: Gorenjski muzej - zanj Barbara Ravnik Toman

Besedilo: dr. Lev Menaše ● Prevod: Jana Kranjec Menaše ● Korekture: Tina Šubic
Foto: Marko Tušek, arhiv avtorja ● Oblikovanje: Marko Tušek
Tisk: Tiskarna GTO Košir

Kranj, april 2009































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

Organizacija: Marko Arnež, Gorenjski muzej, Petra Polak
Izdal: Gorenjski muzej - zanj Barbara Ravnik Toman

Besedilo: dr. Lev Menaše ● Prevod: Jana Kranjec Menaše ● Korekture: Tina Šubic
Foto: Marko Tušek, arhiv avtorja ● Oblikovanje: Marko Tušek
Tisk: Tiskarna GTO Košir

Kranj, april 2009

Ta publikacija
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(na fotografijah)