5000 Tolarjev 2004, Slovenia
| in Krause book | Number: 33b |
| Years of issue: | 02.08.2004 |
| Edition: | |
| Signatures: | Guverner: Mitja Gaspari, Član Sveta Banke: Božo Jašovič |
| Serie: | 2004 Issue |
| Specimen of: | 01.06.1993 |
| Material: | Cotton fiber |
| Size (mm): | 157 x 78 |
| Printer: | De la Rue currency,Gateshead |
* All pictures marked 
are increased partially by magnifying glass, the remaining open in full size by clicking on the image.
** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.
Description
Watermark:
Ivana Kobilca.
Avers:
Ivana Kobilca (20 December 1861 – 4 December 1926) is the most prominent Slovene female painter and a key figure of Slovene cultural identity. She was a realist painter who studied and worked in Vienna, Munich, Paris, Sarajevo, Berlin, and Ljubljana. She mostly painted oil paintings and pastels, whereas her drawings are few. The themes include still life, portraits, genre works, allegories, and religious scenes. She was a controversial person, criticised for following movements that had not developed further in later periods.
Ivana Kobilca was born in Ljubljana as a daughter in a wealthy family of a craftsman. Her parents gave great emphasis on education. At first, she learned how to draw, but also French and Italian, in the Ursuline High School in her home town, where her teacher of drawing was Ida Künl. When she was 16, she went with her father to Vienna, where she saw the paintings of old masters that inspired her. From 1879 to 1880, she studied in Vienna, where she copied the paintings at the gallery of the Academy of Arts, and from 1880 to 1881 in Munich. From 1882 to 1889, she continued her studies under Alois Erdtelt. In 1888, she participated for the first time in a public exhibition. At the following exhibition in Munich, her work was spotted and praised by the prominent German art historian Richard Muther. and then returned to Ljubljana. In 1890, she painted in Zagreb. In 1891 and 1892, she painted in Paris in the private school of Henri Gervex. She became an honorary member (membre associée) of Société Nationale des Beaux Arts. In 1892, she also painted in Barbizon. In 1893, she returned to Ljubljana, visited Florence in 1894, and lived in Sarajevo from 1897 to 1905. From 1906 to 1914, she lived in Berlin, and then returned to Ljubljana. At the time of her death in 1926 in Ljubljana, she was described as the greatest Yugoslav female painter.
Judging by her social origin, way of living, ideals and work, she was an urban artist. She is one of Slovene realists, who created their most important paintings in the 1880s. Kobilca's greatest tribute to Slovenian art was made during the time she lived abroad. Her greatest impact was on figural painting, especially portraits and paintings of typical people's lives in rustic or urban places. Since the time she had spent in Berlin, her most important genre became floral still life. Her early work reflects characteristics of München studio-work. The main colors are dark and brownish, only the pastels are light and rosy. From 1889 onwards her painting became lighter with blue nuances, typical for Parisian art at the time.
From here on, many artists took the next step that led into Impressionism, but Ivana Kobilca did not. In the latest period of her work, her ability to create fresh and interesting paintings started to fade. With some exceptions, her works of that period are dull and impersonal.
Kobilca's best known paintings are Kofetarica (Coffee Drinker), 1888; Citrarica (Zitherist), Likarice (Women Ironers), 1891; Holandsko dekle (Dutch Girl), Portret sestre Fani (Portrait of Sister Fani), 1889; and Poletje (Summer), 1889. Her work is on display at all major European galleries. 
The painter's likeness is supplemented on its left by a shadow of her effigy in medalion, filled with microwriting, extending to the greyish-green coloured area. On the right of the poet's portrait there is the inscription "Ivana Kobilca 1821-1926", printed by the intaglio method. Above it, there is a rectangle of brown, in which there is a negative of the number "5000".
Along the left edge of the bank-note the words "BANKA SLOVENIJE" appear printed by the intaglio method. In the middle of the white area, there is a watermark bearing the image of Ivana Kobilca. Under it, the value of the banknote is printed in brown. To the right of the watermark there are stylized images of the canvas and palette. Under this, there is another white area which runs into the protective green pattern. This pattern is darker at the top and lighter towards the bottom edge of the banknote. Along this green rectangle, the words "PET TISOČ TOLARJEV" are printed using the intaglio method.
Over the whole of the note's surface, running from left to right, there is computer generated protection, which ends in the shadow of the poet's portrait. The starting line of the pattern is in the microwriting of the text, consisting of the name of the Bank of Slovenia, the numerical value of the banknote and the shortened name of the currency.
On the left part of the banknote there is a white area at the top of which there is a recognition feature for the blind, consisting of a relief upright rectangle and three full circles.
On the front of the banknote, the greyish-green and yellow colours are predominant.
Denominations in numerals are at the bottom and in top right corner. In words - centered.
Revers:
On the left is a plan of the facade of the building of the National Gallery in Ljubljana.
National Gallery of Slovenia (Narodna galerija Slovenije) - the leading art museum in Slovenia, located in Ljubljana.
The National Gallery of Slovenia was founded in 1918, after the collapse of Austria-Hungary and the creation of the Kingdom of Slovenes, Croats and Serbs. The gallery was originally located in the Cresia palace of Ljubljana, the gallery moved to its current location in 1919.
The existing building was built in 1896, during the reign of Mayor Ivan Hribar, who sought to turn Ljubljana into the capital of all Slovenian lands. The building design was developed by Czech architect Frantisek Scarbrought. The building was originally used by the Slovenian Cultural Center - People’s House - to host various cultural associations.
Under the roof of this People’s House all national and cultural associations were gathered. After Slovenia gained independence, in the semantic and symbolic meaning, the building turned out to be the most suitable for the National Gallery. The gallery building is next to Tivoli Park.
When it ceased to accommodate the collected exhibits, in the nineties of the last century the north wing was built - according to the project of the famous architect of Slovenia Edward Ravnikar. Since the times of the People’s House, the western wing has been occupied by a gymnastics club. After the reconstruction of 2012, the museum occupies the entire building, and its two wings are connected by a long glass gallery. This spacious gallery houses the Robba Narcissus fountain, a replica of which is located in the courtyards of the Town Hall.
The National Gallery owns the largest collection of works of art created on Slovenian territory from the Middle Ages to the period of modernism. The Slovenian Baroque is beautifully presented, the paintings of local representatives of impressionism are interesting. Next to the works of Slovenian artists and sculptors, paintings by German, Dutch and Spanish masters are collected. Impressive magnificent Gothic sculptures and copies of medieval frescoes. However, modern paintings and bronze installations are no less entertaining. (sergeyurich.livejournal.com.rus) (www.votpusk.ru.rus)
On the right is the New wing of the National Gallery in Ljubljana.
The new wing of the National Gallery is the work of architect Eduard Ravnikar. The grand opening took place on September 17, 1993. The House of Deputies, the work of the architect Marko Zhupancic (1946), stood, before that, on this place.
In the center is a schematic depiction of the fountain of the three Carniol rivers in Ljubljana (Robbov vodnjak).
The Robba Fountain (Slovene: Robbov vodnjak), since the first half of the XX century also known as the Fountain of the Three Carniolan Rivers (Vodnjak treh kranjskih rek), is the fountain that stands in front of Ljubljana Town Hall at Town Square in Ljubljana, the capital of Slovenia.
The fountain was commissioned to Francesco Robba in 1743, but was unveiled only in 1751. In its creation, Robba was inspired by Bernini's Fontana dei Quattro Fiumi (Fountain of the Four Rivers) at Piazza Navona during a visit to Rome, but he modelled it after Fontana del Pantheon, the fountain by Filippo Barigioni at Piazza della Rotonda. In 2006, the original fountain was renovated and moved into the National Gallery, whereas at Town Square it has been replaced by a replica.
The fountain consists of three male figures with jugs, which came several years after the fountain's creation to supposedly represent the gods of the three rivers of Carniola: the Ljubljanica, Sava and Krka, and later as well the three territorial units of Carniola: Upper Carniola, Lower Carniola, and Inner Carniola. Steps that lead up to the fountain represent the Carniolan mountains. The water pool has a shape of a shell. In the center of the fountain stands a 10-meters (33 ft.) obelisk. The sculptural part of the fountain is made of Carrara marble, the obelisk is made of the local Lesno Brdo marble and the pool is made of local Podpeč limestone.
On background the red flowers are visible from one of the Flower still lifes of Ivana Kobilca, exhibited at the National Gallery in Ljubljana.
On the bottom part of the note, there is the number denoting the value of the note.
Across the whole composition, there lies a spiral combination, which completes the graphic image of the banknote.
At the top of the white area, along the inside edge, the words "GUVERNER" and "ČLAN SVETA BANKE" are printed, and under them the facsimile of the signatures of the Governor of the Bank of Slovenia, Mitja Gaspari, and a member of the Council of the Bank of Slovenia, Božo Jašovič. In the top right corner, there is a brown rectangle in which the negative of the number denoting the value of the note is printed. Underneath, first the place and then the date of the issue of the bank-note are printed: "LJUBLJANA 15. JANUAR 2004".
Along the outer edge, the words "BANKA SLOVENIJE" are printed using the intaglio method. Parallel to this, along the inner edge of the white surface, there is the reference number of the note, printed upright in black, consisting of two letters and six numbers. The same reference number is printed in red horizontally on the left side of the note.
The predominant colours on the back of the banknote are grey, orange and red.
Denominations in numerals are at the bottom and in top right corner. In words - centered.
Comments:
Designer: Miljenko Licul and coauthors.
Painter of the portrait: Rudi Španzel.
The banknote printed on paper, made in Slovenian city Radeče.
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