Apie Ferdinando Ruščico fotografijas

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Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Lietuvių kalba / Lithuanian
Apie Ferdinando Ruščico fotografijas
Alternative Title:
About the photographs of Ferdynand Ruszczyc
In the Journal:
Acta Academiae Artium Vilnensis [AAAV]. 2010, t. 59, p. 105-123. Meno idėjų migracija XX a. pradžioje: M.K. Čiurlionio ir amžininkų kūryba
Reikšminiai žodžiai: Fotografijos istorija; Piktorializmas; Fotografai mėgėjai; XX a. pr. tapyba; Ferdinandas Ruščicas; History of photography; Pictorialism; Amateur photographers; Painting of the early 20th century; Ferdynand Ruszczyc.
Fotografija / Photography; Piktorializmas; Tapyba / Painting.
Ferdynand Ruszczyc; Painting of the early 20th century; Pictorialism.
Summary / Abstract:

LTStraipsnyje pristatomos iki šiol nepublikuotos tapytojo Ferdinando Ruščico XIX a. pab. sukurtos fotografijos. Straipsnio tikslas atskleisti fotografijų sukūrimo aplinkybes, sąsajas su tapybos darbais ir platesne XIX-XX a. sandūros fotografijos problematika. Remiantis Ruščico pavyzdžiu, siekiama aptarti, kodėl Vilniaus gubernijoje tuo metu fotografavimas netapo plačiai visuomenėje paplitusiu reiškiniu kaip kitose Europos šalyse. Keliama prielaida, kad fotografijos demokratizavimo procesas čia pasireiškė silpniau dėl fotografams keliamų reikalavimų, ribojusių jų veiklą. [Iš leidinio]

ENThe photographs created by the painter Ferdynand Ruszczyc (1870-1936) are a poorly studied phenomenon. Although his works and his versatile artistic experience in Krakow, Warsaw and Vilnius have received a lot of attention and been thoroughly researched, the theme of photography within the oeuvre of Ruszczyc has only begun to be examined recently. The article discusses the circumstances of the appearance of the photographs created by the painter between 1896 and 1898, and makes an attempt to highlight the specificity of their language and their relation to the changing interpretation of photography at the turn of the century. Ruszczyc may have become acquainted with the various tendencies of photography while either studying in Petersburg Academy of Arts or visiting Berlin in 1896. At that time photography was widely represented at the Berlin Trade Exhibition of 1896, the international Exhibition of Amateur Photographers in the Berlin Reichstag, and in various publications dedicated to the art of photography. The photographs created by Ruszczyc could be attributed to the Pictorialist movement that became popular in the late 19th century. The landscapes captured in the photographs bear close links to Ruszczyc's paintings; although there are only a few of them (this article presents seven images). Referring to the aforementioned case of Ruszczyc, attempts have been made to cast a fresh look over the situation of Lithuanian photography in the late 19th-early 20th centuries. The question has been raised as to why photography did not become a popular phenomenon in society; moreover, as to why a wider circle of amateur photographers or a stronger movement of artistic photography failed to develop.The assumption has been raised that in Lithuania the process of the democratisation of photography took a weaker form due to requirements imposed upon photographers; requirements that restricted their self-expression. The activity of both professional and amateur photographers was under the various controls of the tsarist authorities. The order regulating the issuance of permit for the storage and registration of images that was introduced in the mid-19th century remained until World War I. Intense scrutiny was directed towards photographic activity following the 1863 revolt. At first the control of photographers had purely political motivations at its core, while later on, in the late 19th century, this became interlaced with commercial interests. In Lithuania, just as in other former territories of the Russian Empire, large attention was paid to the photography of landscapes. The taking of photographs of places near railways, bridges, larger riversides and other strategically important objects was especially strictly regulated. Only a small part of society could engage in landscape photography - mostly professional photographers - while a wider circle of amateur photographers failed to group. We could maintain the experimental artistic photography simply lacked the space and possibility for self-expression. [From the publication]

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2018-12-17 12:52:26
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