Justino Vienožinskio kūryba ir Paulo Cezanne’o tapybos metodo problema

LTPagrindinė darbo problema - dviejų dailininkų kūrybos koncepcijų ir tapybos darbų gretinimas, todėl darbui pasirenkamas lyginimo metodas. Lyginimo aspektai susiję su Cezanne’o tapybos metodo stadijomis: motyvo pasirinkimu, realizacija ir moduliacija.

ENIn Lithuanian art criticism a years-long opinion is prevailing that Vienožinskis is a follower of Cezanne’s painting method, or that this French painter was of great importance to Vienožinskis’ fairly peculiar style of painting. The article is aimed at the consecutive explanation of the main point of Cezanne’s method as well as the investigation of any actual and common links between his and Vienožinskis’ creative works. It turns out that there are no essential principles of Cezanne’s method in Vienožinskis’ creation; the above-mentioned authors are connected merely by the outward similarity. The principle of Vienožinskis’ painting is not „pure watching“ as that of Cezanne’s method, but it is an interpretation of reality, the self-expression of painter’s personality as well as expression of the originality of the epoch and the nation. Vienožinskis is also related to a classical painting tradition. The beginnings of Cezanne’s modulation can be found in Vienožinskis’ creation: there is an attempt to free the colour from the task of marking a thing in some of his paintings.However, the colour is most often subjected to the mood of the paintings while the form is arranged by light and shadow. Vienožinskis’ work is arranged in a habitual way: first, by creating a generalised drawing and by painting it afterwards. Just the way round of Cezanne’s method the drawing and painting are two ultimately connected halfs of the same process. It is still characteristic of Vienožinskis to synthetize the form with the colour, to dissociate himself from the detailed depiction of life as well as to render the generalised and undetailed picture, and particularly there aspects of Cezanne’s creation might have been important to the Lithuanian painter and encouraged Vienožinskis to speak about the „reflection of the influence“ of Cezanne which was sensed by him in his creation. The legend on the closeness of the two painters might have been born in the field of art criticism on the basis of these words, the legend which is being denied in this text.