Alfredos Venslovaitės-Gintalienės lunapoliai

LTStraipsnyje, skirtame mūsų dienomis užmirštos grafikės Alfredos Venslovaitės- Gintalienės (g. 1949) kūrybai, 20 a. 8-9-ojo dešimtmečių estampams, analizuojama jų inspiracijų šaltiniai ir siurrealumo raiška. Ją formuojančios labirintinės struktūros, žanro negrynumas, onirinė Iunapolio atmosfera. Alfredą Venslovaitę dominę žmogaus, žvėries, paukščio kūno destrukcijos, irimo būdai analizuojami remiantis M. Jampolskio deformacijos poetika. Vaizdo prasme estampai tipologiškai skirstomi į dvi grupes: perspektyvinius ir ažūrinius ornamentinius. Tai pirmas straipsnis skirtas šios savitos grafikės kūrybai, jos techniškai gerai atspaustai lakštinei grafikai (oforto, litografijos, akmens graviūros technika) ir autentiškam meniniui pasauliui. Kad įvairiapusiškiau būtų ištirta ši meninė personalija, naudotasi įvairiais interviu, dokumentuojant ne tik pačios menininkės, bet jos bendramokslių ir pedagogų Nacionalinėje M. K. Čiurlionio menų mokykloje, Vilniaus dailės akademijoje mintis. Šio atvejo studija pasitarnauja ir bendram menininkės kartos (ji priklauso pirmajai „čiurlioniukų" laidai, mokėsi Lietuvos valstybinio dailės instituto Dailės pedagogikos specialybės, aktyviai dalyvavo 8-9-ajame dešimtmečiais grafikos parodose) portretui.

ENThe prints created by Alfreda Venslovaitė-Gintalienė in 80s-90s of the previous century received very few evaluations in general reviews of art exhibitions from art critics at the time of their creation. Not a single article has been written on her creation. Over the last two decades Alfreda Venslovaitė-Gintalienė has fallen silent due to a number of various reasons (including personal as well). The research mainly focuses on a broader study of technically well-accomplished printmaking (etching, lithography), which reveals an authentic artistic world. Moreover, she is the only artist in Lithuanian graphics, which created engravings on stone in the second half of the 20th century. Alfreda Venslovaitė studied in Vilnius Secondary Art School for seven years and is one of the first graduates of M. K. Čiurlionis Vilnius Secondary Art School. Later she learnt in the Faculty of Art Pedagogy at Lithuanian State Art Institute,. Contrastive relations of large and small objects are exceptionally characteristic of artistic language in her printmaking works. She employs optical effects, multiple and mixed perspectives as well as structure of labyrinth. Surreality is another feature of a number of her printmaking works. Alfreda is interested in body metamorphoses (ways of human, animal and bird destruction), which are analysed by the author of the article employing the study of deformation poetics 'Demon and Labyrinth' by Russian scientist M. Jampolsky.Whatever is depicted in the artists works, her cosmic landscapes, oniric lunapolises - they all refer to night art or graphics because according to the artist: 'When the sun shines and it is light everything is clear and understandable, whereas night, stars and moon bring only questions.' Labyrinth structure is also characteristic of printmaking works of perspective and openwork type. In the first case, labyrinth is approached in spatial and three-dimensional ways; in the second case the labyrinth is presented in ornamental and planar ways. The majority of Lithuanian landscapes not only in graphics but also in painting are of closed composition, lack panoramic sceneries, bird's eye views or views from frogs perspective. Thus, in this relatively monotonous and well-established perspective of Lithuanian art cannon of the second half of the 20th century, labyrinthic and perspective lunapolises by Alfreda Venslovaitė-Gintalienė make up an interesting page (from artistic and technical point of view) in Lithuanian graphic of the second half of the 20th century.