Antano Martinaičio kūryba XX a. dailės kontekste

LTAntano Martinaičio, kaip ir daugelio šio amžiaus viduryje dirbusių dailininkų, kūryba aprašinėta daug kartų, bet labai eskiziškai. Dauguma publikacijų - parodų recenzijos, nesuteikiančios bendresnio vaizdo apie dailininko kūrybą. Tik vienai kitai iš jų būdingas bandymas įterpti A. Martinaičio (1939-1986) kūrybinį palikimą į bendrą Lietuvos ar platesnį dailės raidos kontekstą. Būtent šiuo aspektu apžvalga pasirinkta straipsnio leitmotyvu.

ENThe development of Lithuanian fine arts is the process related to the common laws of European artistic life. To tell the truth, we can not find the most radical and current phenomena there. This is conditioned by the two main reasons: the secluded society predetermined by the Soviet occupation and the propensity of the painters towards the artistic conservatism. The creation of the majority of the painters of the Soviet period has been developed in the space restricted by their limits. The creation of Antanas Martinaitis is based on the existential problems as well as on the neo-traditional form. He like other painters of the 7lh decade paid much attention to tactility in painting and used the metaphorical way of expression as a means for codifying senses in the paintings. Throughout his studies at the Vilnius Fine Arts Academy Martinaitis’ teacher Antanas Gudaitis, a member of the ARS group who influenced greatly the accomplishment of Lithuanian expressionism. Martinaitis at the early period of his creation was painting chamber landscapes for the most part: Spring, 1967, Spring in the Garden 1968. They render the mood of Nature in an impressionistic way.The figures of people inserted into Nature’s context are unemphasized and they are close to the world outlook of the painters of the Northern Renaissance. During the 8lh decade his creation takes another direction. He begins to paint pictures of legendary character where the images are hyperbolised and the actions are being ritualised. The compositions acquire the form of the monumentalized story, Kings’ feast, 1970-1971, the Baltvydis legend, 1970. The latest painter’s five years long creative period is distinguished by the grotesque and ironical attitude towards the world. The pictures are flooded by theatricalized personages the characters of whose contain positive as well as negative streaks of their nature existing under the shroud of fiction, Circus performers and the bigot, 1979, Eaters of flowers, 1983.