Siurrealizmas ir erotiškumo daigai Vytauto Kalinausko tapyboje

LTVytauto Kalinausko XX a. 7-ojo dešimtmečio tapybos kūrinius galėtume laikyti bene pirmaisiais represuoto seksualumo atšvaitais raison d’état fone. Nors tyrinėtojai Kalinausko nepriskyrė Lietuvos „tyliajam modernizmui“, vis dėlto jis priskirtinas nepriklausomai mąstantiems Lietuvos dailininkams ir jo noras susikaupti savyje, perteikti vidinius išgyvenimus, kamerines, intymias egzistencijos problemas traktuotinas kaip reakcija į oficialų sovietinės kultūros politizavimą ir kaip priešingybė visuomeninio meno vaidmens absoliutinimui. Straipsnyje teigiama, kad Kalinausko kūryba tarsi pavėluotai vejasi klasikinį tarpukario siurrealizmą, adaptuoja jo motyvus, siužetus, kai kurias raiškos priemones. Tyrimui naudoti tradiciniai dailės kūrinių analizės metodai – stilistinė ir ikonografinė kūrinių analizė, pasitelkta kultūrinių įtakų istorija.

ENThe Surrealist movement and its manifestations were not fleeting phenomena in the art of Lithuania and other Central European countries. In this article the author attempts to identify elements of the surreal in the 1980s paintings of Vytautas Kalinauskas (1929-2001) including: a characteristically Surrealist atmosphere, fantasmagorical elements, and links to the imaginary. Like the aesthetic categories of expressivity and abstraction, the surreal has a particular relationship to Surrealism. During the Soviet period few artists had the opportunity to see Surrealist works in the original, and most encountered them only accidentally, as reproductions. It is therefore only possible to speak about certain modes of expression and characteristics of the surreal that appeared in Lithuania in the mid-1960s (in Europe, Surrealism, as a contemporary art movement, was dissolving at this time). In the author’s opinion, elements of the surreal can be detected in the works of artists who were borrowing techniques from Symbolism, Expressionism, Pop Art and other movements. During the past decade, Baltic art critics have made distinct efforts to reevaluate art that was created in their region during the second half of the twentieth century. The “great” stories of this period are only now being written. The author attempts to establish that, while it has yet to become entrenched in the Lithuanian art canon, Kalinauskas’s oeuvre is not insignificant. She asks why, when Kalinauskas’s graphic and scenographic works are recognized, his painting has remained on the margins of art history.