Lietuvos romantizmo dailės teorijos bruožai

LTLietuvos menas XIX a. I p. atspindėjo bendrąsias Europos dailės raidos tendencijas. Romantizmas čia rado sau palankią dirvą ir išsilaikė daugiau nei šimtmetį, ypač sustiprėdamas per sukilimus ir pagyvėjus nacionaliniam judėjimui. Tiek Europoje, tiek Lietuvoje šios krypties šalininkų teoriniai svarstymai nesusiklostė į vientisą baigtinę sistemą. Atskirų teiginių randame Lietuvos bei Lenkijos dailininkų ir literatų straipsniuose dailės klausimais, literatūros kūriniuose, laiškuose. Keletą tokių straipsnių, papildytų savo svarstymais apie meną, praėjusio šimtmečio viduryje atskira knyga išleido literatas Mykolas Grabovskis. Knygoje skelbtų tekstų autoriai - dailininkas Adomas Šemešys, rašytojas Juozapas Ignacas Kraševskis ir kiti - neabejotini romantizmo šalininkai. Šiame straipsnyje nagrinėjant minėtoje knygoje skelbiamas mintis apie dailės prigimtį, dailininko uždavinius , tapybos žanrus, aptariami kai kurie "vietinio" romantizmo teoriniai teiginiai. Nors jie neatspindi visų XIX a. vid. dailės klausimais rašiusių menininkų pažiūrų įvairovės, tačiau, papildyti kituose šaltiniuose sutinkamais Vladislovo Sirokomlės, Vincento Dmachausko, Vincento Smakausko bei kitų autorių pasisakymais, manau, gerai iliustruoja pagrindines tendencijas ir leidžia suprasti prielaidas, lėmusias romantizmo specifiką mūsų krašte.

ENThe art of Romanticism manifested itself widely in the creative activity of the graduates of the art departments of Vilnius University. The main features of the art theory of "local" Romanticism were formed during the period between the two uprisings (1810-60) in the discussions of artists and writers on the nature of art, artists' tasks, and peculiarities of the local art. In this article, the statements of the adherents of Romanticism (A. Šemešys, V. Dmachauskas, J. I. Kraševskis, V. Sirokomlė and others) collected by M. Grabowski in the book "Artykuły literackie, krytyczne, artystyczne..." (W-wa, 1849) as well as those found in other sources are analysed. It is pointed out that the creators of Romanticism of Lithuania and Poland expressed, for the most part, the ideology of the intellectuals of gentry descent and their aspiration to shape the nation's spiritual life. A poetic quality concealed in a people, of which the latter itself was not fully aware, was considered by them to be the main element of artistic creation. Only an artist who feels more deeply than others can get to know the spirit of this nation and to express it in his creation. Requirements were set to local artists to reveal characteristic features of their nation, to show and perpetuate its customs, landscape, and historical events, to evoke historical memory of the society and thus maintain national identity. Therefore, in the articles devoted to problems of art, more attention is paid to the contents of a work of art and its educational possibilities than to its form.Painting is a branch of art that provides most material for theoretical reasoning. Though it was declared that hierarchy of genres had not to be set, however, historical, religious and genre painting were most characteristic of local art and also most highly evaluated. The landscape was quite important, too, while the portrait and especially the still-life were treated as secondary genres of less significance. Real life was considered the main object of form studies. However, the artists were not supposed to follow it blindly. Requirements of truthfulness and naturalness set to artists were understood not as imitation of life, but as its recreation according to artist's idea.