Laima Drazdauskaitė – moteris tapytoja sovietmečio meno lauko sistemoje

LTStraipsnyje nagrinėjama tapytojos Laimos Drazdauskaitės kūrybinė pozicija, sąmoningai pasirinktas abstrahuotos tapybos kelias, kaip būdas sovietmečio laikotarpiu atrasti savo kaip menininkės identitetą. Dailininko specialybė sovietmečiu buvo prestižinė, turėjusi įtakos galią, todėl šią specialybę labiau rinkosi vyrai. Jų įvairiomis formomis puoselėtas ekspresionizmo stilius derėjo prie valdingo charakterio. Drazdauskaitei būdinga kita – čiurlioniška – lietuviškos tapybos kryptis neliko nepastebėta. Ji iš karto atsidūrė oficialios tapybos opozicijoje, taigi centrinių kūrinių užpirkimo struktūrų perkama rečiau ir mažesnėmis kainomis. [Iš leidinio]Reikšminiai žodžiai: Abstraktumas; Herojus; Pogrindis; Kūrinių pirkimas; Identitetas; Abstractionism; Hero; Underground; Purchases of artworks; Identity.

ENThe pretext of this article is Laima’s Drazdauskaitė’s creative life circumstances – she is the lonely woman painter between the artists of her generation. Two other woman painters Rūta Katiliūtė and Dalia Kasčiūnaitė studied either at a different time or on another course. Even the course where Drazdauskaitė studied art pedagogy "collapsed due to lack of talent and achievement". She finished the studies alone. Drazdauskaitė’s artworks were oriented to abstractionism, which means an intentionally chosen nonconformist direction. In the article, her work is analysed in the following aspects: 1. What did it mean to be a painter at the end of the 1970s – the beginning of the 1980s (this is the time of study and her formation as a painter)? 2. The place and function of woman as a painter in previous and current context of the artistic field. 3. The individual reasons for the choice of abstractionism. The article proposes a hypothesis that the choice of abstracted painting is closely related to the woman-painter status. The profession of a painter was prestigious in the Soviet times. It had the power of influence and therefore men tended to choose it more often. Expressionism nurtured in various forms by male painters matched their authoritative character. Laima Drazdauskaitė because of her character rejected positions of social engagement and formality and with no grievance or complaint relinquished them to the stronger, more ambitious men. She immersed herself into the introvert painting which she discovered in M. K. Čiurlionis artworks. Her paintings were the opposite to official painting, thus were valued less in the Soviet times, and ultimately purchased at lower prices by central artworks buyers. [From the publication]

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