Lūžis XX a. pradžios Vilniaus tapyboje

LTŠio straipsnio tikslas yra rekonstruoti XX a. pradžioje vykusį Vilniaus tapyboje lūžį, remiantis nauja tuo metu čia kūrusių dailininkų menine orientacija, atsinešta iš Europos meno centrų. Norint visapusiškai jį rekonstruoti reikėtų pasitelkti to meto kritiką, pačių dailininkų straipsnius, parodų katalogus, pagal kuriuos galima ieškoti kūrinių, išblaškytų po Lenkijos, Rusijos muziejus. Šiame straipsnyje apsiribota Vilniaus muziejuose išlikusiais kūriniais, daugiausia saugomais fonduose ir nepatekusiais į mūsų meno istorijos akiratį. Dėmesys kreipiamas pirmiausia į jų meninės formos, stilistikos bruožus.

ENOnly the Lithuanian painting of the 20th century is researched in study of art till now. But the contribution to the Lithuanian painting history of the various nations painters as Polish, Russian, Jewish is very important, but not researched. The article deals with the artists of various nations - they have turned the 20th c. painting to a new direction. All those artists have done very important general sign that they have graduated from the various schools and in the fall of the 19lh c. or beginning of the 20th c. and have settled and joined the artistic life of Vilnius. The painters Ludomir Janowski, Stanislaw Jarocki, Ferdynand Ruszczyć, Stanislaw Bohusz-Siestrenciewicz, Ivan Rybakov, Lev Antokolskij, Mozė Leibovskij, Antanas Žmuidzinavičius and others. We can call them young generation, which were joined together by the artistic orientation brought from the art centers of Europe. Article deals with the various art schools and influences of various art centres Paris, Munich, Petersburg, Cracow and Warsaw Art School’s artistic tendencies. According to the paintings of the Lithuanian Art Museum are researched dominating genres of painting landscape’s mood, portrait.The newest values of painting coming from Western Europe and neighbour countries - Russia, Poland in the fall of the 19th c.-beginning of the 20th c. appeared in Vilnius painting thanks to those mentioned earlier artists. The turn, break in interpretation of painting is connected with specific value of painting, introducing of painting. Appeared the new features not characteristic for the painting of the second half of the 19lh c. - sketch masterly a la prima style, rich texture, surface, developed dab, delicate tonic coloring, soft melting atmosphere of air. Those features we see in the creative works of realistic, symbolistic, impressionistic, postimpressionistic tendencies. They are very characteristic for the young generation of the beginning of the 20th c. which created in Vilnius, irrespective of their nationality. They were that, what joined those artists.