Dailininkės Domicelės Tarabildienės (1912-1985) autoportretai XX a. 4 dešimtmečio fotografijose : pirmavaizdis ir improvizacijos

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Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Lietuvių kalba / Lithuanian
Dailininkės Domicelės Tarabildienės (1912-1985) autoportretai XX a. 4 dešimtmečio fotografijose: pirmavaizdis ir improvizacijos
Alternative Title:
Artist Domicėlė Tarabildienė‘s (1912-1985) self-portraits in 1930s photography: prototype and improvisation
In the Journal:
Acta Academiae Artium Vilnensis [AAAV]. 2017, t. 85, p. 69-80. Moteriškumo reprezentacijos ir dailė
Reikšminiai žodžiai: Autoportretas; Autoaktas; Fotografija; Fotomontažas; Pirmavaizdis; Kūnas; Self-portrait; Self-nude; Photography; Photomontage; Prototype; Body.
Autoaktas; Autoportretas; Fotografija / Photography; Kūnas; Pirmavaizdis.
Body; Prototype; Self-nude; Self-portrait.
Summary / Abstract:

LTStraipsnyje analizuojami dailininkės Domicelės Tarabildienės autoportretai, fotografuoti XX a. 4 deš. pradžioje. Pagrindinis dėmesys skiriamas pagal egzistavusius vaizdus (fotografijas ar iliustracijas) sukurtoms montažinėms nuotraukoms. Tyrimo metu nustatyta, kokie vizualiniai šaltiniai darė Tarabildienei reikšmingą įtaką pasirenkant siužetus ir pozas fotografijoms, taip pat išaiškėjo, iš ko autorė sėmėsi idėjinių inspiracijų, režisuodama ir įamžindama autoatvaizdus. Už vertingus patarimus dėkoju anoniminiams šio straipsnio recenzentams. [Iš leidinio]

ENDomicėlė Tarabildienė expressed herself in various fields of art, first of all, we know her as graphic artist and children’s books illustrator although she was educated in Sculpture. Her early adopted form of creation – photography and photo graphics. Around 1930s Domicėlė, then student of the Kaunas Art School, started taking photographs, encouraged by her classmate Vaclovas Kosciuška (1911– 1984). From her family’s kept photographs and negatives we can see dynamic moments of Kaunas Art School students’ lives, quiet everyday life of interim capital and its suburbs communities, family portraits in Jočiūnai village, bits of her studies and travels in Paris and Italy in the late 30s. For the first time the wide audience had an opportunity to see her photographs only in 2002 (The exhibition Unseen and Unknown Domicelė Tarabildienė: Photographs and Photo Graphics). Modern researchers, including me, are most interested in Tarabildienė‘s self-portraits and use of photo graphics, which was unique in the interwar Lithuania’s photography. It allowed her to move from provincial village commonness to the world of imagination. I do not doubt that Tarabildienė (then Tarabildaitė) had to admire her own personality as there are direct tries to identify herself with images of stage heroes in remaining photographs and negatives. Photomontage with Lillian Roth’s skirt (1932) prototype was initially named by art critic Giedrė Jankevičiūtė in first catalogue of Tarabildienė’s photography exhibition (2002). In this photomontage the young experimenter “borrowed” and tailored a chequered skirt, which she has seen worn by American actress and singer Lillian Roth in “Naujas žodis” (“The new word”) magazine, for herself. There are more images and paraphrases of this kind.This article presents several Tarabildienė’s prototypes from foreign movie actors or other popular characters photographs published in local periodicals. Their interpretations are discussed in 1930s Tarabildienė’s photomontages. Other creative inspirations, such as women nude photographs taken by Czech photographer František Drtikol (1833–1961) in 1920s and 1930s, are mentioned as well. Finally, the significance of images from media or cinema to artist’s self-realization and creative work experiments are questioned and corresponding findings are formed. [From the publication]

2018-12-17 14:18:29
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