Keletas duomenų Leopoldo Andrijausko kūrybos tyrinėjimams

LTŠio straipsnio tikslas - prisiminti XX a. pradžios Lietuvos meninę kultūrą ir pristatyti mažai kam težinomo profesionalaus dailininko Leopoldo Andrijausko kūrybą. Kitų to laiko menininkų veikla ir kūryba susilaukė daugelio tyrinėjimų, todėl yra daugiau ar mažiau pažįstama. Kur kas mažiau domėtasi provincijoje gyvenusiais dailininkais. Siraičių dvaro savininko tapytojo L. Andrijausko kūrybinis palikimas, visuomeninė veikla dėl istorinių kataklizmų liko užmarštyje, todėl vertėtų į savo ištakas grąžinti prarastas mūsų krašto kultūros, meno vertybes.

ENThe aim of the article is to recall the artistic culture of Lithuania of the beginning of the 20th century and to present the professional painter Leopoldas Andrijauskas and his creation which is hardly known to everyone. The activities and the creation of some other artists of that time have been under study, that is why they are more or less known in Lithuania. Painters who lived in the province were of little interest to the researches. Leopoldas Andrijauskas like all other children of the nobles started his learning at home, and, later, in 1882, at the age of fifteen he entered the Mintauja Real School. Approximately around 1889-1890 he moved on in order to study at the Petersburg Fine Arts Academy, however, he probably did not finish it since very soon, in 1891, he proceeded to Munich for further studying. Six years of studies there made a great influence upon his creation, unfortunately, this is the period of Andrijauskas’ creation which is hardly known to anyone. In 1897 Andrijauskas left for Paris. It is supposed that he was a fully formed painter by that time who independently started his artistic activities. In 1898 and in 1899 two art exhibitions were arranged by the author at the „Independents’“ show-room. Another stage (1899-1906) of Andrijauskas’ biography must have coincided with his artistic life in Warsaw. Scanty data are available of this time as well, yet, it is known that throughout this period he was very active in exhibiting his works. He exhibited his works in art exhibitions at the Krywult show-room in Warsaw in 1900 (twice), and in 1901 as well as in 1902, and in 1906.In Warsaw the Krywult show-room was in disagreement with the Fine Arts Prompt Society’s show-room at that time. It was aimed at populiarizing young talents despite their unusual creative works. The tendencies of impressionism and symbolism were dominant in art exhibitions. Around the year 1906 Andrijauskas came back to Lithuania and stayed at his father’s house, in Palanga. A great deal of his time he devoted to painting and, accordingly, he took a curious job as a gardian in the Manor of Tiškevičius. In 1907 he moved to the Kentreliai Manor, and in 1910 he took his residence in Siraičiai where his parents must have lived. After his mother’s death, in 1925, the Siraičiai Manor fell on his and his brother Severinas’ Share. In the interwar period the painter, a landowner, joined the cultural life of Telšiai: he contributed much to the building of the Žemaičiai Alka Museum, and also exhibited his works at art exhibitions. He died in 1947 and was buried in the cemetery of the Telšiai town. Researchers find great difficulties in investigating his creation for the major part of his works is unknown, undoubtedly, 37 fine paintings of Andrijauskas are kept at the Žemaičiai Alka Museum. His creation is not unanimous, it goes beyond the limits of one style since it was formed by different schools, those of Petersburg’s and Munich’s. His landscapes could be attached to the trend of impressionism which is closely related to the world conception of the Romanticism.The painter was admired by Nature, however, the subtile feelings, nostalgic sentiments and the emotions of the author himself are hidden under the outward views. This attaches his creation closer to the concept of the „landscape as a state of the soul“ characteristic of neo-romantisists. The other part of his works consists of the portraits painted in academic manner. Andrijauskas’ creation was far from the processes of fine arts in cities and, in addition, his peculiar being shut in himself, that is, an isolation of some kind determined the conservatism of his solving the art problems. However, by his way of expression as well as by stylistic elements his works are close to those of Lithuanian artists of the 20th century, especially, of the first two decades of this century. The analysis on Andrijauskas’ life and creation leads to the conclusion that the creation of the painter was not at all a phenomenon of provincial nature.