Acta Academiae Artium Vilnensis
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The Church of Our Lady of Consolation in Vilnius: The Problem of Prototype and Authorship: Acta Academiae Artium Vilnensis
No full textStraipsnis skirtas unikalaus vėlyvojo baroko architektūros kūrinio – Vilniaus Švč. Mergelės Marijos Ramintojos bažnyčios – prototipo ir autorystės klausimui. Vienabokščio bažnyčios fasado architektūrinis sprendimas išskirtinis ne tik Vilniaus, bet ir visos Lietuvos Didžiosios Kunigaikštystės XVIII a. sakralinės architektūros kontekste. Fasado kompozicinis savitumas žadina norą išsiaiškinti galimą pirmavaizdį ir projekto autorių. Tyrimui susiklostė nepalankios sąlygos – istorinių dokumentų, sutarčių, sąskaitų knygų neišlikę, nėra duomenų apie statybos ir dekoravimo darbus atlikusius meistrus. Siekis nustatyti išskirtinės architektūros bažnyčios projektuotoją istoriografijoje suformavo situaciją, kai autorystė buvo priskirta neturint argumentuoto istorinio ar stilistinio pagrindimo. Straipsnyje istorinio ir meninio konteksto pagrindu aptariamas statinio prototipo klausimas. Remiantis istoriografija, archyviniais šaltiniais, stilistine analize nagrinėjama, kuris iš XVIII a. antrame ketvirtyje Vilniuje dirbusių architektų galėtų būti laikomas Vilniaus Švč. Mergelės Marijos Ramintojos bažnyčios projekto sumanytoju.In the context of the Vilnius Baroque School, the Augustinian Church of Our Lady of Consolation stands out as a distinctive architectural gem. The façade of this single-tower church is unparalleled among sacral architecture not only in Vilnius but throughout the entire Grand Duchy of Lithuania in the 18th century. Despite its uniqueness, the church has long been overlooked by art and architecture historians due to the loss of the Augustinian monastery’s archive, which contained crucial construction documents. The absence of archival records has hampered research into the church and monastery’s history, and the identity of the architect remains a mystery obscured by various assumptions.
The construction of the church, initiated by Kazimierz Dominyk Królikowski, the prosecutor and envoy of the Grand Duchy of Lithuania, supervisor of Tendžiogala, began in 1738, funded by his will. The construction and interior decoration unfolded between approximately 1738/46 and 1757. Around 1790–1810, the façade underwent reconstruction with the addition of square-plan annexes, the treasury-library and the chapel of the Lord Jesus. This alteration, while expanding the church, deviated from the original design, disrupting the intended emphasis on the vertical line, dynamism, and the impression of spatial dissection.
The article focuses on two main issues: the potential prototype of the church and its authorship. It briefly traces the evolution of single-tower Catholic churches in Central Europe and posits the Cathedral of the Holy Trinity in Dresden, commissioned by Augustus III, King of Poland and Grand Duke of Lithuania, as a key prototype for the church façade. Gaetano Chiaveri, an architect from the royal court milieu, supervised the design of the Dresden Cathedral and its construction, which began in 1738. The article explores segments of Chiaveri’s creative path to uncover how certain cultural experiences and architectural ideas circulated in various socio-cultural environments, among different creators and states, shedding light on the channels through which the Dresden Cathedral’s concept could have developed and reached Vilnius.
The architect responsible for the design of the Church of Our Lady of Consolation remains unknown, with historiography suggesting several potential architects. This article critically assesses the validity of these assumptions. It concludes that attributing the authorship to the Augustinian monk Erazm Bartold-Grymała lacks source based and theoretical justification rooted in stylistic features. An additional review of historiography, along with an analysis of both previously discovered and new sources, rejects the claim of Antonio Ludovico Paracco’s authorship. While the version proposing Joannes Valentinus Tobias de Dyderzteyn (Didreysteen, Didrichstein, Dietrichstein) as the architect, which had been previously raised by the author of this article, it is now subject to questioning. Although, in the totality of the analyzed data, Dyderzteyn’s authorship seems the most convincing, deeper stylistic and comparative studies are deemed necessary for robust argumentation. Doubts about his possible authorship stem from the newly discovered fact that the construction of the church might have started before Dyderzteyn arrived in Vilnius.
The article explores the potential authorship of Giuseppe ( Józef ) Fontana, an architect active in Vilnius. This analysis is based on the interpretation of historical facts and a stylistic examination. Among the architects of the Grand Duchy of Lithuania, Fontana is considered as an architect who could have been exposed to the construction of the Wettin Cathedral or its drawings, possibly even having a personal acquaintance with the architect Gaetano Chiaveri. However, a critical analysis of the architectural stylistics reveals no common features between Giuseppe Fontana’s work and the Church of Our Lady of Consolation in Vilnius, making it difficult to hypothesize about his authorship. The article briefly discusses several other architects working in Vilnius during the church’s construction.
It is concluded that the architect behind the design of the Church of Our Lady of Consolation was knowledgeable about the practice of designing single-tower churches. Their professional expertise encompassed not only the traditions of Italian High Baroque architecture but also familiarity with the contemporaneous stylistic innovations in Italian Late Baroque and the architectural context of Saxony and Bavaria. These influences are reflected in the shape, proportions, and expression of the architectural elements of the Church of Our Lady of Consolation’s façade
From Artistic Practice to Writing — and Back
Get PDFStraipsnyje nagrinėjama doktorantūros meno projekto meninės-kūrybinės ir tiriamosios dalių išankstinė perskyra bei jos įveikos galimybės. Problema siejama su galimybe permąstyti ir peržengti doktorantūros nuostatuose įtvirtintą perskyrą tarp meninės-kūrybinės ir tiriamosios dalių, kai pastaroji privalo įgauti apibrėžtos apimties rašytinio teksto pavidalą. Keliamas klausimas, kodėl meninių tyrimų rezultatai dailės krypties doktorantūros meno projekte galiausiai privalo būti įžodinti? Teigiama, kad dominuojantį meninį-akademinį tyrimą galėtų papildyti meninio tyrimo ekspozicijos ir meniniai argumentai. Meninius argumentus galima suvokti kaip į rašytinį tekstą neredukuojamus meninių idėjų ir episteminių tezių asambliažus, kuriuose reikšmingą vaidmenį atlieka materialaus pobūdžio triukšmas.The article examines a problematic distinction between the ‘artistic-creative’ and ‘research’ parts of the doctoral art project-dissertation as prescribed by the Lithuanian Regulations for Doctoral Studies in Art (2017), and considers the possibilities of overcoming it. At first sight, it might seem that this formal distinction is there to honour the respective specificities of both art and research. However, the artists stumble into problems at the point where the ‘research part’ of the project is equated to a piece of academic writing. Thus, from the point of view of this traditional approaches toward rhetoric and dissertation structure, artistic practices and artworks are nothing but appendixes and supplements to the ‘main text.’ Here, we might ask why the results of artistic research in a doctoral art project must be ‘verbalised’? The dominant academic paradigm of an artistic research can be overcome and played over by the ‘artistic expositions’ and ‘artistic arguments.’ Here, the ‘artistic argument’ can be understood as an irreducible assemblage of artistic ideas and epistemic claims, where the type of material ‘noise’ plays a positive role
„Jugoslavijos“ aplankas: Acta Academia Artium Vilnensis
No full textIn 2018, the Uruguayan-Slovene artist Francisco Tomsich launched the artistic research project Give my regards to those you connect, an exploration on connections and dialogues between artists from the former Yugoslavia and the River Plate region corresponding through the Mail Art network from the late 1960s onward. The research’s point of departure was a list of postal addresses from artists in Serbia prepared prior to the dissolution of Yugoslavia by the Uruguayan artist Clemente Padín and expanded in 2019 by Tomsich through the study of the “Yugoeslavia” folder at the General Archive of the University of the Republic of Uruguay. This paper traces the project’s development in Uruguay and Serbia in 2019 and summarises some of its achievements while describing the author’s approach to artistic research and the key issues of method, archive, comparative art histories, institutional context and failure.Straipsnyje pristatomas tęstinio meninio tyrimo „Perduok linkėjimus savo pažįstamiems“ koncepcijos sukūrimo, jos taikymo ir vystymo naratyvas. Projekte tyrinėjami ryšiai ir dialogai tarp buvusios Jugoslavijos bei Urugvajaus menininkų, nuo XX a. 7 deš. veikusių pašto meno tinkle. Atskaitiniu tyrimo tašku tapo Urugvajaus menininko Clementes Padíno sudarytas Jugoslavijos menininkų pašto adresų sąrašas, parengtas prieš pat Jugoslavijos subyrėjimą. 2019 m. studijuodamas Padíno asmeninio archyvo „Jugoslavijos“ aplanką, saugomą Urugvajaus Respublikos universiteto centriniame archyve, Tomsichas šį sąrašą išplėtė. Pirmame skyriuje iš tyrėjo autobiografinės perspektyvos pristatomos projekto ištakos, aprašomos jo atsiradimo aplinkybės bei materializavimosi metu tyrėjo nueitas kelias nuo suinteresuoto išorinio stebėtojo iki įsitraukusio dalyvio. Antrame skyriuje aptariamas su meninio tyrimo vykdymu susijusios paraiškos rengimo procesas. Galiausiai trečiame skyriuje siūloma vykdyto meninio tyrimo analizė, kurioje akcentuojami archyvo, institucinio konteksto ir metodologijos klausimai. Meninio tyrimo metu atsiskleidė netikėta projekto „nesėkmė“ istorinio tikslumo, politinės prasmės ir reprezentacijų diapazono aspektais, dėl ko teko performuluoti projekto tikslus ir siekius
Do Jesuits See Visions? The Painting of St Ignatius of Loyola in Musninkai
Get PDFBaroko menas kaip jėzuitiško dvasingumo raiška, barokinė vizijų ir ekstazių ikonografija aptariami remiantis istoriografine perspektyva, šv. Ignaco Lojolos portreto geneze ir Musninkų bažnyčios šv. Ignaco Lojolos paveikslo ikonografija. Žymiausias šv. Ignaco Lojolos kūrinys Dvasinės pratybos (1535–1548) darė įtaką architektūrai ir menui, tačiau toji įtaka nebuvo vienareikšmiška. Musninkų šv. Ignaco Lojolos paveikslas siejasi su kanonizaciniu šventojo raižiniu, matomas sekimas „tikruoju“ romietiškuoju portretu, įžvelgiami Piligrimo pasakojimo La Stortos vizijos atributai. Paveikslas anksčiau netyrinėtas, patyręs pertapymų, visgi liudija kūrinio originalumą, praskleidžia užsakovo kun. Juozapo Šimkūno ir to laiko politinį istorinį kontekstą, parodo pastangas įdiegti šv. Ignaco Lojolos gerbimą XIX–XX a. sandūroje Musninkų parapijoje.In the article, baroque art as an expression of Jesuit spirituality and the baroque iconography of visions and ecstasies are discussed from the historiographic perspective based on the genesis of the portrait of St Ignatius of Loyola and the iconography of the painting of St Ignatius of Loyola held in the Musninkai church.
The image of the painting of St Ignatius of Loyola of the Musninkai church, which was acquired with the funds of its dean, Reverend Juozapas Šimkūnas (1862–1932), and the Kosinski family in 1901, is rare and has not been researched in Lithuania. The painting was intended for the second tier of the Altar of the Rosary, and its iconography points to St Ignatius’s famous spiritual experience in La Storta, described in A Pilgrim’s Account. However, the image does not show the main character of the vision – Christ bearing the cross, thus we cannot call this work a “vision”.
The personality of the Reverend Juozapas Šimkūnas, the date of creating the painting and its iconography raises the questions: what prompted him to commission the image of St Ignatius for the Musninkai parish? Did the Reverend Šimkūnas have a middle name, Ignas? Did the commissioning of the painting in 1901 in Lithuania, which was then part of the Russian Empire, where the activity of the Jesuits was banned and Jesuits were forbidden to enter Russia, have a political undertone? Could the training of priests based on the Rule of St Ignatius in the 19th century have kindled devotion to the holy founder of the Society of Jesus? Did the Reverend Šimkūnas come by the tsarist propaganda booklet И. Лойола: его жизнь и общественная деятельность (Ignacy of Loyola: His Life and Social Activity) published in St Petersburg in 1890, which contained a portrait engraving of St Ignatius of Loyola? Could he have been inspired not only by the veneration of St Ignatius, but also by the activity of the Fraternity of the Rosary and the position of the altar?
There are no clear answers to these questions, but one can presume that the context of tsarist oppression might have strengthened the determination of “the people’s priest strongly committed to the Lithuanian cause” to show his Catholic loyalty to the Roman pope by using the iconogra- phy of “the Roman apostle” St Ignatius of Loyola. It may have been a sincere attempt of the Musninkai dean, Reverend Šimkūnas, to instil devotion to his patron in the parish, as well as his personal identification with the prominent Pilgrim and the industrious revitalizer of the Catholic Church. Though many questions are raised in the article and the answers are only hypothetical, the detailed discussion of the painting of St Ignatius of Loyola in Musnininkai as a witness to the historical era opens the way to wider research on Ignatian spirituality in Lithuania
The Shadow Out of Time. "I Dreamt of Japan"
Get PDFŠiame tekste aptariamas sapnas Mindaugo Lukošaičio kūryboje. Į piešinių ciklą Sapnavau Japoniją žvelgiama ne tiek analizuojant piešinio kaip dailės kūrinio savybes, bet labiau per siaubo literatūros klasiko Howardo Phillipso Lovecrafto ir jo plėtotos „keistosios fantastikos“ prizmę. Šis žanras leidžia kalbėti apie nežmogiškos (t. y. žmogui niekaip nepažinios) realybės pojūtį, kuris sunkiai apibūdinamas remiantis viena disciplina. Pastanga apie tai aiškintis gali būti traktuojama ir kaip savotiška „neakademinė“ prieiga prie meninio archetipo, kai siekiama rasti raktą į fantazijos, vaizduotės ir sapnų pasaulį. Straipsnio apibendrinime teigiama, jog istoriniu požiūriu vienas nuo kito nutolusiuose (ir vienas apie kitą nieko nežinojusių autorių) kūriniuose – literatūrinėje fikcijoje ir piešinių cikle – ryškėjantys analogiški meniniai archetipai gali prabilti kaip savotiški intertekstai, jungiantys archajines ir naujausias technologijas, mokslą ir meną. Šiuo atveju „keistosios fantastikos“ (arba „keistojo realizmo“) principai siūlo ne tiek anuliuoti modernybės pagimdytą žinojimą, kiek padėti suprasti tai, kas vis dar ne(pri)pažįstama.Writing this text was prompted by my interest in the ideas of otherworldliness, dreams and anti-modernity developed in the works of the fantasy genre. Several years ago, while reading the short stories and novellas by one of the fathers of weird fiction, Howard Phillips Lovecraft (1890–1937), I was thinking about the popularity of images of his work in films, while a later acquaintance with the drawings by the Lithuanian draughtsman Mindaugas Lukošaitis (b. 1980) encouraged me to explore the phenomenon of artistic archetype. The large-format series I Dreamt of Japan created by the artist circa 2013–2018 represents spatial monochromatic chiaroscuro formations, rocks, thick haze and the remnants of mysterious architectural monuments that he saw in his dream. Lukošaitis drew gloomy black-and-white images of imaginary Japan without ever having visited this Far East country. However, that’s where he perceived his visions to be located, and upon waking up, he visualized with a pencil what his brain had constructed while he was sleeping.
The series of drawings I Dreamt of Japan by Lukošaitis is viewed in this text not so much through analyzing the features of the drawing as an artwork, but rather through the prism of philosophical weird fiction developed by the classic of horror literature Lovecraft and his successors. The sense of inhuman (i.e., incognizable to humans) reality can hardly be described within the limits of a single discipline. In this case, an effort to analyze it can also be regarded as a kind of “non-academic” approach to the artistic archetype, an attempt to find a key to the world of fantasy, imagination and dreams. It is asserted in the conclusions that analogous artistic archetypes emerging in these historically distant works can serve as a kind of intertexts bringing together archaic and latest technologies, science and art. In this case, the principles of weird fiction (or weird realism) suggest not so much cancelling the knowledge brought by modernity as helping us to understand what is still unfamiliar and unrecognized
Art Exhibition in the Battleground of Memories
Get PDFStraipsnis grindžiamas įsitikinimu, kad Lietuvos kultūros lauke vis labiau pastebimos istorinės dailės parodos ir didėjanti jų įtaka visuomenei gali lemti dailės istorijos ir jos konteksto apmąstymų ribas: ugdo žiūrovų jautrumą artefaktams, skatina ir iš dalies tenkina kultūros istorijos, visuomenės ir politikos pažinimo poreikį. Imanentiška meno savybė – nuolatinis vizualaus artefakto judėjimas iš (visiško) nematomumo į (dalinį) matomumą – skatina svarstymus apie meno parodos reikšmę ir poveikį, perteikiant „nepatogią“, todėl nutylėtą, iškreiptą atmintį. Kol praeities fragmentas neatpažįstamas, jis negali būti aktualus. Paroda, supažindindama žiūrovą akis į akį su pamirštos tikrovės artefaktais, ją priartina, nuspalvina, išryškina. Straipsnyje, pateikiant atvejo studiją – teksto autorės kuruotas parodas, skirtas Antrojo pasaulinio karo metų Lietuvos menui ir meniniam gyvenimui, siekiama bent iš dalies atsakyti į klausimą, kiek aktualus, paveikus ir prasmingas yra „nepatogių“ istorinių temų komunikavimas meno parodoje, kurios neatsiejama dalimi yra katalogas. Pateikiami pasirinktų parodų organizavimo motyvai, trumpai apibūdinamas jų turinys, struktūra, sklaidos formos ir metodai.The article is based on a paper presented at the conference “How to Tell About Art?” (Vilnius Academy of Arts, 7-8 May 2021; curated by Lina Michelkevičė, Laura Petrauskaitė, and Aušra Trakšelytė). The topic of the presentation was suggested by the growing interest among the Lithuanian public in historical art exhibitions. Both the conference report and the article are based on the assumption that the increasing visibility of the historical art exhibitions in the Lithuanian cultural field and their growing popularity might have an impact that goes beyond the art historical reflections. Such exhibitions not only develop the audience’s sensitivity to artefacts, but also stimulate and partially satisfy the desire to learn about the history of culture, society and politics. The immanent characteristic of art – the perpetual movement of a visual artwork from (total) invisibility to (partial) visibility – implies the significance of an art exhibition and its capacity to communicate the ‘inconvenient’, and therefore silenced and dis- torted, memory. A fragment of the past will remain irrelevant for as long as it is unrecognised. By bringing the viewer face to face with the artefacts of a forgotten reality, the exhibition brings the latter closer, sharpens its colours, and makes it vivid.
By taking the series of exhibitions dedicated to Lithuanian art and artistic life during WWII as its case study, the article aims to at least partially answer the question: how relevant, influential, and meaningful is the communication of ‘inconvenient’ and therefore silenced historical topics, particularly in an art exhibition that uses catalogue as its integral part? The article explains the motives for organising these exhibitions, analyses their brief descriptions along with their narrative structure, and overviews the forms and methods of dissemination. In order to provide a broader context for the issues at stake, a juxtaposition is made with similarly themed exhibitions recently held in Germany and Italy. They became renowned for their local and international focus on art produced under the Fascist and National Socialist regimes, as well as under the conditions of WWII
The Legend
Get PDFPristatomas dailininko Kazimiero Stabrausko (Kazimierz Stabrowski, 1869–1929) fantastinio apsakymo „Legenda“ vertimas į lietuvių kalbą. Apie 1895–1905 m. sukurto apsakymo rankraštis buvo nusiųstas Varšuvoje leisto literatūros ir meno mėnraščio Chimera redakcijai, bet liko nepublikuotas, dabar saugomas Varšuvos nacionalinės bibliotekos rinkiniuose, Chimeros redaktoriaus Zenono Przesmyckio (1861–1905) archyve.
Kūrinyje atsispindi dailininko žavėjimasis teosofinėmis ir antroposofinėmis idėjomis, kurios persipina su krikščioniškosios kultūros simboliais ir įvaizdžiais, savitai traktuotomis Šventojo Rašto citatomis (aukso veršio motyvas). Vizionieriškame Stabrausko tekste, kaip ir jo tapybos darbuose, daug dėmesio skiriama moteriškumo temai, kuriamas dieviškos, idealios moters – grožio ir tobulumo personifikacijos – įvaizdis.
„Legendoje“ išreikštos mintys ir kuriami vaizdiniai gali praplėsti Stabrausko paveikslų interpretacijos galimybes, kartu atspindi platesnes XX a. pradžioje kūrėjus jaudinusias filosofines idėjas. Tekstą iš lenkų į lietuvių kalbą išvertė ir publikaciją parengė Rūta Janonienė.A Lithuanian translation of the fantasy short story The Legend by the artist Kazimierz Stabrowski (1869–1929). The manuscript of the short story written circa 1895–1905 was sent to the editors of the monthly of literature and art Chimera published in Warsaw, but remained unpublished. Today it is held in the collection of the National Library in Warsaw, in the archive of Chimera’s editor Zenon Przesmycki (1861–1905).
The work reflects the artist’s fascination with theosophic and anthroposophical ideas that are intertwined with the symbols and images of Christian culture and originally interpreted quotes from the Holy Scripture (the motif of the Golden Calf). Like in his paintings, in this visionary text the artist devotes much attention to the subject of femininity and creates an image of a flawless divine woman, a personification of beauty and perfection
Contemporary Art on Lithuanian Television: Agents and Shifting Roles
Get PDFStraipsnyje aptariamos įvairios šiuolaikinio meno pristatymo tele vizijoje strategijos, tiesiogiai susijusios pirmiausia su meną pristatančiųjų vaidmenimis, televizinės medijos ir meninės praktikos pokyčiais. Teigiama, kad audiovizualiniam turiniui organizuoti įtakos turi tarp meno lauko ir auditorijos tarpininkaujantys agentai (žurnalistai, menotyrininkai, meni ninkai, kuratoriai, prodiuseriai, meno institucijos etc.). Remiantis Pierre’o Bourdieu meno sociologijos idėjomis, televizijos ir šiuolaikinio meno lauko bei jo dalyvių santykiai matomi kaip nuolatinės derybos dėl kūrybos vieši nimo ir meno lauko dalyvių matomumo, socialinės prasmės ir meno vertės kūrimo, kultūrinio kapitalo kaupimo, vizualaus kultūrinės atminties archy vavimo, kitaip tariant – tinkamiausio meno reprezentacijos būdo, kurį lemia agento užimama pozicija nagrinėjamame lauke. Iliustruojant pavyzdžiais, analizuojamos kalbėjimo apie meną televizijoje ypatybės, šių laukų tarpusa vio įtakos, kritinės praktikos, skirtingi formatai, atsižvelgiama į vadinamųjų agentų vaidmenį formuojant kintantį televizijos kaip informacinės ir kūry binės priemonių statusą.The aim of this article is to briefly discuss the changing relati onship between Lithuanian television and the contemporary art field, as well as the way that the contentproducing agents in the field (journalists, art critics, artists, art institutions etc.) shape the dynamics of this rela tionship. The article focuses on the cases of culture and art being presen ted on television or, vice versa, television itself being reflected upon by art. Based on the ideas of Pierre Bourdieu’s sociology of art, the relationship between these two fields and their participants can be viewed as a conti nuous negotiation of publicity, production of social meaning, and archiving of cultural memory. The core concepts introduced by Bourdieu, which allow us to evaluate the legitimising power of art and the importance of television as a dissemination resource, are employed to analyse these intersections within these fields, their hierarchical divisions, and the resulting tensions.
The analysis of the most notable television projects that have turned into artistic practices and were realised in Lithuania over the co urse of three decades, such as tvvv.plotas by the artist duo of Nomeda and Gediminas Urbonas, the Contemporary Art Centre’s CAC TV, or the Art-o-thlon entertainmentoriented arts championship, reveals the diver se collaborative forms and strategies of that emerge from the interaction between television and contemporary art. In some cases, compliance with the rules of television entails a deliberate misinterpretation and misappro priation of these rules, while in others, it allows for the emergence of a new social reality where the concepts and the specific vocabulary of the field are changed and simplified, and certain established classification schemes eliminated.
The article regards the relationship between art and television as a communicative act, where cultural meanings are not transmitted but rather constantly created, while the audience itself has a chance to participate as a creative collaborator free to interpret the received messages in its own way. With regard to the changing role of the television medium in the general field of information dissemination and media culture, a fundamental shift of roles is evident – with the further segmentation of audience, television retreats to the position of a neutral moderator or platform that offers the services of a (digital) public space, while art institutions, willing to be visible players in the field, initiate and produce content about them selves