Lietuvos stiklo mokyklos meninės ypatybės : tradicijų ir įtakų aspektas

Abstract

The main task of the article is to determine the characteristic features of Lithuanian glass school and to describe the local traditions of artistic expression. Soviet glass historians (Kazakova, Voronov, Rachuk, etc.) rated Baltic glass art in the context of the Soviet Union. The researchers accentuated and compared the phenomena of “glass schools” of different countries. The term “school” is not concerned with academic institutions and is rather used to describe the artistic features of different regions. Voronov and Rachuk discussed the Prebaltic glass school as an integrated phenomenon, although they mostly drew attention to Estonian glasswork. Art critics mark out such Prebaltic glass art features of the eighties as minimal laconic decor, simple shapes and clarity. The Baltic artists are described as European, respectable, elegant and in good taste. Also, excellent quality, technical skills, carefulness and precision are noticed in their work. In the end of the nineties, Janitskaja, a Belarus researcher of decorative glass, described the Prebaltic “glass school” in a very similar way. She claimed that Prebaltic and especially Estonian glass art had been strongly affected by constructivism since the times of Roosmos with dominating geometric solid shapes, plain architectonics, regular silhouette and dim northern color spectrum. (Similar features became apparent in decorative glass-ware of Ušinskas, Ušinskaitė, Žilys, and Binkis, although their works were never the basis of Lithuanian glass work in the eighties or nineties.) Comparing the Baltic glasswork with the unique production of Russian, Ukrainian and Belarusian authors of the same period, visible differences can be seen.[...]