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Type of publication: Straipsnis / Article
Author(s): Jankevičiūtė, Giedrė
Title: Facing the new myths: on Lithuanian art in 1940-1941
Other Title: Naujų mitų akivaizdoje: apie 1940-1941 m. Lietuvos dailę
Is part of: Meno istorija ir kritika, 2007, nr. 3, p. 26-36
Date: 2007
Keywords: Lithuanian art history;Lietuvos dailės istorija;Art under the occupation;Art and politics;Communist propaganda art;Socialist realism;Menas okupacijos sąlygomis;Menas ir politika;Komunistinės propagandos menas;Socialistinis realizmas
Abstract: Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation’s culture feeding those who were suffering oppression.
Straipsnyje apžvelgiama Lietuvos dailininkų kūryba pirmosios sovietų okupacijos metais (1940–1941). Konstatavus, kad daugelis žinomų šalies dailininkų mėgino prisitaikyti prie naujojo užsakovo (kolaboravo su okupaciniu režimu), siekiama įvardyti šio santykio priežastis. Įvykusio lūžio pobūdis ir stiliaus paradoksai atskleidžiami, lyginant nepriklausomybės laikotarpio ir pirmojo sovietmečio žinomų dailininkų kūrinius. Konstatuojama, kad pirmojo sovietmečio patirtis paskatino dailininkų emigraciją. Daroma išvada, kad aptariamas laikotarpis yra ypač svarbus, norint adekvačiai suprasti bei įvertinti XX a. viduryje įvykusį Lietuvos kultūros lūžį ir patirtos traumos pobūdį.
Appears in Collections:Art History & Criticism / Meno istorija ir kritika 2007, nr. 3

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