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1

THE PICTURE OF THE HOLY VIRGIN MARY OF TRAKAI AND ITS IMITATIONS

100%
Sinkunaite L.
Makslas Vesture un Teorija
|
2005
|
vol. 4
26-32
EN
The article deals with the sacred picture of the Holy Virgin Mary of the Trakai Parish Church in Lithuania. It was the most famous picture in the Grand Duchy of Lithuania up to the very end of the 18th century. Its origin and history is surrounded by various legends. Possibly the oldest imitation is the Mary of the Varniai Cathedral created in the 16th century; others include Mary of the Trakai Gate of the wall of Vilnius old town and in Aglona Church in Latvia. The image of the Holy Virgin Mary of Trakai is a variant of Hodegetria iconographical type with its own peculiarities, while the individualisation that occurs in the imitations of this picture takes on a different and sometimes distinctive character.
2

ART AND STATE: ARTISTIC LIFE IN THE LITHUANIAN REPUBLIC 1918-1940

75%
Jankeviciute G.
Makslas Vesture un Teorija
|
2004
|
vol. 2
39-48
EN
The interwar years are a very distinctive period in the modern history of Lithuania. Once an idle province of the Russian Empire, Lithuania experienced particularly intensive and swift growth. In culture, as in other spheres, radical changes occurred that transformed the state into a modern European country. When we talk about the artistic life of independent Lithuania it is impossible to dissociate it from its organizational and institutional aspects. The struggle of artistic views and ideas was inseparable from the discussions on the problems of the artist's social status, possible forms of artistic patronage and other similar questions. Despite noticing the weak powers of state patronage, artists did not reject their own artistic conception brought from the 19th century. On the other hand, very few of the older generation understood in which direction the attitude of society towards art and its function was moving. Only when the Lithuanian President himself announced, during a congress of the ruling Tautininkai (Nationalists) party, that 'art and science had to have practical significance, they had to serve the nation', thereby stating clearly for what the state was ready to pay artists, the ideal of romanticism began to be reconsidered. With a few exceptions, artists could not earn a living from their art alone. The structure of state commissions and tenders, copyrights and the social status of artists - all these urgent problems could be resolved only by the united efforts and forces of the whole art community. The vision of a modern state was combined with the characteristics of the country's historical past particularly emphasizing the grandeur of the Middle Ages. The Lithuanian state began to understand the importance of art for the representation and propaganda of the image of the country. On the other hand, the brevity of the national culture and insufficient possibilities for its patronage did not allow for different artistic trends to develop and for a critical discourse to appear.
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