Adauktas Marcinkevičius: 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times
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| Weitere Verfasser: | , |
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| Format: | Buch |
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Apostrofa
2016
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 219 Seiten Porträts 28 cm |
| ISBN: | 9789955605966 |
Internformat
MARC
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| 505 | 8 | |a Adaukto miraklis / Margarita Matulytė -- Fotoetiudai -- Portretai -- Rašytojų namuose -- Šiapus ir anapus reportažo. Studentų stovykla -- Studentų praktika -- Tarnyba kariuomenėje -- Vinco Kudirkos gimimo 100-mečio minėjimas -- Naujoji Akmenė -- Kauno hidroelektrinė -- Sporto rūmai -- Futbolo rungtynės -- Geležinkelio pervaža -- Lukšių miestelis -- Ventės žvejai -- Kuršių marios -- Apie Adauktą Marcinkevičių. Gyvenimas iš laiškų / Saulius Marcinkevičius -- Apie juodus ir baltus laikus / Virgilijus Juodakis -- Gyvenimo ir kūrybos datos -- Summary. Adauktas Marcinkevičius and his times / Margarita Matulytė -- Major events in Adauktas Marcinkevičius' life and work | |
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Datensatz im Suchindex
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| adam_text | Pratarmė ■ 6 Margarita Matulytė · Adaukto miraklis · ю 17 FOTOETIU DAI 39 PORTRETAI ιοί RAŠYTOJŲ NAMUOSE 113 ŠIAPUS IR ANAPUS REPORTAŽO tema: Studentų stovykla ■ 114 tema: Studentų praktika ■ 122 tema: Tarnyba kariuomenėje ■ 128 tema: Vinco Kudirkos gimimo 100-mečio minėjimas ■ 134 tema: Naujoji Akmenė ■ 140 tema: Kauno hidroelektrinė ■ 144 tema: Sporto rūmai · 156 tema: Futbolo rungtynės · 162 tema: Geležinkelio pervaža · 170 tema: Lukšių miestelis ■ 174 tema: Ventės žvejai ֊ 180 tema: Kuršių marios ■ 184 193 APIE ADAUKTĄ MARCINKEVIČIŲ Saulius Marcinkevičius ■ Gyvenimas iš laiškų ■ 194 Virgilijus Juodakis · Apie juodus ir baltus laikus ■ 206 Gyvenimo ir kūrybos datos · 212 215 SUMMARY Margarita Matulytė · Adauktas Marcinkevičius and his Times ■ 216 Major Events in Adauktas Marcinkevičius’ Life and Work ■ 220 Contents ■ 221 Turinys
dauktas Marcinkevičius’ creative career coincided A with the processes of the Khrushchev Thaw in the Soviet Union, which brought the hope of breathing more freely and dreaming more boldly. Literature, art and theatre moved on from stagnation, but photography failed to shake off the cliches of propaganda journalism. Before the rise of the new wave of Lithuanian photography in 1969, this void was filled by one personality, attracting other photographers and encouraging them to believe in themselves and to strive for more than they could allow themselves at the time. This young emerging photographer managed to organise the first group exhibition of Soviet Lithuanian art photography in 1958, and to show the work entitled Sceptics among his other photo graphs. The content and the title of the image openly conveyed a negative idea. Precisely this work impressed the admissions board of the All-Union State Institute of Cinematography (vgik) when Mar cinkevičius enrolled in the Faculty of Cinematography. He had captured two Soviet sceptics, who had hitched a lift with him in a lorry from Kaunas to Vilnius. The dullness permeating the photograph, the unconcealed apathy in the men’s faces, and the glaring brightness of the lit cigarettes emphasising their faces, were not perceived as a threat by Moscow ideo Adauktas Marcinkevičius and his Times MARGARITA MATULYTĖ logues any more. Things would have been different prior to the 20th Congress of the Communist Party of the Soviet Union in February that year, but as the assembly denounced the cult of Stalin, circumstances changed
immediately after it. That year saw Aesop’s words about ‘the abyss for free people’ resound ing on the stage of the Bolshoi Theatre in Moscow. Citizens of the USSR had the opportunity to listen to the French singer Margarita Matulytė 216
Yves Montand in the Pyotr Tchaikovsky Concert Hall, and get a was expressive, rich in social detail, and sensitive to the every glimpse of his legendary consort, the actress Simone Signorét. day reality. In addition to the familiar illustrations printed in An exhibition of work by Picasso was held at the Hermitage in the press at the time, the rolls of film on a single theme, stored Leningrad, and thousands of people experienced a cultural among his papers, contain shots which display an original shock: they failed to comprehend the artistic language of the poetic and psychological approach to documentary photogra creator of the Dove of Peace. phy. The chronicle of each event that he documented featured Marcinkevičius had acquired a basic knowledge of aesthet only one or two ‘proper’ shots suitable for publication; the ics in Kaunas, but a year studying in Moscow made him mature rest were an expression of his own artistic interests. In his re and audacious, qualities which were lacking at the time in ports, he often captured not just the main event, but also its Lithuania, a republic on the periphery of the USSR. The VGIK background, the nameless ‘extras’. He cropped this out of the was not just an excellent school of cinematography, it was also context, magnified it, and studied it closely, as if attempting a hotbed of intellectual thought, active spiritual life, and in to penetrate people’s hidden thoughts, and understand what novative ideas. The future directors Andrei Tarkovsky, Vassily ordinary Lithuanians were thinking about. The political situation was
favourable for him and other art Shukshin and Vytautas Žalakevičius were all students at the institute at the time. Returning to Lithuania without a diploma, ists: they did not have to whisper any more, and could write Marcinkevičius did not expect to get a job as a cameraman at more openly; they could photograph not only the ‘ideological the Lithuanian Film Studio; after all, Lithuanian cinema was truth’, but also a bit more than that, without fear of coming only taking its first steps in 1957, and so he returned to pho under surveillance and risking arrest and repression for ‘coun tography, although he had never really parted with it. With a ter-revolutionary activity’, based on the infamous Article 58 readily available darkroom, equipment and materials, and also from the Stalinist era. Many intellectuals believed this at the publishing opportunities, he carved out a niche for himself in beginning of the Thaw. photojournalism and plunged into creative work. He found Without wasting a minute of his precious time, Marcinke himself in a milieu which was concerned with determining vičius pointed his camera at people in art and culture. Over what artistic photography should look like, and discovered a two years, he took portraits of about 100 Lithuanian artists, wholly new photographic territory. musicians and writers. He was also lucky enough to depict Having started work as a press photographer, the 20-year- world-famous figures, such as the violinist David Oistrakh, the old Marcinkevičius had to adapt to the mandatory tone of So psychic Wolf Messing, and the pianist
Van Cliburn. The gal cialist Realism, and the biased selection of shots for printed lery of personalities he created differs from the usual Social reports. He focused on current events, as the editorial offices ist Realist ‘walls of honour’ of the time. Taking photographs of periodicals demanded, but his distinctive visual language of people in their homes, studios and at concerts, he did not 217 ADAUKTAS MARCINKEVIČIUS AND HIS TIMES
Adauktas Marcinkevičius and Rymantė Šerkšnytė | Vilnius, 1955 stage situations that would emphasise the mission of a hero in escape Socialist Realism, not by pursuing innovative ideas, a ‘great era’. The only distinctive trait of his portraits is the con but rather by going back to safe experience tested by time. He centrated artificial lighting. It is obvious that the basic artistic addressed the same issues that the British photographer Pe lighting he had learned about at film school had an influence ter Emerson and other pioneers of artistic photography had on Marcinkevičius’ photographic work, although it is also a tackled in the late 19th and early 20th centuries: the meaning direct reflection of 17th-century Dutch art, which he admired. of the image, the status of photography as an autonomous Working in a small room or without lighting diffusers would art, the photographer’s vocation, and the aesthetic culture of be a problem for a professional, as it would be difficult to hide expression. technical solutions that are more like defects, but this approach imparted a special mystical mannerism to his portraits. Most of all, he favoured pictorialist expression, based on subjective impressions, association, a soft pale texture, and Nevertheless, he was more interested in artistic expression, painterly effects. His railway studies recall the image of the so he turned to poetic imagery, and moved away from purely steaming locomotive ‘painted’ by Alfred Stieglitz in The Hand documentary photography. Sensitive and meditative by nature, of Man (1902), while the motif of a
boat spotted on the River he was capable of listening attentively to the whispers of hu Nevėžis near Kačerginė in Silence (1958) comes close to the manity and the land, and conveying them in imagery. The sur mood of Alvin Langdon Coburn’s view of the River Thames in viving photographs taken by Marcinkevičius in 1954 reflect an East London in Wapping (1909). Constructivism is another of aesthetic sense akin to that of early Modernism; he cultivated his stylistic directions. In these photographs, he focused on it further by perfecting his technique and style. He sought to the capacity of photographic form. The Kaunas Hydroelectric Margarita Matulytė 218
Power Plant provided him with the perfect location for mas were held in Lithuania, works by the country’s photographers tering urban structures. While documenting the construction were exhibited in Moscow, and a Lithuanian photography col and the opening of the power plant, he was simultaneously col lection was presented in Czechoslovakia. lecting artistic sketches. Seemingly following in the footsteps Marcinkevičius was unable and unwilling to conform to of Alexander Rodchenko’s visual experiments, Marcinkevičius reality, he did not perceive a gap between flights of fancy and searched for impressive angles that would highlight the sim actual possibilities, and he was recklessly and passionately de ple geometry of structures and objects. His diverse tactics can voted to his creative work. Only visionary idealists like him are be explained by his youthful enthusiasm, by his willingness able to light the fire of Prometheus in the world of the mortals. to experiment with new materials and try out the numerous He himself did not keep going, and burned out: a friend found ideas which haunted him. him, overdosed on prescription medicine, in the staircase of his workplace (the Nature Preservation Committee). Adauktas Avoiding revolutionary fervour, and finding inspiration in the tried-and-tested prewar Western and Russian avant-garde, Marcinkevičius died the next day. He was only 23. Marcinkevičius, the herald of the ‘thaw’ in Lithuanian pho Marcinkevičius’ innovative works from the period of the tography, melted the ice instead of breaking it. This strategy en Thaw reflect
a turning point in Lithuanian photography, and abled him to balance the possible and the impossible, safe and mark a general change in cultural values. suspicious levels of photographic art, in the still barely open doorway to artistic freedom, and pave the way for new names: Antanas Sutkus, Algimantas Kunčius, Romualdas Rakauskas, Aleksandras Macijauskas, Vitas Luckus, and others. Even though he had no hope of publishing his artistic works in the press, Marcinkevičius did not succumb to the general tendency, by giving up and coming to terms with the fate of a Soviet photojournalist, and took up organisational activities instead. On one hand, he brought photographers together for the first Lithuanian group exhibition; on the other, realising that public activity was impossible without institutional affili ation, he initiated the establishment of the first photographers’ organisation in the Soviet Union, the Republican Photography Section of the Lithuanian Journalists’ Union. The first results of his work in that field were spectacular: several exhibitions 219 ADAUKTAS MARCINKEVIČIUS AND HIS TIMES
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Pratarmė ■ 6 Margarita Matulytė · Adaukto miraklis · ю 17 FOTOETIU DAI 39 PORTRETAI ιοί RAŠYTOJŲ NAMUOSE 113 ŠIAPUS IR ANAPUS REPORTAŽO tema: Studentų stovykla ■ 114 tema: Studentų praktika ■ 122 tema: Tarnyba kariuomenėje ■ 128 tema: Vinco Kudirkos gimimo 100-mečio minėjimas ■ 134 tema: Naujoji Akmenė ■ 140 tema: Kauno hidroelektrinė ■ 144 tema: Sporto rūmai · 156 tema: Futbolo rungtynės · 162 tema: Geležinkelio pervaža · 170 tema: Lukšių miestelis ■ 174 tema: Ventės žvejai ֊ 180 tema: Kuršių marios ■ 184 193 APIE ADAUKTĄ MARCINKEVIČIŲ Saulius Marcinkevičius ■ Gyvenimas iš laiškų ■ 194 Virgilijus Juodakis · Apie juodus ir baltus laikus ■ 206 Gyvenimo ir kūrybos datos · 212 215 SUMMARY Margarita Matulytė · Adauktas Marcinkevičius and his Times ■ 216 Major Events in Adauktas Marcinkevičius’ Life and Work ■ 220 Contents ■ 221 Turinys
dauktas Marcinkevičius’ creative career coincided A with the processes of the Khrushchev Thaw in the Soviet Union, which brought the hope of breathing more freely and dreaming more boldly. Literature, art and theatre moved on from stagnation, but photography failed to shake off the cliches of propaganda journalism. Before the rise of the new wave of Lithuanian photography in 1969, this void was filled by one personality, attracting other photographers and encouraging them to believe in themselves and to strive for more than they could allow themselves at the time. This young emerging photographer managed to organise the first group exhibition of Soviet Lithuanian art photography in 1958, and to show the work entitled Sceptics among his other photo graphs. The content and the title of the image openly conveyed a negative idea. Precisely this work impressed the admissions board of the All-Union State Institute of Cinematography (vgik) when Mar cinkevičius enrolled in the Faculty of Cinematography. He had captured two Soviet sceptics, who had hitched a lift with him in a lorry from Kaunas to Vilnius. The dullness permeating the photograph, the unconcealed apathy in the men’s faces, and the glaring brightness of the lit cigarettes emphasising their faces, were not perceived as a threat by Moscow ideo Adauktas Marcinkevičius and his Times MARGARITA MATULYTĖ logues any more. Things would have been different prior to the 20th Congress of the Communist Party of the Soviet Union in February that year, but as the assembly denounced the cult of Stalin, circumstances changed
immediately after it. That year saw Aesop’s words about ‘the abyss for free people’ resound ing on the stage of the Bolshoi Theatre in Moscow. Citizens of the USSR had the opportunity to listen to the French singer Margarita Matulytė 216
Yves Montand in the Pyotr Tchaikovsky Concert Hall, and get a was expressive, rich in social detail, and sensitive to the every glimpse of his legendary consort, the actress Simone Signorét. day reality. In addition to the familiar illustrations printed in An exhibition of work by Picasso was held at the Hermitage in the press at the time, the rolls of film on a single theme, stored Leningrad, and thousands of people experienced a cultural among his papers, contain shots which display an original shock: they failed to comprehend the artistic language of the poetic and psychological approach to documentary photogra creator of the Dove of Peace. phy. The chronicle of each event that he documented featured Marcinkevičius had acquired a basic knowledge of aesthet only one or two ‘proper’ shots suitable for publication; the ics in Kaunas, but a year studying in Moscow made him mature rest were an expression of his own artistic interests. In his re and audacious, qualities which were lacking at the time in ports, he often captured not just the main event, but also its Lithuania, a republic on the periphery of the USSR. The VGIK background, the nameless ‘extras’. He cropped this out of the was not just an excellent school of cinematography, it was also context, magnified it, and studied it closely, as if attempting a hotbed of intellectual thought, active spiritual life, and in to penetrate people’s hidden thoughts, and understand what novative ideas. The future directors Andrei Tarkovsky, Vassily ordinary Lithuanians were thinking about. The political situation was
favourable for him and other art Shukshin and Vytautas Žalakevičius were all students at the institute at the time. Returning to Lithuania without a diploma, ists: they did not have to whisper any more, and could write Marcinkevičius did not expect to get a job as a cameraman at more openly; they could photograph not only the ‘ideological the Lithuanian Film Studio; after all, Lithuanian cinema was truth’, but also a bit more than that, without fear of coming only taking its first steps in 1957, and so he returned to pho under surveillance and risking arrest and repression for ‘coun tography, although he had never really parted with it. With a ter-revolutionary activity’, based on the infamous Article 58 readily available darkroom, equipment and materials, and also from the Stalinist era. Many intellectuals believed this at the publishing opportunities, he carved out a niche for himself in beginning of the Thaw. photojournalism and plunged into creative work. He found Without wasting a minute of his precious time, Marcinke himself in a milieu which was concerned with determining vičius pointed his camera at people in art and culture. Over what artistic photography should look like, and discovered a two years, he took portraits of about 100 Lithuanian artists, wholly new photographic territory. musicians and writers. He was also lucky enough to depict Having started work as a press photographer, the 20-year- world-famous figures, such as the violinist David Oistrakh, the old Marcinkevičius had to adapt to the mandatory tone of So psychic Wolf Messing, and the pianist
Van Cliburn. The gal cialist Realism, and the biased selection of shots for printed lery of personalities he created differs from the usual Social reports. He focused on current events, as the editorial offices ist Realist ‘walls of honour’ of the time. Taking photographs of periodicals demanded, but his distinctive visual language of people in their homes, studios and at concerts, he did not 217 ADAUKTAS MARCINKEVIČIUS AND HIS TIMES
Adauktas Marcinkevičius and Rymantė Šerkšnytė | Vilnius, 1955 stage situations that would emphasise the mission of a hero in escape Socialist Realism, not by pursuing innovative ideas, a ‘great era’. The only distinctive trait of his portraits is the con but rather by going back to safe experience tested by time. He centrated artificial lighting. It is obvious that the basic artistic addressed the same issues that the British photographer Pe lighting he had learned about at film school had an influence ter Emerson and other pioneers of artistic photography had on Marcinkevičius’ photographic work, although it is also a tackled in the late 19th and early 20th centuries: the meaning direct reflection of 17th-century Dutch art, which he admired. of the image, the status of photography as an autonomous Working in a small room or without lighting diffusers would art, the photographer’s vocation, and the aesthetic culture of be a problem for a professional, as it would be difficult to hide expression. technical solutions that are more like defects, but this approach imparted a special mystical mannerism to his portraits. Most of all, he favoured pictorialist expression, based on subjective impressions, association, a soft pale texture, and Nevertheless, he was more interested in artistic expression, painterly effects. His railway studies recall the image of the so he turned to poetic imagery, and moved away from purely steaming locomotive ‘painted’ by Alfred Stieglitz in The Hand documentary photography. Sensitive and meditative by nature, of Man (1902), while the motif of a
boat spotted on the River he was capable of listening attentively to the whispers of hu Nevėžis near Kačerginė in Silence (1958) comes close to the manity and the land, and conveying them in imagery. The sur mood of Alvin Langdon Coburn’s view of the River Thames in viving photographs taken by Marcinkevičius in 1954 reflect an East London in Wapping (1909). Constructivism is another of aesthetic sense akin to that of early Modernism; he cultivated his stylistic directions. In these photographs, he focused on it further by perfecting his technique and style. He sought to the capacity of photographic form. The Kaunas Hydroelectric Margarita Matulytė 218
Power Plant provided him with the perfect location for mas were held in Lithuania, works by the country’s photographers tering urban structures. While documenting the construction were exhibited in Moscow, and a Lithuanian photography col and the opening of the power plant, he was simultaneously col lection was presented in Czechoslovakia. lecting artistic sketches. Seemingly following in the footsteps Marcinkevičius was unable and unwilling to conform to of Alexander Rodchenko’s visual experiments, Marcinkevičius reality, he did not perceive a gap between flights of fancy and searched for impressive angles that would highlight the sim actual possibilities, and he was recklessly and passionately de ple geometry of structures and objects. His diverse tactics can voted to his creative work. Only visionary idealists like him are be explained by his youthful enthusiasm, by his willingness able to light the fire of Prometheus in the world of the mortals. to experiment with new materials and try out the numerous He himself did not keep going, and burned out: a friend found ideas which haunted him. him, overdosed on prescription medicine, in the staircase of his workplace (the Nature Preservation Committee). Adauktas Avoiding revolutionary fervour, and finding inspiration in the tried-and-tested prewar Western and Russian avant-garde, Marcinkevičius died the next day. He was only 23. Marcinkevičius, the herald of the ‘thaw’ in Lithuanian pho Marcinkevičius’ innovative works from the period of the tography, melted the ice instead of breaking it. This strategy en Thaw reflect
a turning point in Lithuanian photography, and abled him to balance the possible and the impossible, safe and mark a general change in cultural values. suspicious levels of photographic art, in the still barely open doorway to artistic freedom, and pave the way for new names: Antanas Sutkus, Algimantas Kunčius, Romualdas Rakauskas, Aleksandras Macijauskas, Vitas Luckus, and others. Even though he had no hope of publishing his artistic works in the press, Marcinkevičius did not succumb to the general tendency, by giving up and coming to terms with the fate of a Soviet photojournalist, and took up organisational activities instead. On one hand, he brought photographers together for the first Lithuanian group exhibition; on the other, realising that public activity was impossible without institutional affili ation, he initiated the establishment of the first photographers’ organisation in the Soviet Union, the Republican Photography Section of the Lithuanian Journalists’ Union. The first results of his work in that field were spectacular: several exhibitions 219 ADAUKTAS MARCINKEVIČIUS AND HIS TIMES |
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| author2 | Marcinkevičius, Adauktas 1936-1960 Matulytė, Margarita |
| author2_role | pht edt |
| author2_variant | a m am m m mm |
| author_GND | (DE-588)1213102502 (DE-588)136105688 |
| author_facet | Marcinkevičius, Adauktas 1936-1960 Matulytė, Margarita |
| building | Verbundindex |
| bvnumber | BV046792533 |
| contents | Englische Zusammenfassung Adaukto miraklis / Margarita Matulytė -- Fotoetiudai -- Portretai -- Rašytojų namuose -- Šiapus ir anapus reportažo. Studentų stovykla -- Studentų praktika -- Tarnyba kariuomenėje -- Vinco Kudirkos gimimo 100-mečio minėjimas -- Naujoji Akmenė -- Kauno hidroelektrinė -- Sporto rūmai -- Futbolo rungtynės -- Geležinkelio pervaža -- Lukšių miestelis -- Ventės žvejai -- Kuršių marios -- Apie Adauktą Marcinkevičių. Gyvenimas iš laiškų / Saulius Marcinkevičius -- Apie juodus ir baltus laikus / Virgilijus Juodakis -- Gyvenimo ir kūrybos datos -- Summary. Adauktas Marcinkevičius and his times / Margarita Matulytė -- Major events in Adauktas Marcinkevičius' life and work |
| ctrlnum | (OCoLC)1241682194 (DE-599)BVBBV046792533 |
| era | Geschichte 1954-1959 gnd |
| era_facet | Geschichte 1954-1959 |
| format | Book |
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| genre | (DE-588)4145395-5 Bildband gnd-content |
| genre_facet | Bildband |
| geographic | Litauen (DE-588)4074266-0 gnd |
| geographic_facet | Litauen |
| id | DE-604.BV046792533 |
| illustrated | Illustrated |
| index_date | 2024-07-03T14:53:23Z |
| indexdate | 2024-07-10T08:53:58Z |
| institution | BVB |
| isbn | 9789955605966 |
| language | Lithuanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032201460 |
| oclc_num | 1241682194 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 219 Seiten Porträts 28 cm |
| psigel | BSB_NED_20210531 |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Apostrofa |
| record_format | marc |
| spelling | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times sudarė Margarita Matulytė Adauktas Marcinkevičius and his times Vilnius Apostrofa 2016 219 Seiten Porträts 28 cm txt rdacontent sti rdacontent n rdamedia nc rdacarrier Englische Zusammenfassung Adaukto miraklis / Margarita Matulytė -- Fotoetiudai -- Portretai -- Rašytojų namuose -- Šiapus ir anapus reportažo. Studentų stovykla -- Studentų praktika -- Tarnyba kariuomenėje -- Vinco Kudirkos gimimo 100-mečio minėjimas -- Naujoji Akmenė -- Kauno hidroelektrinė -- Sporto rūmai -- Futbolo rungtynės -- Geležinkelio pervaža -- Lukšių miestelis -- Ventės žvejai -- Kuršių marios -- Apie Adauktą Marcinkevičių. Gyvenimas iš laiškų / Saulius Marcinkevičius -- Apie juodus ir baltus laikus / Virgilijus Juodakis -- Gyvenimo ir kūrybos datos -- Summary. Adauktas Marcinkevičius and his times / Margarita Matulytė -- Major events in Adauktas Marcinkevičius' life and work Marcinkevičius, Adauktas 1936-1960 (DE-588)1213102502 gnd rswk-swf Geschichte 1954-1959 gnd rswk-swf Fotografie (DE-588)4045895-7 gnd rswk-swf Fotograf (DE-588)4045893-3 gnd rswk-swf Litauen (DE-588)4074266-0 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Marcinkevičius, Adauktas 1936-1960 (DE-588)1213102502 p Litauen (DE-588)4074266-0 g Fotograf (DE-588)4045893-3 s Fotografie (DE-588)4045895-7 s Geschichte 1954-1959 z DE-604 Marcinkevičius, Adauktas 1936-1960 (DE-588)1213102502 pht Matulytė, Margarita (DE-588)136105688 edt Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032201460&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032201460&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times Englische Zusammenfassung Adaukto miraklis / Margarita Matulytė -- Fotoetiudai -- Portretai -- Rašytojų namuose -- Šiapus ir anapus reportažo. Studentų stovykla -- Studentų praktika -- Tarnyba kariuomenėje -- Vinco Kudirkos gimimo 100-mečio minėjimas -- Naujoji Akmenė -- Kauno hidroelektrinė -- Sporto rūmai -- Futbolo rungtynės -- Geležinkelio pervaža -- Lukšių miestelis -- Ventės žvejai -- Kuršių marios -- Apie Adauktą Marcinkevičių. Gyvenimas iš laiškų / Saulius Marcinkevičius -- Apie juodus ir baltus laikus / Virgilijus Juodakis -- Gyvenimo ir kūrybos datos -- Summary. Adauktas Marcinkevičius and his times / Margarita Matulytė -- Major events in Adauktas Marcinkevičius' life and work Marcinkevičius, Adauktas 1936-1960 (DE-588)1213102502 gnd Fotografie (DE-588)4045895-7 gnd Fotograf (DE-588)4045893-3 gnd |
| subject_GND | (DE-588)1213102502 (DE-588)4045895-7 (DE-588)4045893-3 (DE-588)4074266-0 (DE-588)4145395-5 |
| title | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times |
| title_alt | Adauktas Marcinkevičius and his times |
| title_auth | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times |
| title_exact_search | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times |
| title_exact_search_txtP | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times |
| title_full | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times sudarė Margarita Matulytė |
| title_fullStr | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times sudarė Margarita Matulytė |
| title_full_unstemmed | Adauktas Marcinkevičius 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times sudarė Margarita Matulytė |
| title_short | Adauktas Marcinkevičius |
| title_sort | adauktas marcinkevicius 1954 1959 metu fotografijos adauktas marcinkevicius and his times |
| title_sub | 1954-1959 metų fotografijos = Adauktas Marcinkevičius and his times |
| topic | Marcinkevičius, Adauktas 1936-1960 (DE-588)1213102502 gnd Fotografie (DE-588)4045895-7 gnd Fotograf (DE-588)4045893-3 gnd |
| topic_facet | Marcinkevičius, Adauktas 1936-1960 Fotografie Fotograf Litauen Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032201460&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032201460&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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