Tautodailininkė Ona Pusvaškytė: linoraižiniai, medžio raižiniai, piešiniai
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Lietuvos nacionalinis muziejus
2020
|
| Schriftenreihe: | Tradicijos ir dabartis
8 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 127 Seiten |
| ISBN: | 9786094780400 |
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Datensatz im Suchindex
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| adam_text | Turinys Tradicijos ir dabartis 6 Tradicijų išugdytas talentas 9 Apie Onos Pusvaškytės kūrybą spaudoje 26 Onos Pusvaškytės kūrybai svarbios datos 28 Linoraižiniai, medžio raižiniai, piešiniai 33 Pradžia - rugio gyvenimas 34 Liaudies dainų ¡kvėpti raižiniai 48 Pažįstami kaimo darbai 62 Tradiciniai šventųjų atvaizdai 84 Tėviškės peizažai Traditions and the Present A Talent Nurtured by Traditions (Summary) 108 122 125
A TALENT NURTURED BY TRADITIONS (Summary) he fosterer of the traditions of folk graphic art Ona Pusvaškytė is a member T of the Lithuanian Folk Artists’ Union and a winner of the Paulius Galaunė prize and the Golden Wreath competition. Her works are distinguished by a very strong link to traditions. The timeline of her choice of themes falls into two distinct periods: folklore-ethnographic (the Soviet period) and sacral (inde pendent Lithuania). The folklore and ethnographic themes are rooted in folk songs, life and works of the old villages, while the sacral images are derived from traditional Christian iconography. In her works on folklore and ethnographic subjects, Pusvaškytė uses typical imagery. Easily recognizable characters - a maiden, a young man, a spinner, a ploughman - are quite symbolic. There are not many of them, but only those that are basic to reveal the plot. The figures are static and have generalised forms. Their faces are full of solemn concentration, their postures are ceremonial and festive, and they are almost always dressed in national costumes. The figures of the characters are most often arranged in the centre, and much space is left for the background, which is reminiscent of a carpet woven from stylized corn flowers, camomile blossoms, ears of wheat, and tree leaves. Quite often this décor is framed by vertical garlands of plants and silhouettes of birds at the top. Sometimes a landscape - a field, trees, occasionally a body of water, and almost always, a detail of an old street-oriented village - serves as a background to the subjects of folk
songs or traditional village works. Fields, log houses with ornate shutters, a roofed pillar in the farmyard and human silhouettes look like an icon of the bygone traditional village. The characters are given attributes that describe them or specify the represented action. Mostly these are work tools (a rake, a sickle, a battledore, a plough, a scythe, an anvil). Some attributes (a spinning wheel, a butter churn, millstones, a dowry chest) become a kind of interior detail. A sheaf of rye or a handful of flax seeds can be woven into the surrounding landscape. A horse is always depicted standing in a graceful and expressive posture, as if having appeared from folk songs. Sometimes, a text - a phrase from the lyrics of a folk song or a poetry verse - is added. Some subjects recur in engravings created at a different time. The artist keeps sup plementing the series of twelve linocuts “The Way of the Rye” marking the beginning of her creative career, as she constantly returns to the theme of rye and bread. 125
The appearance of sacral subjects in Pusvaškytė’s work is related to the beginning of the period of National Revival. In these works, figures are also predominant. The structure of the background is to a large extent determined by the engraving technique. Linocuts have more abundant and denser plant ornaments, while in woodcuts they are minimal or almost non-existent. The earlier and later engravings are stylistically uniform; only a slight evolution of lines can be traced: the early works display certain fragility or vibration, while the later ones are characterised by a firmer, more decorative and even monumental line (most likely engendered by experience). A small part of her creative work consists of landscapes and views of the old archi tecture of Kaunas. The image of her birthplace as a live symbol of Homeland stands out in her linocuts, woodcarvings and drawings. Pusvaškytė did not create many drawings. In almost all of them she represented the cherished memories of her birthplace. It is long gone, only a wooden cross remains standing on a wide field. In her pencil drawings she depicts separate buildings of a farm stead (a barn, a bathhouse, a granary, a farmhouse; some of them abandoned, already touched by the decay of time) or fragments of nature. In sacral engravings, drawings are completely different, more reminiscent of sketches. That is what they basically are rudiments of a work, providing an impulse and a basis for developing a composition or creating a life-size drawing that can be later engraved in linoleum or wood. A self-portrait drawn in Indian ink is
probably her only work of this type. Represent ing herself in a farmhouse, with an ornamented dowry chest seen in the interior, she as if declares her relation to the traditional values - the symbolic dowry chest hides bound less treasures of traditions. One only has to open it. The life and work of each artist undoubtedly forms a dynamic whole, thus it is custom ary to look for the sources of their talent. Unfortunately, the contours of Pusvaškytė’s life are more distinct in her works than in her publicly available biography, as the artist is quite secretive about her life and prefers to talk about art, art events and work. This secretiveness and restraint is certainly a character trait that can be traced back to the Soviet era. In the Soviet period, it was dangerous for her as a Catholic to be open about her views and beliefs: her works would have been banned from exhibitions, and she could even lose her job as a cook at the Kaunas Theological Seminary. Ona Pusvaškytė was born on 29 August 1940 into a farmer’s family in the village of Petrikiškiai, Molėtai district. There, like in all Lithuania, life had an almost unchanging 126
rhythm of work and holidays, which was shaping her mind and world perception from early childhood, and formed her personality and values. Like in all Lithuania in the years of the Soviet occupation, in her native village people had to live a double life: the hid den, unofficial one, where traditions, love for Homeland and faith were fostered, and the public one, which had no place for these values. From the time she took her first drawing classes at the Balninkai primary school, she dreamed to be an artist. Yet, having finished school, she left for Kaunas and found a job as a cook at the Kaunas Theological Seminary. Pursuing her dream, she entered the Kaunas evening art school, where she studied painting, sculpture, printmaking and other art disciplines. Though she was more inclined to sculpture, for her graduation work she chose graphic art. She received a graduation certificate for her first linocut series “The Way of the Rye”, which also opened for her a door to exhibitions. Her constant participation in various republican and competitive exhibitions seems to go against her closed character. Numerous solo and group exhibitions of her works have been held in various culture centres, museums, churches, exhibition venues... She gifted a large collection of forty works to the Molėtai Regional Museum, and her engrav ing St Lawrence decorates the Balninkai church. Pusvaškytė is also an active participant of seminars on graphic art. One might think that it is too easy for her, but if invited, she always takes part, time and health allowing. Seminars for her are special
events, where she can explore the heritage of folk art, study the techniques, and consult with the teachers and other participants. Even more impor tant than all that is the presence and common work of creators with different skills and experience, and a special sense of community arising from that presence. Presently the folk artist Ona Pusvaškytė lives between Kaunas and Balninkai. Kaunas, where she created all her works and keeps their prints as well as linoleum and wooden matrixes, is her winter residence. And Balninkai is where she spends her summers. There she held a graphic art seminar for children. There she created a memorial exhibition in honour of the professor, Reverend Stanislovas Gruodis SJ, and at his house built a roofed pillar with a sculpture of Christin Distress by the cross-crafter Adolfas Teresius. On her initiative, a wayside shrine with a sculpture of Pieta created by Rimantas and Stanislovas Zinkevičius, dedicated to the centenary of Lithuania and the long-time dean of Balnin inkai Juozapas Susnys, was built in the churchyard; a cross crafted by Alvydas Mikšys was built in her birthplace in the Petrikiškiai village in 2014. dr. Alė Počiulpaitė 127
|
| adam_txt |
Turinys Tradicijos ir dabartis 6 Tradicijų išugdytas talentas 9 Apie Onos Pusvaškytės kūrybą spaudoje 26 Onos Pusvaškytės kūrybai svarbios datos 28 Linoraižiniai, medžio raižiniai, piešiniai 33 Pradžia - rugio gyvenimas 34 Liaudies dainų ¡kvėpti raižiniai 48 Pažįstami kaimo darbai 62 Tradiciniai šventųjų atvaizdai 84 Tėviškės peizažai Traditions and the Present A Talent Nurtured by Traditions (Summary) 108 ' 122 125
A TALENT NURTURED BY TRADITIONS (Summary) he fosterer of the traditions of folk graphic art Ona Pusvaškytė is a member T of the Lithuanian Folk Artists’ Union and a winner of the Paulius Galaunė prize and the Golden Wreath competition. Her works are distinguished by a very strong link to traditions. The timeline of her choice of themes falls into two distinct periods: folklore-ethnographic (the Soviet period) and sacral (inde pendent Lithuania). The folklore and ethnographic themes are rooted in folk songs, life and works of the old villages, while the sacral images are derived from traditional Christian iconography. In her works on folklore and ethnographic subjects, Pusvaškytė uses typical imagery. Easily recognizable characters - a maiden, a young man, a spinner, a ploughman - are quite symbolic. There are not many of them, but only those that are basic to reveal the plot. The figures are static and have generalised forms. Their faces are full of solemn concentration, their postures are ceremonial and festive, and they are almost always dressed in national costumes. The figures of the characters are most often arranged in the centre, and much space is left for the background, which is reminiscent of a carpet woven from stylized corn flowers, camomile blossoms, ears of wheat, and tree leaves. Quite often this décor is framed by vertical garlands of plants and silhouettes of birds at the top. Sometimes a landscape - a field, trees, occasionally a body of water, and almost always, a detail of an old street-oriented village - serves as a background to the subjects of folk
songs or traditional village works. Fields, log houses with ornate shutters, a roofed pillar in the farmyard and human silhouettes look like an icon of the bygone traditional village. The characters are given attributes that describe them or specify the represented action. Mostly these are work tools (a rake, a sickle, a battledore, a plough, a scythe, an anvil). Some attributes (a spinning wheel, a butter churn, millstones, a dowry chest) become a kind of interior detail. A sheaf of rye or a handful of flax seeds can be woven into the surrounding landscape. A horse is always depicted standing in a graceful and expressive posture, as if having appeared from folk songs. Sometimes, a text - a phrase from the lyrics of a folk song or a poetry verse - is added. Some subjects recur in engravings created at a different time. The artist keeps sup plementing the series of twelve linocuts “The Way of the Rye” marking the beginning of her creative career, as she constantly returns to the theme of rye and bread. 125
The appearance of sacral subjects in Pusvaškytė’s work is related to the beginning of the period of National Revival. In these works, figures are also predominant. The structure of the background is to a large extent determined by the engraving technique. Linocuts have more abundant and denser plant ornaments, while in woodcuts they are minimal or almost non-existent. The earlier and later engravings are stylistically uniform; only a slight evolution of lines can be traced: the early works display certain fragility or vibration, while the later ones are characterised by a firmer, more decorative and even monumental line (most likely engendered by experience). A small part of her creative work consists of landscapes and views of the old archi tecture of Kaunas. The image of her birthplace as a live symbol of Homeland stands out in her linocuts, woodcarvings and drawings. Pusvaškytė did not create many drawings. In almost all of them she represented the cherished memories of her birthplace. It is long gone, only a wooden cross remains standing on a wide field. In her pencil drawings she depicts separate buildings of a farm stead (a barn, a bathhouse, a granary, a farmhouse; some of them abandoned, already touched by the decay of time) or fragments of nature. In sacral engravings, drawings are completely different, more reminiscent of sketches. That is what they basically are rudiments of a work, providing an impulse and a basis for developing a composition or creating a life-size drawing that can be later engraved in linoleum or wood. A self-portrait drawn in Indian ink is
probably her only work of this type. Represent ing herself in a farmhouse, with an ornamented dowry chest seen in the interior, she as if declares her relation to the traditional values - the symbolic dowry chest hides bound less treasures of traditions. One only has to open it. The life and work of each artist undoubtedly forms a dynamic whole, thus it is custom ary to look for the sources of their talent. Unfortunately, the contours of Pusvaškytė’s life are more distinct in her works than in her publicly available biography, as the artist is quite secretive about her life and prefers to talk about art, art events and work. This secretiveness and restraint is certainly a character trait that can be traced back to the Soviet era. In the Soviet period, it was dangerous for her as a Catholic to be open about her views and beliefs: her works would have been banned from exhibitions, and she could even lose her job as a cook at the Kaunas Theological Seminary. Ona Pusvaškytė was born on 29 August 1940 into a farmer’s family in the village of Petrikiškiai, Molėtai district. There, like in all Lithuania, life had an almost unchanging 126
rhythm of work and holidays, which was shaping her mind and world perception from early childhood, and formed her personality and values. Like in all Lithuania in the years of the Soviet occupation, in her native village people had to live a double life: the hid den, unofficial one, where traditions, love for Homeland and faith were fostered, and the public one, which had no place for these values. From the time she took her first drawing classes at the Balninkai primary school, she dreamed to be an artist. Yet, having finished school, she left for Kaunas and found a job as a cook at the Kaunas Theological Seminary. Pursuing her dream, she entered the Kaunas evening art school, where she studied painting, sculpture, printmaking and other art disciplines. Though she was more inclined to sculpture, for her graduation work she chose graphic art. She received a graduation certificate for her first linocut series “The Way of the Rye”, which also opened for her a door to exhibitions. Her constant participation in various republican and competitive exhibitions seems to go against her closed character. Numerous solo and group exhibitions of her works have been held in various culture centres, museums, churches, exhibition venues. She gifted a large collection of forty works to the Molėtai Regional Museum, and her engrav ing St Lawrence decorates the Balninkai church. Pusvaškytė is also an active participant of seminars on graphic art. One might think that it is too easy for her, but if invited, she always takes part, time and health allowing. Seminars for her are special
events, where she can explore the heritage of folk art, study the techniques, and consult with the teachers and other participants. Even more impor tant than all that is the presence and common work of creators with different skills and experience, and a special sense of community arising from that presence. Presently the folk artist Ona Pusvaškytė lives between Kaunas and Balninkai. Kaunas, where she created all her works and keeps their prints as well as linoleum and wooden matrixes, is her winter residence. And Balninkai is where she spends her summers. There she held a graphic art seminar for children. There she created a memorial exhibition in honour of the professor, Reverend Stanislovas Gruodis SJ, and at his house built a roofed pillar with a sculpture of Christin Distress by the cross-crafter Adolfas Teresius. On her initiative, a wayside shrine with a sculpture of Pieta created by Rimantas and Stanislovas Zinkevičius, dedicated to the centenary of Lithuania and the long-time dean of Balnin inkai Juozapas Susnys, was built in the churchyard; a cross crafted by Alvydas Mikšys was built in her birthplace in the Petrikiškiai village in 2014. dr. Alė Počiulpaitė 127 |
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| illustrated | Not Illustrated |
| index_date | 2024-07-03T16:54:50Z |
| indexdate | 2024-07-10T09:05:48Z |
| institution | BVB |
| isbn | 9786094780400 |
| language | Lithuanian |
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| series | Tradicijos ir dabartis |
| series2 | Tradicijos ir dabartis |
| spelling | Pusvaškytė, Ona 1940- (DE-588)1237788250 art Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai sudarytoja Edita Prelgauskienė Vilnius Lietuvos nacionalinis muziejus 2020 127 Seiten txt rdacontent sti rdacontent n rdamedia nc rdacarrier Tradicijos ir dabartis 8 Englisches Nachwort Pusvaškytė, Ona 1940- (DE-588)1237788250 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content (DE-588)4145395-5 Bildband gnd-content Pusvaškytė, Ona 1940- (DE-588)1237788250 p DE-604 Prelgauskienė, Edita edt Tradicijos ir dabartis 8 (DE-604)BV044355255 8 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032617293&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032617293&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai Tradicijos ir dabartis Englisches Nachwort Pusvaškytė, Ona 1940- (DE-588)1237788250 gnd |
| subject_GND | (DE-588)1237788250 (DE-588)4006804-3 (DE-588)4145395-5 |
| title | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai |
| title_auth | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai |
| title_exact_search | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai |
| title_exact_search_txtP | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai |
| title_full | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai sudarytoja Edita Prelgauskienė |
| title_fullStr | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai sudarytoja Edita Prelgauskienė |
| title_full_unstemmed | Tautodailininkė Ona Pusvaškytė linoraižiniai, medžio raižiniai, piešiniai sudarytoja Edita Prelgauskienė |
| title_short | Tautodailininkė Ona Pusvaškytė |
| title_sort | tautodailininke ona pusvaskyte linoraiziniai medzio raiziniai piesiniai |
| title_sub | linoraižiniai, medžio raižiniai, piešiniai |
| topic | Pusvaškytė, Ona 1940- (DE-588)1237788250 gnd |
| topic_facet | Pusvaškytė, Ona 1940- Biografie Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032617293&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=032617293&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV044355255 |
| work_keys_str_mv | AT pusvaskyteona tautodailininkeonapusvaskytelinoraiziniaimedzioraiziniaipiesiniai AT prelgauskieneedita tautodailininkeonapusvaskytelinoraiziniaimedzioraiziniaipiesiniai |