Activity of Lithuanian women's artists union (1938-1940)

The first art exhibition of Lithuanian female artists, organized by the Women Aid Committee of the Union of Catholic Organisations and artists in October 1937, was an uncommon event in the art life of Kaunas. Taking into consideration the fact, that only very few women artists were able to enter exposition halls with their works in the temporary capital of Lithuania, the exhibit with unexpected participants (exclusively women) called attention of visitors and critics at once. This exhibition inspired further collective collaboration among female artists. Having two possibilities either to unite into the society of women artists or to establish a separate section in the Lithuanian Artists' Association, they (women artists) chose the latter variant, which guaranteed more stable professional and material basis. The plans of creating a separate section in the Association of Lithuanian Artists failed quickly, when the Board of the Association rejected women's applications. In February 1938 the constituent assembly was held to establish the Lithuanian Women Artists Union, where the Board was elected and the Statute was approved. The activity of the new Union drew major attention of the society the following two years. The results are modest and significant at the same time: a collective exhibition of women's was organized as well as post-mortem exposition of rich creative heritage of Marcė Katiliūtė (both in the year 1940).Minor achievements included efforts to more actively involve not only female artists creating in Lithuania's temporary capital but also ones from periphery, mediation activities to find financial support for artists' tours and studies abroad, organisation of public lectures of artistic education and women's debates on art issues, intentions to improve women's professional preparation as well as administration and representation of creative heritage of Marcė Katiliūtė. In fact, soviet occupation suspended artists' activity, works on monograph of M. Katiliūtė and plans to commemorate her The contact established by the chairwoman of the Association with artists abroad failed as well. The last efforts to unite into the Lithuanian Artists' Trade Union, which was established in July in the year 1940, was unsuccessful again

Artist Domicėlė Tarabildienė‘s (1912-1985) self-portraits in 1930s photography: prototype and improvisation

Domicėlė Tarabildienė expressed herself in various fields of art, first of all, we know her as graphic artist and children’s books illustrator although she was educated in Sculpture. Her early adopted form of creation – photography and photo graphics. Around 1930s Domicėlė, then student of the Kaunas Art School, started taking photographs, encouraged by her classmate Vaclovas Kosciuška (1911– 1984). From her family’s kept photographs and negatives we can see dynamic moments of Kaunas Art School students’ lives, quiet everyday life of interim capital and its suburbs communities, family portraits in Jočiūnai village, bits of her studies and travels in Paris and Italy in the late 30s. For the first time the wide audience had an opportunity to see her photographs only in 2002 (The exhibition Unseen and Unknown Domicelė Tarabildienė: Photographs and Photo Graphics). Modern researchers, including me, are most interested in Tarabildienė‘s self-portraits and use of photo graphics, which was unique in the interwar Lithuania’s photography. It allowed her to move from provincial village commonness to the world of imagination. I do not doubt that Tarabildienė (then Tarabildaitė) had to admire her own personality as there are direct tries to identify herself with images of stage heroes in remaining photographs and negatives. Photomontage with Lillian Roth’s skirt (1932) prototype was initially named by art critic Giedrė Jankevičiūtė in first catalogue of Tarabildienė’s photography exhibition (2002). In this photomontage the young experimenter “borrowed” and tailored a chequered skirt, which she has seen worn by American actress and singer Lillian Roth in “Naujas žodis” (“The new word”) magazine, for herself. There are more images and paraphrases of this kind.This article presents several Tarabildienė’s prototypes from foreign movie actors or other popular characters photographs published in local periodicals. Their interpretations are discussed in 1930s Tarabildienė’s photomontages. Other creative inspirations, such as women nude photographs taken by Czech photographer František Drtikol (1833–1961) in 1920s and 1930s, are mentioned as well. Finally, the significance of images from media or cinema to artist’s self-realization and creative work experiments are questioned and corresponding findings are formed

The Effect of growth regulators on morphogenesis of Dahlia L. in vitro.

Magistrantūros studijų baigiamajame darbe tyrimai atlikti 2019-2020 metais Vytauto Didžiojo universiteto Žemės ūkio akademijos JTC laboratorijoje ir pateikiami jurgino genotipų ir augimo reguliatorių poveikio morfogenezei in vitro tyrimų rezultatai. Tyrimo objektas. Jurgino eksplantai auginami MS terpėje su skirtingais hormonais ir jų kiekiais. Tyrimo metodai. Jurgino morfogenezei izoliuotų audinių kultūroje naudoti ūglių segmentai. Donorinių augalų ūglio segmentai buvo nuplauti 10 min. po tekančiu vandeniu ir keliais lašais indų ploviklio. Eksplantai sterilinti 2 min 70% etanolio vandeniniame ir 1 min 1% natrio hypochlorito tirpaluose. Po to 3 kartus perplauti steriliu distiliuotu vandeniu. Eksplantai laminare supjaustyti į 5-7 mm ilgio segmentus ir padėti ant mitybinės Murashige ir Skoog terpės su skirtingais augimo reguliatorių kiekiais plastikinėse Petri lėkštelėse auginimo spintoje. Joje užtikrinamos kontroliuojamos sąlygos: fotoperiodas 16/8 h (dieną/naktį), šviesos intensyvumas 50 µmol m-2 s-1, drėgmė 75%, temperatūra 22/18 oC (dieną/naktį). Tyrimo rezultatai. Įvertinus trijų jurgino veislių: ’Freda Kristina Pink’, ‘B-Man’, ‘Punia’ izoliuotų ūglio segmentų kultūros tyrimo rezultatus nustatyta, kad priklausomai nuo kiekvieno tyrime naudoto augimo reguliatorių derinio kiekio, kiekviena jurgino veislė labai skirtingai indukavo pridėtinius pumpurus. Tačiau, jurgino veislės ’Freda Kristina Pink’ ir ‘Punia’ eksplantai intensyviau pridėtinius ūglius formavo mitybinėje terpėje papildytoje auksino ir citokinino deriniu. ’Freda Kristina Pink’ didžiausią organogenezės dažnį pasiekė mitybinę terpę papildžius 1,0 mg 1-1 6-benzilaminopurinu ir 1,0 mg 1-1 1-naftilacto rūgštimi, ‘Punia’ – 2,0 mg 1-1 6-benzilaminopurinu ir 2,0 mg 1-1 1-naftilacto rūgštimi. Priešingus rezultatus parodė jurgino veislė ‘B-Man’, nes izoliuoti ūglio segmentai efektyviau formavo morfogenezės struktūras terpėje su citokininų deriniu. Geriausi rezultatai gauti mitybinę terpę papildžius 1,5 mg 1-1 6-benzilaminopurinu ir 1,0 mg 1-1 6-furfurilaminopurinu.The research of the master's thesis was performed in 2019-2020 in the JRC laboratory of Vytautas Magnus University, Academy of Agriculture and the results are presented of the effect on plant dahlia morphogenesis using different genotypes and growth regulators in vitro. Object of the work. Shoot segments are grown in MS medium with different hormones and concentrations. Methods of the work. Shoot segments were used for Dahlia morphogenesis in culture of isolated tissues. The shoots of the donor plants were washed for 10 min. under running water and with a few drops of dishwashing detergent. The explants were sterilized for 2 min in 70% ethanol aqueous and 1 min in 1% sodium hypochlorite solutions. Then rinse 3 times with sterile distilled water. The explants in the laminar were cut into 5-7 mm long segments and placed on a nutrient medium in Murashige and Skoog with different amounts of growth regulators in plastic Petri dishes in a growth cabinet. It provides controlled conditions: photoperiod 16/8 h (day / night), light intensity 50 µmol m-2 s-1, humidity 75%, temperature 22/18 oC (day / night). The results of the work. Evaluation of the culture study of isolated shoot segments of three dahlia breed: ‘Freda Kristina Pink’, ‘B-Man’, ‘Punia’ showed that each genotype reacted differently with growth regulators. However, explants of the dahlia breed ‘Freda Kristina Pink’ and ‘Punia’ formed shoots more intensely in a culture medium supplemented with a combination of auxin and cytokinin. 'Freda Kristina Pink' reached the highest frequency of organogenesis by supplementing the culture medium with 1.0 mg 1-1 6-benzylaminopurine and 1.0 mg 1-1 1-naphthylacetic acid, 'Punia' with 2.0 mg 1-1 6-benzylaminopurine and 2.0 mg of 1-1 1-naphthylacetic acid. The opposite result was shown by the dahlia breed ‘B-Man’, as the isolated shoot segments more efficiently formed morphogenesis structures in a medium with a combination of cytokines. The best results were obtained by supplementing the culture medium with 1.5 mg 1-1 6-benzylaminopurine and 1.0 mg 1-1 6-furfurylaminopurine.Agronomijos fakultetasBiologijos ir augalų biotechnologijos instituta

Different Veronika Šleivytė

Ten years passed since the death of the artist Veronika ŠLEIVYTĖ (1906-1998). The Distributor of Joy, The Queen of Flowers, The Patriarch of Lithuanian Art - those are just a couple of characterizations from bombastic fictionalized articles, commemorating the artist’s exhibitions and creative anniversaries during the Soviet time and the first years of Lithuanian independence. The extravagant appearance of the artist, exceptional activity while preparing personal shows, turned Veronika Šleivytė into one of the most colourful and controversial Kaunas'artistic personalities. Even thou her artistic heritage (graphics and paintings) stayed in the margins, the contemporary researchers are more attracted to the peripheral activities of the artist - photography. This article by the art historian Ieva BURBAITĖ points out the lesser known facts of the artists’ biography, early developed tendency towards educational work and her achievements, as a photographer, during the in-between the wars period

Naked body in art and society of Lithuania in the 1920s and 1930s : images of Olga Dubeneckienė-Kalpokienė (1891–1967)

Straipsnyje analizuojami nuo 1919 m. Lietuvoje gyvenusios rusų dailininkės, Lietuvos baleto pradininkės Olgos Dubeneckienės-Kalpokienės (1891–1967) atvaizdai fotografijose ir dailės kūriniuose. Tekste domimasi iki šiol nepakankamai nagrinėta nuogo modelio vaizdavimo tema XX a. 3–4 deš. Lietuvos dailėje ir fotografijoje. Problemos specifikai atskleisti pasirinktas Naujojoje dailės istorijoje išpopuliarėjęs atvejo tyrimo (case study) metodas. Metodinė nuostata analizuoti konkrečius pavyzdžius, pasitelkiant archyvinius vaizdinius ir tekstinius duomenis, taip pat amžininkų atsiminimus, leido plačiau pažvelgti į nuogo kūno vaizdavimo ir jo viešinimo visuomenėje klausimo ypatumus. Publikacijoje taikoma ir ikonografinė analizė bei recepcijos istorija. Reikšminiai žodžiai: Olga Dubeneckienė-Kalpokienė; Petras Kalpokas; Aktas; Fotografija; Kūnas; Portretas; Olga Dubeneckienė-Kalpokienė; Petras Kalpokas; Nude; Photography; Body; PortraitReferring to the surviving photographs, artworks, reminiscences by contemporaries, and other written sources, the paper discusses the representation of the naked body in visual arts and its public reception in Lithuania in the 1920s and 1930s. Nude photographs of the Russian-born ballet dancer and painter Olga Dubeneckienė-Kalpokienė (1891–1967) become an impetus to discuss what might have been the reasons for a woman to undress in front of the camera and what meaning this kind of act had. The paper analyses the general attitude towards the naked body made public, referring to the origins of the movement of nude aesthetics and naturism, and the spread of its ideas in interwar Lithuania. The analysis of the history of creation of the artist and ballet dancer’s nude photographs and portraits allowed to highlight the fact, which has not been previously emphasized in Lithuanian art history, that painter Petras Kalpokas (1880–1945) used photography as an aid in his works. The author of the paper presents new facts attesting to the close relationship between Dubeneckienė- Kalpokienė and Kalpokas, which began earlier than is asserted in traditional Lithuanian art history. This proof is important not only for the biographies of the above-mentioned artists, but also for that of Vladimiras Dubeneckis (1888–1932), as it may explain several dramatic moments in the famous architect’s life. Moreover, Dubeneckienė-Kalpokienė and Kalpokas’s wedding date is specified (1935). A sketchbook, which was thought to belong to Dubeneckienė-Kalpokienė, is newly attributed to Kalpokas. Research of the public attitude towards the naked body in the interwar period has revealed that even the priest Juozas Tumas-Vaižgantas did not hide his fascination with partially naked portraits. Dubeneckienė- Kalpokienė’s allegorical nude photographs received exclusive attention from exhibition visitors and reviewers. Even the nude photographs by foreign artists, displayed in an international photographic exhibition in Kaunas (1938), were acclaimed by some professionals. However, despite the fact that interwar society was becoming more modern, it was not ready to accept fellow-countrymen’s nude photographs about which we learned only in the 21st century and which are still ‘without a place’ in the history of Lithuanian photography

Synthetic organic compounds effect on Dahlia L. plant shoot regeneration

Leidinio DOI: https://doi.org/10.7220/1822-9913.2020The present study was conducted to determine the effect of different varieties of Dahlia L. ‘Freda Kristina Pink’ and ‘B-Man’ explants, BA (6-benzyl amino purine) and NAA (α-naphthalene acetic acid) in the shoots regeneration and growth. The experiments were carried out in 2019–2020 at Vytautas Magnus University JTC laboratory. The results indicate that MS medium (Murashige & Skoog medium) supplemented with BA and NAA at 1.0 + 1.0 mg L-1 concentration gave the highest significantly response to shoot formation reaching 77,8% of ‘Freda Kristina Pink’. While the MS medium supplemented with 2.0 + 2.0 mg L-1 BA and NAA combination for ‘B-Man’ was less responsive to form shoots, reaching 49.1%. But the combinations of BA and NAA 2.0 + 2.0 mg L-1 did not give any response for shoot regeneration of ‘Freda Kristina Pink’Agronomijos fakultetasVytauto Didžiojo universiteta

Curating an exhibition while writing a history

Rugpjūčio 27 dieną Lietuvos meno pažinimo centre „Tartle“ atidarytos parodos „1918–1945 / Kaunas–Vilnius“ kuratorės, dailės istorikės Dovilė BARCYTĖ ir Ieva BURBAITĖ dalijasi patirtimi apie netipišką parodos kuravimą karantino metu ir aptaria ekspozicijos turinį. Kitoks. Turbūt šis žodis geriausiai apibūdina parodos kuravimo procesą karantino sąlygomis. Tiesa, įvertinus galutinį rezultatą, tai galbūt net buvo naudinga. Viena vertus, turėjome mažiau galimybių fiziškai dirbti su eksponatais, kita vertus, galėjome daugiau laiko skirti pačiam tyrimui ir tekstui. Parodos koncepcija išsigrynino ne fiziškai atrenkant ir grupuojant objektus, bet galvojant, ką apie pasirinktą laikotarpį norime pasakyti ir kaip eksponatai gali padėti tą naratyvą sukurti. Tad parodos kuravimas prasidėjo šiek tiek neįprastai. Karantino metu parašyti tekstai virto vaizdu jau sugrįžus į galerijos patalpas. Tokia koncepcija, kai dailė ir tekstas vienas kitą lygiavertiškai papildo, puikiai tinka „Tartle“ atveju, nes galerijos lankymas įprastai vyksta tik ekskursijų formatu, orientuojantis į valandą trunkantį pasivaikščiojimą, o parodos eksponatams reikia komentarų.The art historians Dovilė BARCYTĖ and Ieva BURBAITĖ, curators of the exhibition ‘1918–1945 / Kaunas – Vilnius’ which opened at the Tartle Lithuanian Art Centre on 27 August, share their experience of the atypical curation of an exhibition during lockdown, and discuss the contents of the exhibition

Gediminass dream in art: the political and cultural context

Straipsnyje nagrinėjama mito apie Lietuvos sostinės Vilniaus įkūrimą recepcija dailės kūriniuose, tiksliau – Gedimino sapno siužeto ikonografija ir istorinis jos kontekstas, vertinant šio įvykio vaizdinius kaip siekį istorinėje sąmonėje įtvirtinti Gediminaičių dinastijos pradžią ir klestinčios nepriklausomos LDK su sostine Vilniuje įvaizdį, kartu atkreipiant dėmesį į jo svarbą formuojantis moderniajai lietuviškajai tapatybei. Tekste aptariami politiniai ir kultūriniai aspektai, turėję reikšmės Gedimino sapno motyvo vaizdavimo tradicijai susiformuoti ir kaitai dailės kūriniuose. Reikšminiai žodžiai: Gedimino sapnas, geležinis vilkas, Vilniaus įkūrimo legenda.In the article, the theme of Gediminas’s dream and its reception in 19th–21st century art is analyzed with a focus on the political and cultural aspects that made an impact on the formation of the tradition of representing this motif in artworks, and its change. It was not until the middle of the 19th century that this subject popularized by chroniclers and historians appeared in fine art; until then, it was only found in texts. The Gediminas legend combines real historical events and a mystical vision; thus, it is not surprising that this theme was aligned with the world perception of the 19th and early 20th century. Artists fascinated with the ideas of Symbolism expanded the rather literal iconography of Gediminas’s dream formed in the era of Romanticism, combining a nostalgic view of the past with ethnic motifs. In independent interwar Lithuania, stripped of its historical capital, the narrative of Gediminas’s dream became one of the key topics of propaganda art; its imagery was also successfully disseminated in popular culture. In the Soviet period, when patriotic aspirations were not tolerated in official art, the history of one of the founders of the Lithuanian state, Duke Gediminas, in many cases was reduced to the legend of the founding of the city of Vilnius. Finally, when the country’s independence was restored, the statehood-related connotation of this topic regained prominence, and a monument to Gediminas became probably the state’s most important initiative, and later, in the 1990s, also an object of discussions. The history of the founding of the capital of the Grand Duchy of Lithuania has not lost its relevance today, and its popular symbols (the Iron Wolf, the castle tower and the image of Grand Duke Gediminas) are used in both traditional and somewhat unexpected forms. Analysing how the relevance of the legend of Gediminas’s dream has been changing is one of the mo Iron Wolf, the castle tower and the image of Grand Duke Gediminas) are used in both traditional and somewhat unexpected forms. Analysing how the relevance of the legend of Gediminas’s dream has been changing is one of the most convenient ways to overview and explain the impact of the political situation on the language of art. Keywords: Gediminas’s dream, Iron Wolf, legend of the founding of Vilnius