The article analyses imaginative type of landscape painting, in other words, imaginative or reconstructed landscape which cannot be claimed to be prevailing in this genre paintings of late 19th – early 20th Century. But by expressing aesthetic and ideological requirements applied to painting by certain group of society, it gives figurative reflection of Neo–Romantic trends in the Lithuanian art of that time. The specific painting by Henrikas Veisehofas called "Lietuviškas užkampis" [Lithuanian Periphery] chosen for the analysis reflects that. Before moving on to a detailed analysis of the painting, the author of the article reminds the reader of the painter's biography and creative legacy. This painting illustrates the influence of the gentry tradition and certain world outlook clichés formed in its environment on the concept of landscape genre. There were also earlier imaginative landscapes in the Lithuanian painting of the first half of the 19th or mid-19th Century which were similar to Veisenhof's works. But all the mentioned works have specific landscape or monument depicted. While Veisenhof managed to create a version of summarised, typical Lithuanian landscape, idealised vision of the world sinking into the past, on the basis of a specific image of the manor. His landscape shows an image of nature untouched by civilisation, idyll of minor gentry farmstead is creating the impression of stopped time, reflecting not only nostalgic look at the past of the part of the society close to the painter, but also conscious world outlook position stating that "typical" landscape of Lithuania is inseparable from the gentry life signs in it
