Kasdienos dalyviai ir valstybės ateities kūrėjai: vaiko vaizdinys Pranciškaus Smuglevičiaus kūryboje

Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Knygos dalis / Part of the book
Language:
Lietuvių kalba / Lithuanian
Title:
Kasdienos dalyviai ir valstybės ateities kūrėjai: vaiko vaizdinys Pranciškaus Smuglevičiaus kūryboje
Alternative Title:
Participants of everyday and the creators of the future of the state: the image of the child in the works of Franciszek Smuglewicz
Authors:
Vitkutė, Joana
In the Book:
Lietuvos Didžioji Kunigaikštystė: parlamentarizmas, konstitucija, visuomenė / sudarytoja Ramunė Šmigelskytė-Stukienė. Vilnius: Lietuvos istorijos institutas, 2023. P. 261-289. (XVIII amžiaus studijos ; 9)
Subject Category:
LT
Pranciškus Smuglevičius (Franciszek Smugletvicz); Menininkai. Menotyrininkai / Artists. Art critics; Vaizduojamasis menas / Vizual arts; Tapyba / Painting.
Summary / Abstract:

LTStraipsnyje nagrinėjama dėmesio iki šiol nesulaukusi XVIII-XIX a. sandūros Lietuvos ir konkrečiai Vilniaus profesionalios dailės raidai ypač nusipelniusio tapytojo ir pedagogo Pranciškaus Smuglevičiaus (Franciszek Smuglewicz, 1745-1807) kūrybos tema - vaiko vaizdavimas pasaulietinės krypties darbuose. Nors individualių vaikų portretų P. Smuglevičius nekūrė (arba jie neišliko), parankiu tyrimo objektu tampa ne vieną mažametį įamžinusios daugiafigūrės dailininko kompozicijos. Šių darbų siužetai lemia ir straipsnyje pasirinktą vaikų portretų P. Smuglevičiaus kūryboje skirstymą į keturias temines kategorijas - mitologinius, istorinius, menininko gyvenamąjį laikotarpį atspindinčius ir pilietiškumo temai plėtoti aktualius mažųjų herojų atvaizdus. Ilgainiui vaikas P. Smuglevičiaus darbuose išryškėja kaip neatskiriamas dailininko istorinės atminties, kasdienos ir ateities lūkesčių, taigi apskritai gyvenimo, dalyvis. Reikšminiai žodžiai: Pranciškus Smuglevičius, vaiko portretas, pasaulietinė dailė, Abiejų Tautų Respublika. [Iš leidinio]

ENThe history of art in Vilnius at the turn of the eighteenth-nineteenth century is unimaginable without the person of Franciszek Smuglewicz (1745-1807). His creative and educational activities attracted a great deal of attention, but one aspect of his artistic work - the depiction of the child in his secular paintings - has not been really discussed. The main aim of this article is to identify and define more precisely the directions and nature of the depiction of secular childhood that emerges in Smuglewicz s work. The works, relevant to this study, are divided into four thematic categories - mythological, historical, reflecting the artist’s period of life, and images of the characters of the little ones, relevant to the theme of citizenship. Ancient mythology occupied one of the key positions in the Classicism, directly influenced by the ideological context of the Enlightenment. Thus in such Smuglewicz s canvases, children played distinctive roles as well. One of the most charming examples is the composition of the Charons boat. Through the image of a child, Smuglewicz gave the painting some more affecting and natural qualities, and at the same time endowed the work with an allegorical flavor. Smuglewicz also paid great attention to the historical genre, which was at the top of the hierarchy of themes in academic art at that time. In such works, he also recorded ‘historical’ children, i.e. children who existed, not from the myths or stories. One of the most striking examples can be seen in the canvas Agrippina transferring the remains of her husband Germanicus to the Homeland. In apainting depicting a fragment of Roman history described in Tacitus’ Annals, the young Gaius Caesar, the future Roman Emperor Caligula, and his youngest sister, Julia Livila, are the focus of attention.The artist also captured the ‘historical’ child in a series of drawings on Polish history, depicting the childhood of King Mieszko I. In both works, however, the child is only a small fragment of a larger narrative about political vicissitudes. Inevitably, the artist’s horizon encompassed the lives of his little contemporaries, who lived abroad and in Lithuania and Poland. We see children in the multi-figure family portraits commissioned for the artist. Smuglewicz managed to add a lot of sincere coziness to the representative portrait of the British aristocrats the Beauclerks, reflecting the ‘conversation piece’ genre. Children also play a distinctive role in the more strictly constructed portrait of the Prozor family. Sisters Marianna and Jozefa, painted in a composition that speaks of the generational changes and respect for the ancestors, become witnesses to the memory of the family history. Another excellent example of a family portrait by Smuglewicz is the family portrait of his eldest brother, the painter Antoni Smuglewicz, which is currently missing. The work, which has the sentimentalism of the French portraiture of the time, radiates Smuglewicz’s sincere love for his nieces and sisterin-law. The canvas aptly captures the character of each girl, a clear reflection of the Enlightenment educators’ call to emphasize the uniqueness of each child. Smuglewicz, a pioneer of the art of genre painting in Lithuania, also captured in his canvases the children who were not from nobility. Perhaps the most characteristic example is the painting of Peasants of Lublin District, which reflects Smuglewicz’s educational respect for all social classes. In Smuglewicz’s work, it is easy to detect strong civic and patriotic ideas, which he immortalized not only through allegorical compositions depicting ancient or medieval history but also by recording the events of the period he lived in.In these works we also see children. In this context, we can mention paintings such as The Oath of Tadeusz Kosciuszko in the Market Square in Krakow and The Granting of Freedoms to the Peasants ofPaulava in 1761), both of which are complemented by the charismatic figures of children positioned at the edges of the compositions. However, here children are not just decorative elements, but also witnesses of key political events in the Polish-Lithuanian Commonwealth. This depiction of young children reflected society’s increased need to instill strong civic values in its children, and the postulate of the importance of education. Thus, although children were not the main object of Smuglewicz’s artistic studies, he often captured them as auxiliary figures, giving additional meanings to the plot. The educational, didactic aspect of childhood as an essential stage of human life was particularly important for the artist. In the canvases that capture the history of the past and the painter s lifetime, more than one character of the little one draws fundamental values from his environment and thus creates the potential for a bright future for the state. For Smuglewicz, the child is not only an integral participant in myths, history, and civic processes, but also in everyday life, and thus in life in general. Because children have always been, are, and will always be around us. Keywords: Franciszek Smuglewicz, portrait of a child, secular art, Polish-Lithuanian Commonwealth. [From the publication]

ISBN:
9786098314335
ISSN:
2351-6968
Subject:
Menotyra / Arts
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Updated:
2024-09-20 23:51:12
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