Kieno veidas? Apie XIX a. II pusės - XX a. pradžios portreto žanro ypatumus

LTNuo XIX a. vidurio portretinėje tapyboje imta plačiai taikyti fotografijas, ypač komercines carte de visite formato nuotraukas. Šios modernios žvilgsnio fiksavimo priemonės, turėjusios užtikrinti nepriekaištingą originalo ir jo atvaizdo atitikimą, privertė suabejoti pozityvizmo epochoje išpuoselėta panašumo samprata. Jos atskleidė juslinėje patirtyje slypinčią dviprasmybę, kuri savo ruožtu pasėjo abejonę regėjimu kaip objektyvų ir adekvatų tikrovės vaizdą atkuriančiu instrumentu. Kilo mintis, kad rega yra intencionali, todėl žvilgsnio ir tikrovės sankirtoje atsiverianti akivaizdybė visuomet turi tam tikrų subjektyvumo žymių. Toks modernizmo epochą pranašavęs požiūris nebuvo už realizmo bei natūralizmo akiračio susiformavusi išorinė opozicija. Sprendžiant iš portreto plėtotės analizės, jis užsimezgė ir susiklostė pačioje pozityvizmo ideologijoje, tačiau ilgainiui pastarosios ribas praaugo. [Iš leidinio]Reikšminiai žodžiai: Portretinė tapyba; Fotografija; Carte de visite; Vaizdų tiražavimas; Hipervizualumas; Tapatybė; Realizmas.

ENIn the second half of the 19th century photography became an aiding medium in the work of the portrait painter. Commercial carte-de-visite photographs were frequently used as a substitute for the sitter. The new method, which was often applied in Vilnius art workshops and by individual artists, made the painting process less difficult and easier obtainable, thus representative portraits in oil became affordable not only for the social elite, but also for the gentry and townspeople. Outwardly harmless, this union of photography and painting had a dramatic effect on the evolution of the portraiture. The painter who took advantage of the carte-de-visite has fallen into dependence on conventional hypervisuality, which is characteristic of this type of photographs. Still the painter's attempts to equal the photographer were vain. The efforts to blur the line between reality and art and to make the artwork a de-personalized and homogeneous optical fabric resulted in formalism of artistic expression. It is more important that attempts to replicate a commercial photograph by means of an artwork led to the destruction of the essential feature of a representational portrait - the ability to represent, i.e. stand for the person depicted and make a conditionally independent image rather than a picture alone. A good example of the interaction between photography and painting is the work A Woman with a Headdress (1890) by a famous Vilnius painter Wincenty Sledziski.Obediently following the universal patterns of photography of the time, this canvas attests to a presence of a person, but does not provide any specific information relating to her personality. Therefore it may be well assumed that the art historian being neither able to identify the sitter as a person nor make any interpretation would be forced to invent the hero of the artwork. Avoiding information vacuum he (she) will make a mistake turning back to the array of traditional stylistic and iconographic research of painting and will employ customary patterns of analysis for such an art piece. The contact of painting with photography necessitated the crisis of the portrait genre and encouraged discussions on realism and truth in art. At the turn of the 19th and 20th centuries some artists abandoned use of photographs, while others started looking for new methods to employ photographic images and to make use of the possibilities provided by amateur photography. [From the publication]

• Apie Ferdinando Ruščico fotografijas / Algė Andriulytė. Acta Academiae Artium Vilnensis 2010, t. 59, p. 105-123.
• Masinės kultūros užuomazgos Kretingos ir Palangos Tiškevičių nuotraukų rinkiniuose. Senoji fotografija ir jos tyrimo galimybės / Juozapas Paškauskas. Lietuvos istorijos metraštis. 2015, 2014/1, p. 67-93.
• Medijų teorijos poveikis kultūros tyrinėjimams / Vytautas Rubavičius. Lietuvos kultūros tyrimai. 2011, 1, p. 14-27.