Apie Ferdinando Ruščico peizažinės tapybos kontekstus

LTMenotyrininkai Ferdinando Ruščico (Ferdynand Ruszczyc) palikimą sutartinai priskiria simbolizmo ir neoromantizmo dailei. Straipsnyje mėginama šią įprastą interpretaciją papildyti nurodant dailininko tapybos sąsajas su pozityvizmo epochai būdingu vizualumu. Tokio tyrimo postūmiu tampa iki šiol nepakankamai aptartas Ruščico santykis su nauja XIX a. vaizdinio meno šaka - fotografija, nulėmęs esmines tapytojo regos kokybes. Pažymėtina, kad pastarųjų neįmanoma apibūdinti taikant tradicinę stilistinę ir ikonografinę paveikslų analizes. Todėl pastangos praplėsti bei patikslinti Ruščico kūrybos kontekstą neišvengiamai siejasi su naujų metodologinių dailėtyros principų paieška. [Iš leidinio]Reikšminiai žodžiai: Neoromantizmas; Realizmas; Pozityvizmo epocha; Peizažinė tapyba; Fotografija; Neo-romanticism; Realism; Era of positivism; Landscape painting; Photography.

ENThe landscape Emptiness (Old Nest, 1901) by Ferdynand Ruszczyc appears one of the most valuable exhibits in the possession of the Lithuanian Art Museum. The natural scene rendered in an expressive manner is perceived as a symbolical metaphor for solitude, fleeting time and transience of being. In the painting we see typical of Ruszczyc s work motives of vegetation devastated by violent elements and the stormy sky, art historians usually associate such features with Neo-Romantic art, as a continuation of Romanticism. The Neo-Romanticism and Symbolism of the turn of the 19th and the 20th centuries traditionally provide the context for the interpretation of this particular canvas as well as the entire mature work of Ruszczyc. The article attempts to expand this traditional interpretation by virme of the visual character of the painter's work as rooted in the era of positivism. The revision of the dominant approach is prompted by the artist's relation to photography the latter far from exhausted by his interaction with the pioneer of Polish Pictorialism Jan Bulhak. The painter was not only interested in the new branch of art and took amateur pictures, of more consequence was the fact that his artistic vision intrinsically possessed qualities characteristic of photographic optics. Ruszczyc's visual skills were considerably influenced by the studies at Art Academy of St Petersburg, the fact ignored or downplayed by most of his researchers. His first teacher Ivan Shishkin developed in him a habit to rely on photography as reference material, while his second professor Arkhip Kuindzhi taught him a skill to awaken his "internal vision" based on the developed visual memory.Ruszczyc attempted to perceive art as two-stage process embracing primary sensory experience and its mental absorption. He related the first stage with the basic, in positivist empiricism, sensory procedure accessible to every individual, while the second stage appeared rooted in emotional irrationalism and shrouded with mystery The painter who reconciled different painting strategies emerges as an individual of the schism era. I.i observation Ruszczyc is a painter of positivism period, convinced in the power of direct glance, yet the very moment when he embarks on - actual or mental orchestration of a painting - he starts partaking in Neo-Romantic art. It is important to note that the usual stylistic and iconographie methods of analysis appear insufficient to present an in-depth interpretation of the visual qualities of Ruszczyc's art. Therefore, in order to revise and widen the interpretation of his legacy, new methodological principles in art research need to be developed. [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.
• Peterburgo ir Vilniaus kultūrų sąsajos Ferdinando Ruščico kūryboje / Algė Andriulytė. Acta Academiae Artium Vilnensis 2003, t. 29, p. 77-83.
• Šešėliai ir debesys: anapusybės vaizdavimo ribos / Tojana Račiūnaitė. Acta Academiae Artium Vilnensis 2012, t. 64, p. 49-64.