Dar vienas žvilgsnis į artimiausią Eustachijaus Tiškevičiaus aplinką: Artūras Bartelis
LTReikšminiai žodžiai: Artūras Bartelis; Estampinė grafika; Eustachijus Tiškevičius; Karikatūra; Karikatūros; 19 amžius; Piešimas; Piešiniai; Satyra; Artur Bartels; Caricature; Drawings; Eustachy Tyszkiewicz; Lithographs; Lithuanian XIX c. history; Painting; Satire.
ENThe personality of artist Artur Bartels, alias Barthels (1818-1885), has so far received little research attention in the history of Lithuanian art and culture. In his lifetime, particularly in the years of his creative activity related with Lithuania in the 1840s and 1850s, he was popular not only as an artist, but also as a writer and creator of songs, poems and dramas. The author of the paper reviews the basic features of Bartels's work as a printmaker and illustrator, reveals its peculiar features, and alongside, tries to establish his place in the context of Lithuanian culture of the 19th century. The drawings by this artist, a bundle of which is held in the Manuscript Departments of the Library of Vilnius University and the Wroblewski Library of the Lithuanian Academy of Sciences, as well as his lithographs for his own books Pan AtanazySkorupa, czhwiek postępowy. Szkice obyczajowe ("Mister Atanazy Skorupa, a Man of Progress. Genre Drawings"), Pan Eugeniusz. Szkice obyczajowe ("Mister Eugeniusz. Genre Drawings"), Lapigrosz. Szkice obyczajowe ("Money-Grubber. Genre Drawings"), published by the efforts of Jan Kazimierz Wilczyiiski in Paris in 1858, have been chosen as an object of research. Both in the sketches drawn "for himself", and in the published series of prints, Bartels aimed to reveal the ethnographic features of the regions inhabitants and their individuality.In his work, the artist sought to psychologise and caricature the images of the portrayed individuals and related sentimentality with didactics, and emotionality - with moralism. It is these features of Bartels's work that represent the positivist spirit of the time, which was common to the activity of quite many cultural figures and society's educators in Lithuania in the period before the uprising. In this respect the artist acted as a person from the environment of the Tyszkiewicz family - he was related with Eustachy Tyszkiewicz both by work and friendly relations; the latter s brother Konstanty (1806-1868) also supported him as a patron and even acted as his manager. Besides, in the 1860s Bartels lived in Astravas as an authorised representative of the manager of the Biržai majorat Michal Tyszkiewicz (1828-1897). [From the publication]
