Tautiškumo ir modernumo sintezė XX a. 3-4 deš. Lietuvos baldų dizaino kontekste : ankstyvoji Jono Prapuolenio kūryba

LTŠiame straipsnyje, daugiausia remiantis nepublikuotais menotyrininko Klemenso Čerbulėno užrašais ir privačių archyvų fotografijomis, nagrinėjami Jono Prapuolenio (1900-1980) tarpukariu privatiems užsakovams kurti baldai. Teigiama, kad J. Prapuolenio baldai ir jų aprašai kaip istorijos šaltiniai atskleidžia ne tik menininko estetinę kūrybos sampratą, paremtą modernumo ir tautiškumo sinteze, bet ir XX a. 3-4 deš. Lietuvos dizaino situaciją. Autoriniai baldai suteikia galimybę interpretuoti ir užsakovų pasirinkimo motyvus. [Iš leidinio]Reikšminiai žodžiai: Art deco; Baidai; Baldai; Jonas Prapuolenis; Modernumas; Tautinis stilius; Tautiškumas; XX a. 3 - 4 deš. dizainas; XX a. 3-4 deš. dizainas; Art deco; Design of 1920s and 1930s; Design of the 1920s and 1930s; Furniture; Jonas Prapuolenis; Modernity; National identity; National style; National stylt.

ENThe article presents the early works (1928-1939) of the pioneer of Lithuanian furniture design, Jonas Prapuolenis (1900-1980), with the goal of revealing what the information about furniture tells us about the history of interwar Lithuania’s daily life and housekeeping. The furniture made by the artist who was the first to create original authors furniture combined interwar modernism and Baltic folk traditions alive in late 1930s. Full of intarsias and incrustations, the decor was created using stylised Lithuanian folk ornaments. Luxurious, but mostly Lithuanian wood and plywood was used for the furniture. As an interior designer Prapuolenis created functional interiors of unified style fashionable in Western Europe with furniture sets of built-in, multifunctional, sectional wares. He drew inspiration for the forms of furniture both from folkish and modern Art Deco wares. These creative trends of combining nationality with modernity and thus expressing the traditions of Lithuanian folk art in a modern way illustrate the attempts of the First Lithuanian Republic to form a nationally engaged but modern society through everyday life. Lithuania was no exception in this respect, as during the interwar period design was used as a tool for the nationalist ideology in reaching the goals of education and propaganda.To this end, a National Style of Lithuanian applied arts was created, and Prapuolenis was considered a master of the National Style by his contemporaries, with emphasis on the modernity and folkishness of his wares. Today, looking from a perspective of time, we can consider the artists work a reflection of the Art Deco style. Prapuolenis’ clients were of higher social status, mainly military officers and public cultural figures. These people supported their own national applied arts not only in words, but also by declaring their nationality through their home environment. [From the publication]