Pilietinio pasipriešinimo motyvai Kanuto Rusecko kūryboje

LTStraipsnyje atskleidžiami Kanuto Rusecko kūrybos pilietinio pasipriešinimo motyvai. Dėmesys telkiamas į politinį kontekstą, kuriame Ruseckas gyveno, ir į jo studijas Paryžiuje bei Romoje. Pateikiama dailininko kūrybinių galimybių pokyčių apžvalga su nubrėžta skirtimi iki ir po 1831 m. sukilimo. Siekiant pristatyti įžvalgas apie Rusecko pastangas kūriniuose įamžinti caro valdžios naikinamas Vilniaus sakralias vietas ir religines tradicijas, straipsnyje pateikiamos jo darbų „Vakarinės pamaldos Aušros Vartuose“, „Dievo kūno procesija“, „Verbų sekmadienis“, „Pjovėja“ analizės. [Iš leidinio]Reikšminiai žodžiai: Kanutas Ruseckas; XIX a. Lietuvos dailė; Pilietinis pasipriešinimas; Kanutas Ruseckas; Civil resistance; Nineteenth century Lithuanian art.

ENThe basic purpose of this article - to identify the reasons for civil resistance Kanutas Ruseckas works painted after 1831. uprising - was aimed in three directions, focusing on works of art, the artist’s biography and ideas in the field, which formed the artist’s talent. Exceptional attention is being focused on the political context in which Ruseckas lived into his studies in Paris and Rome. Researched Rusecko relationships with artists, the most prominent issue in developed and survived until our days their works. A summary of the changes in the creative possibilities of painters of the Vilnius Art School is presented with a distinction made before and after 1831. uprising. These two contrasting periods are expanded geographically. Analysis of the Ruseckas paintings "Evening worship at the Dawn Gates", "God’s body procession in Vilnius", "Palm Sunday", "Reaper" performed to verify the assumptions about the works of Ruseckas efforts to perpetuate the tsarist government to destroy sacred Lithuania places and religious traditions. The observed picture "Evening worship at the Dawn Gates", "Palm Sunday" and "Reaper" interface with the Carmelites, and professional Ruseckas relations with the monastic orders, drew attention to the fact that when Ruseckas created these paintings Carmelite Order in Vilnius was closed, its assets czar government confiscated and handed over to the Orthodox confession. This led to the conclusion that Rusecko pictures are coded in society prevailing mood about the sacrified place of Vilnius emerging threats. [From the publication]