Antanas Vivulskis (1877-1919) : tradicijų ir modernumo dermė

LTMonografija skirta originaliam ir palyginti mažai pažįstamam Lietuvos menininkui Antanui Vivulskiui. Tai pirmasis mūsų krašto architektas ir skulptorius, XIX a. pabaigoje ir XX a. pradžioje baigęs Aukštąją technikos mokyklą Vienoje ir Aukštąją nacionalinę dailės mokyklą Paryžiuje. Pirmasis Vivulski išgarsinęs kūrinys buvo Žalgirio paminklas Krokuvoje, skirtas istorinio mūšio 500 metų sukakčiai. Kiti trys stambiausi darbai įgyvendinti Lietuvoje: Šiluvos koplyčia, Trijų Kryžių paminklas Vilniuje ir 1913 m. pradėta, tačiau neužbaigta Švč. Jėzaus Širdies bažnyčia Vilniuje - pirmas Lietuvoje sakralinis pastatas iš gelžbetonio. Be šių darbu, Vivulskis yra sukūręs nemažai skulptūrų: portretų, figūrinių simbolinio bei religinio pobūdžio kompozicijų, studijų ir eskizų paminklams. Monografijoje pirma karta atliktas nuoseklus Vivulskio meninio palikimo tyrimas ir vertinimas. Atskleistos Vivulskio kūrinių sąsajos su tuometinėmis Prancūzijos bei Austrijos meninėmis mokyklomis ir parodytas ryšys su Viduramžių Europos sakralinės architektūros tradicija. Kolkas apie A.Vivulskį nebuvo monografijos nei Lietuvoje, nei Lenkijoje. Šio autoriaus savita kūryba ir dramatiško likimo darbai tutėtų būti išsaugoti istorinėje atmintyje.Reikšminiai žodžiai: Vivulskis Antanas; Šiluvos koplyčia; Architektūra; Paveldas; Vivulskis Antanas; Šiluva Chapel; Architecture; Heritage.

ENThe phenomenon of Antanas Vivulskis has long been attracting the attention of both Lithuanian and Polish art researchers. In 1939, the publication of the book by the Redemptorists’ monk Father Franciszek Świątek enveloped the artist’s image with a certain aura of mysticism. Since that time not only his biography but also the interpretation of his all creative works followed the same and repeated model. Vivulskis’ creative period embraced merely twenty years. His parents descended from the Lithuanian nobility. He was born in the depths of Russia and received his elementary education in Mintauja. There his mother after his father’s death brought him at the age of six and a half together with her three younger daughters. Later he attended the Jesuit Gymnasium in Chyrow (Galicia) and started studying architecture at Technische Hochschule in Vienna. Since 1904 to 1907 Vivulskis studied sculpture at the Ėcole Nationale Supśrieure de Beaux-Arts in Paris. In 1904 and 1905, he went on tours in Italy, England and Belgium. He had a remarkable formation. Vivulskis was the first Lithuanian architect who studied outside the western borders of the Russian Empire. Vivulskis’ artistic heritage is not abundant yet. The Museum of Lithuanian Art posseses almost seventy artist’s sculptural works. These mostly include figūrai and compositional studies from the Parisian period. There are several completed portraits and a few models of buildings. Vivulskis made 5 monumental sculptures; however, only the Žalgiris monument in Krakow saw its accomplishment. From the artistic point of view it can be equalled to the monument of Three Crosses, that is a successful fusion of sculpture and architecture.Four of his projects of architecture are known: they include two chapels (the Šiluva Chapel and Morskie Oko Chapel in Tatry) and two churches under the title of the Sacred Heart of Jesus. The first of which was designed for the Jesuit contest in Krakow and remained unaccomplished. The other one was started in Vilnius, but it was not finished. Why was Vivulskis’ so famous not only in Lithuania but also in Poland, which had a great number of architects and sculptors? Why are his works so attractive? A few artistic concepts exited Vivulskis and they were repeatedly used in his creative process. In fact, everything that was developed and implemented by him was the result of his most intensive activities during his studies in Paris, from 1903 to 1907, the period embracing the years up to the time when the Žalgiris monument was commissioned to him. According to his contemporaries, while still a child as well as in his years of adolescence Vivulskis was keen on modelling people’s images of clay or plasticine. He also liked to cut their silhouettes from paper and the conformity between the created objects and real people would cause great joy in him. He possessed an inborn talent for making portraits, yet, only after spending six years in the Ėcole Nationale de Beaux-Arts in Paris he revealed himself as a professional sculptor. In this school the attention was focused on studying a live model (figure and head). While observing the faces that were modelled by Vivulskis’ one has to admit that he is more realist rather than an impressionist, though, the Parisian school as well as the influence made by August Rodin and Emile-Antoine Bourdelle can not be denied, too. The portrait was important to Vivulskis because he starts with a man’s image and goes further towards more abstract ideas. The portrait was not the artist’s goal - but he needed it to master in order to form easily complicated sculptural compositions.Researchers know a few Vivulskis portraits of men. Three of them were modelled in Paris; dating as far as 1911-1912 (those of I.Korwin-Milevski and Dr.M., and that of an unknown person), and four women portraits, which are more lyrical than those of men (A Girl, An Elderly Woman, A Duchess Ogińska, An Old Woman). All of them were made of plaster. The bust of Bishop K.M.Michalkevičius was the only one moulded from bronze, it was created in Vilnius after the year 1913. It, and also the other images reveal a warm and attentive observation of a person portrayed by him. Vivulskis also created figūrai sketches where he studied the movement and anatomy of a man and by this he could express the wanted mood. That is why a young artist admired the so popular symbolism of fin de siźcle and created allegorical compositions (“Libertė, Ėgalitė“, 1904; “Famine” and others). There are neither completed nor very suggestive figūrai compositions. Perhaps such works were not the artist’s goal - they served for more important intentions, such as compositions for monuments. [...]. [From the publication]