Individually and collectively in the creation: the symbolist ideals of Mikalojus Konstantinas Čiurlionis’, Sofija Kymantaitė’s and Stanisław Wyspiański’s creation

LTReikšminiai žodžiai: Mikalojus Konstantinas Čiurlionis; Sofija Kymantaitė-Čiurlionienė, 1904-1914; Stanislaw Wyspianski; Mikalojus Konstantinas Čiurlionis; Sofija Kymantaitė; Stanislaw Wyspianski.

ENTwo young people, two talented creators – a writer and a journalist Sofia Kymantaitė and an artist Mikalojus Konstantinas Čiurlionis met in Vilnius in 1907. She moved to Vilnius from Krakow, he came from Warsaw. Both of them exchanged bright and intense artistic life in the Polish cities, which would be compared later by Čiurlionis, in the cultural sense, "to Vilnius still being in nappies". They were united with a number of things, such as neoromantic sensation of the world, close to the creative concept, influenced markedly by the Młoda Polska movement. And the most importantly, as one letter in 1908 was written by Čiurlionis, their union was based on the one very important work, united work "because of the Lithaunian art" (Čiurlionis, 1973). From Čiurlionis’ letters, Kymantaitė’s and other’s contemporary memoirs it was known about the close spiritual relationship existed between these two people. During their most intensive interaction in (1907–1909) the artist, Mikalojus Konstantinas Čiurlionis, created a valuable body of music and painting synaesthetic works – musical-pictorial sonatas. In a creative career of Sofia Kymantaitė, before their familiarisation in Vilnius in 1907, there had been critical articles, short stories, fairy tales. During their most intensive communication they devoted considerable attention to each other’s creativity. That was evidenced by many facts: in one of the letters written in 1908 to the artist’s fiancée the artist didn’t forget to inquire about the writing of a follow-up of a satirical short story "The Trip to Lithuania with Pikčiukas". Next, Sofia put her future husband’s article "About the Music in her book In Lithuania" (1908), while M. K. Čiurlionis formed this book and drew its cover. These and other facts show that the interactions of these two artists were not only spiritually intensive but fruitful and creative as well. [Extract, p. 267]