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- Title
TRYS LIETUVOS MENININKĖS TARP KAUNO IR PARYŽIAUS: MOTERS IR KŪRĖJOS IDENTITETO PROBLEMA XX a. I PUSĖJE.
- Authors
Andriušytė-Žukienė, Rasa
- Abstract
The place of creation by three female artists such as Barbora Didžiokiene (1896-1976), Domicelė Tarabildienė (1912-1985) and Marcė Katiliūtė (1912-1937) of the first half of the 20th century is stable in the Lithuanian art history. This article analyses the creation and fates of these three coevals’ employing the feminist methodological approach. These three artists are related not only in terms of their creation but also considering their inclination for emancipation and elements of the so-called ‘female problem’: woman in the family, woman in the society, woman in creation. Using characteristics of the three artists’ life and creation, this article reveals and identifies different models of female artist creation and social behaviours, which established among women, who made attempts to study, travel and create in Lithuania in the fourth decade of the 20th century. Having explored three cases of these Lithuanian female artists, it is possible to conclude that before World War II Lithuanian artists were influenced by gradually modernised Kaunas environment and female artists tried to adapt to changing environment in their lives and through creative works. Gender studies employ a theoretical attitude that both genders of human beings are inseparably related; it is impossible to separate members of this composition since man and woman make up a pair of contradicting elements. Following this theoretical approach by H. Tyrell, an attempt is made to describe the artist Petras Tarabilda as well, who demonstrated a non-traditional approach towards female artists. Point of view of Petras Tarabilda is perceived as not typical. Two models of genders relationships (patriarchal and egalitarian) are described in the article. Model of patriarchal gender relationships was traditionally dominant in Lithuania in the 3rd-4th decades of the 20th century. The roles of woman (wife, mother) and an artist were strongly separated. This model had a significant influence on lives and creation of female artists (Barbora Didžiokienė and Marcė Katiliūtė). Egalitarian model of gender relations was observed in the life of Domicele Tarabildiene, when her family gave her a chance to make a free decision regarding her activity and location, still enabling her to retain relationships with her family.
- Subjects
KAUNAS (Lithuania); LITHUANIA; ARTISTS; WOMEN artists; WOMEN'S rights; DIDZIOKIENE, Barbora; TARABILDIENE, Domicele
- Publication
Acta Academiae Artium Vilnensis, 2011, Issue 62, p53
- ISSN
1392-0316
- Publication type
Article