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Copyright of Filosofija, Sociologija is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A fascination with nature accompanied Bronisław Jamontt throughout all stages of his artistic creation. His early work was characterised by the truthful depiction of reality. Contact with the Krakow-Zakopane creative community influenced the creation of efficient works in the selection of formal means, allowing him to record feelings evoked by nature. In the 1920s, Jamontt, inspired by the search for avant-garde artists, created fantastic landscapes filled with rock blocks placed in cosmic space. The transformation of shapes was accompanied by an unreal colour range, additionally leading to a mood of anxiety and mystery. From the 1930s, the artist again began to emphasise the realistic element, allowing the creation of decorative landscapes, composed on the basis of sketches, referring to the romantic vision of nature. [ABSTRACT FROM AUTHOR]

The article focuses on the relationship of František Kupka and Mikalojus Konstantinas Čiurlionis, two painters whose fundamental universal claim of their art could be described as a painterly expression of spirituality. Kupka constructed his own image of the world of geometric and organic forms, Čiurlionis painted strange, astral forms, which assimilated reality, but at the same time uplifted them into a state of strange blissful angelic transcendence. Music and architecture are critical concepts for Kupka as they are for Čiurlionis. Kupka himself declared that he was capable of creating something between the seen and the heard and that he would create a "fugue in colours as was done by Bach in music". Another term which is crucial for Kupka's and Čiurlionis' art, besides music, is architecture. Both artists stressed the imaginary architecture of the "inner world". Čiurlionis' fictitious cities could be seen as the cities of God, Civitas Dei. The attraction of the ancient cultures of the Orient also connects Kupka with Čiurlionis. František Kupka did not create imaginary cities like Čiurlionis; he was more interested in strange imaginary spatial compositions in which sculptural-architectural forms dominated in an indefinite space. [ABSTRACT FROM AUTHOR]