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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.)

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.)

Copyright of Problems / Problemos is the property of Vilnius University 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 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.)

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.)

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.)

Copyright of Early Lithuanian Literature / Senoji Lietuvos literatūra is the property of Institute of Lithuanian Literature & Folklore 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.)

The paper focuses on different generations of women artists who worked in Vilnius during the period of 1919-1939, analyses their roles in the society of Interwar Vilnius, and discusses the relevance of their artworks today. Women artists studied in the Department of Fine Arts in Stephen Báthory University, took part in various social activities, were members of art societies, worked in schools, organised exhibitions, and discussed art in the press. Some of these artists left for Poland during (or after) WWII and continued their work there (Barbara Houwalt, Krystyna Wróblewska). Others remained in Vilnius and tried to survive there by adjusting to the political changes (Eugenia Sienkiewicz-Przyałgowska, Sofia Urbonavičiūtė-Subačiuvienė). Some women artists were killed during the war raids (Kazimiera Adamska-Rouba) or in Nazi concentration camps (Roza (Rachel) Suckever-Ushaev), while the fate of the rest of them remains unknown. Their art (paintings, prints and sculptures) are an important testimony to the modernisation of Interwar Vilnius and its culture. [ABSTRACT FROM AUTHOR]

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]

Copyright of Menotyra 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.)

Straipsnyje, remiantis rašytiniais, ikonografiniais šaltiniais, natūros tyrimais, pristatomos XVII-XIX a. Trakų Dievo Motinos atvaizdo kartotės, laikytinos pamaldumo Švč. Mergelei Marijai ir Trakų paveikslo gerbimo ženklais. Tekste aptariamas jų paplitimas, meninė raiška, analizuojamas pirmavaizdžio ir kartotės santykis, ikonografiniai ypatumai ir jų simbolinės prasmės. The article presents derivations of Our Lady of Trakai in the 17th-19th centuries on the basis of written iconographic sources and direct observations. The derivations express piety to the Virgin Mary and devotion to the image of Our Lady of Trakai. The text analyses their spread, artistic expression, relation to the original, iconographic features and symbolic meanings. When analysing the images of Our Lady of Trakai, it has been noticed that derivations are widespread in the western part of the Grand Duchy of Lithuania and only in the western part of the Vilnius Diocese. Further investigations are necessary to determine the specific reasons for the prevalence of these derivations. However, there is no doubt that the spread of derivations was influenced by the formation and spread of the cult of the Virgin Mary and the density of Catholic parishes and churches. The collected data does not provide an answer if there have been any derivations of the image of the Mother of God, famous of its graces, during the early period of its veneration, i.e. in the fourth quarter of the 16th - the first part of the 17th century. Two periods of the spread of the image of Our Lady of Trakai could be distinguished. Their chronological limits are defined conditionally. The first period lasted from the middle of the 17th century to 1718, i.e. derivations of the miraculous image created even before the canonical coronation of the painting. Usually, derivations set in the old altars changed the old iconography that had already lost significance, or replaced the damaged paintings. The second period (1718 - the end of the 18th century) began after the coronation of the image with papal crowns. During the 19th century, only some works of this iconographic type were created in Lithuanian Catholic churches. The oldest known derivations of the miraculous image in Aglona, Semeliškės and Kietaviškės are attributed to the first period of the spread of the miraculous image of Our Lady of Trakai, and were created in order to reproduce, as accurately as possible, its compositional-iconographic scheme and even application of materials. Other derivations of Our Lady of Trakai from the second half of the 17th to the 19th century were created on the basis of so-called secondary images - graphic and painted works of the miraculous image, often combining elements and symbols from different iconographic types. Disappearance of the gilded and cut background in the derivations could be related to the diminishing relevance of the icons and "Greek-style" paintings in the Grand Duchy of Lithuania as well as the establishment of Western-style painting, although the transcendental space and spirit, which gave sense to icons and pseudo-icons, remained important in Lithuania up to the end of the 19th century. Almost half of the currently known derivations (part of them did not survive) were also famous for miracles and graces (in Varniai, Rozalimas, Benedictine of Kražiai, Benedictine of Nesvyzh, Giedraičiai, Kietaviškės, Molėtai, etc.). The image of Our Lady of Aglona had derivations in professional and folk art (replicas in the Church in Šiluva, the Cathedral of St. James in Riga, the Church of St. Mary Magdalene in Riga, Augskalne, Aizpute and other churches). We have to admit that despite the local origin of the image, devotion to Our Lady of Trakai and the derivations of the image, which rose from the mid-17th century, did not become a widespread phenomenon in the Grand Duchy of Lithuania and beyond. After a relatively short period of devotion (mid-17th to mid-18th century) to the image and its intense copying, the second half of the 18th century saw a decline in the cult of Our Lady of Trakai as a provider of grace, strengthener of belief, Paraclete and patron of the State and its citizens. This decline, which manifested itself in the decrease of the copying of the gracious image, became obvious at the end of the 18th century, when Lithuania was annexed to the Russian Empire after the Third Partition of the Polish-Lithuanian Commonwealth. [ABSTRACT FROM AUTHOR]

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.)

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.)

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.)

Copyright of Lituanistica 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.)

IThe author of the article presents the themes and ideas that she has been developing in her individual creative practice for the last several years. Her current research is focused on developing the concept of simultaneous perception of multiple realities, that is to say, perception of the present on the background of the past(s). The author is also exploring the field of everyday life or, in other words, commonplaces in order to develop a critical understanding of the field and analyse the artistic practices that transform images we see everyday by extracting them from their original context. The exploration of local (Lithuanian) surroundings is the starting point of the author's creative project. The present of the local surroundings is explored against the background of the past, which makes multiple (or "live") memories relevant. Thus, the research encompasses such discourses as social psychology or cultural anthropology. In this context creative exploration includes site-specific images, which are filtered through the artist's imagination and expressed in the body of the medium (painting). Such concepts as perception of reality, socio-cultural memory, time and nostalgia are being reflected not only in the after-painting reality, but also in the painting process. The article presents painting as a way of creating reality anew, which converts the past tense into the actual past tense. By presenting personal creative methods and strategies, painting here is discussed as a way of thinking as well as research. [ABSTRACT FROM AUTHOR]

With the help of the method of self-reflection I analyse the painting process - the creation of a work. While painting in a basketball gym, I adopt the rules of the environment. Basketball motifs appear not only in the painting, but also in the text. In addition to memories and reflections, I insert quotes by other authors (other colours), which are a kind of commentaries of a literary coach, or perhaps the remains of earth, grass or cultural layers, which get entangled into the creative snowball that is being rolled. In the present text two lines of research - visual and textual - can be seen, and at the same time everything is blended together into a single work, which I call a snowball. The inner workings of painting are reminiscent of a snowflake turning into a huge snowball. In the painting process the idea of a work slowly, layer after layer, turns into a painting. The painting process becomes important, as it contains in itself all aspects of the word painting (Lithuanian tapymas - painting, tapsmas - becoming). Along with each painted work something changes in the painter himself or herself, and a clean canvas, just like a blank page, obliges to embark on new pursuits or new research. Painting pursuits get deeply imprinted in memory until they are finally used in one or another situation, one or another work. I constantly record the changes on my mobile phone, as in this way it is easier to remember certain stages of the work, my sensations or creative decisions that have been taken. However, unlike the text, painting does not allow you to go back. Along with constant changes and a search for the most suitable form to express the given idea, excellent paintings sometimes get hidden under layers of paint. However, it is impossible to go back to the previous stage of work - it equals a reconstruction of past events. The entire charge of a painting is concentrated on its surface but, unlike the creative process, its reading is momentary. The perception of the work takes place through each viewer's play of thought. The painter reveals the space and objects that are not there - it is a mere painting illusion, a game created by the painter. It is up to the viewer to believe or not to believe in this game, to play or not to play it. [ABSTRACT FROM AUTHOR]

Copyright of Soter: Journal of Religious Science / Religijos Mokslo Žurnalas is the property of Vytautas Magnus University, Faculty of Theology-Philosophy 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.)

How does an idea become a text or a piece of art? What is the difference between a written idea and an imagined idea? Maybe a work has a form that does not always coincide with the author's story? Is the potential of a painting to individually create a story retained, and does it not disappear due to a different experience? Maybe an idea can be compared to a game or a fairy-tale? Where is the basis of an idea?. To answer these questions I will use my exhibition "My games - Art games" (26 February - 18 March 2014, Meno niša Gallery, Vilnius) and its form of presentation - the spectator is presented with two versions of how to understand the artworks. The game conveys a silent, formless and evolving idea. In this game, we try to find a form referring to our cultural perceptions; however, any expression is restrictive, and thus, the expressed idea is reduced. When the form is achieved, the idea becomes the author's articulation; and yet, the way you read it retains the possibility of individual improvisation. In this way, only a starting point is revealed - a kaleidoscopic eyehole through which we watch. The field of vision is not limited because every colourful glass that falls into the kaleidoscope forms new combinations, which are part of our own fantasy. This improvisation is influenced by an individual view - imagination. A painted image houses fiction in the spectator's body. Since imagination does not exist anywhere else except the body, the spectator becomes a live continuation of the view. The continuity between the viewer and the artwork helps to create infinite references of art - hidden faces or background levelling. Conversely, realistic spontaneous facial expressions (for example, laughter) "mortifies" life, since the time spent painting cannot be instantaneous like in a photograph, and the more references to a long painting process are given, the more this expression looks unnatural - dead. [ABSTRACT FROM AUTHOR]

Copyright of Spaces of Creation is the property of Spaces of Creation 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.)

Copyright of Soter: Journal of Religious Science / Religijos Mokslo Žurnalas is the property of Vytautas Magnus University, Faculty of Theology-Philosophy 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.)

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.)

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.)

The article discusses a specific phenomenon of the Contemporary Art of Vilnius, which, depending on the context, can be dubbed several names - neo-traditionalism, critical regionalism, institutional critique, unsystematic avant-garde. This phenomenon is interpreted as a component - partly a sequel, partly - a reaction to the (new) stagnation of the Contemporary Art system of Vilnius the beginning of which dates from about 2005- 2006. Within the framework of these two semantic poles, the *revolutionary* period of our contemporary art from approximately 1987 to 1998 is discussed. Against its background, the modern art generation (mostly of Vilnius) that debuted in a so-called *post-revolutionary* period (about 1998-2005) is highlighted, with particular emphasis on those who may be relatively described as representatives of *neo-traditionalism*, *critical regionalism* or *institutional critique*. Against the background of the latter, the artistic activities of a representative of critical regionalism - Benigna Kasparavičiūtė are separately discussed. Many aspects of the artwork of Kasparavičiūtė are associated with both an ethical or idealistic position of withdrawal, non-participation in a broader sense, beyond mere formal, stylistic problems. This position of *critical regionalism* to some extent is chronologically and conceptually close to the phenomenon, for example, in Russian it is called *non-systemic* avant-garde - attempting to break free from administrative control (for example, from a forced race of *CV filling*). [ABSTRACT FROM AUTHOR]

The creative work of the artist Julija Jablonskytė- Petkevičienė (1896-1987), a graduate of Kaunas art school isn't known well by the wider public or art researchers; even the facts of her biography are obscure. Her creative output is sparse, since, like most of the interwar women artists, she had to juggle her professional demands with family and children needs and also to struggle against the public opinion on a woman's place and obligations in society. Also, the artist herself did not participate in exhibitions due to a variety of complex reasons, especially because of personal tragedies and repressions after the war, none of her work can be found in museums and the relatively meagre creative output of the artist is still held in private collections. Other than that, Julija Petkevičienė is noted in the history of Lithuanian art as a member of Lithuanian women artist society board (1938-1940), a participant of the society's exhibitions who wrote about these exhibitions in the press and also as an artist who immortalised prominent personalities of society, science and culture in her paintings. Formally, Julija Petkevičienė's creative output can be divided into two periods. The paintings, painted in the 1930's are attributed to the first period, and those created in the 1950's - to the second period, though the difference in worldview and artistic expression is small: all of her work reflect a sincere point of view, the work from the first period show a more open and subjective expression of feelings, while the compositions from the second period display a stronger analytic and rational thinking. Petkevičienė's creative output consists of still life, landscapes, portraits and interior fragments. For her still life paintings the author often chose central composition from a rather close up point of view, painted slowly using faithfully selected colours similar to the object depicted and creating an integral colourway, enriched by subtle colour variations and light and shade contrasts. Some of her still life paintings are composed from objects differing in form, material, texture and purpose. An important element of the still life paintings is assigned to the subtly painted background, which balances the whole colourway and also creates an illusion of recessed space (*Vase with flowers, ashtray and book*, c. 1932-1933, *Still life with vegetables and pitcher*, *Still life with mushrooms and bowl*, both c. 1934-1938). These features also prevail in the paintings of interior details, created in the cosy home surroundings (*Interior with books and vase*, c. 1934-1936). In the 1930's the painter created a few memorable landscapes of intimate mood, noted for the sincere depiction of nature. Most prominent of them are iconic, deeply seated in collective memory images of a rural homestead drowning in leafy foliage, bewitching by their freshness of outdoors painting. (*Homestead*, c. 1932-1933). Some of the landscape paintings are more emotional, they have some features of interpreted view, portraying a feeling roused by the scene, a warm sunny day or summer mood; the other works show a more objective outlook (*Stillness of winter*, *Landscape with bird feeder*, both c. 1936-1938). The biggest part of Julija Petkevičienė's collection is comprised of portraits, noted for a sincere simplicity of realistic style. These are the portraits of family members, relatives and close friends and also of famous cultural figures. These portraits are usually painted on neutral or recessed interior background and also briefly sketch the person's likings and interests. Of the interwar works, the diminutive *Daughter's [Julija Petkevičiūtė's] portrait* (c. 1939) is noteworthy for its subtle colourway, gentle manner of painting and an excellent grasp of mood. Later portraits are distinguished by a restrained laconic artistic expression (*Self portrait*, *Tadas Petkevičius' portrait*, *Konstantinas Jablonskis' portrait*, *Petras Klimas' portrait*, all c. 1954-1959). The artist strives to portray the external features of the depicted personalities and to convey a calm atmosphere. This sparse creative output of Julija Petkevičienė, a graduate of Kaunas art school, is noted for its restrained style in the wider perspective of the Lithuanian art of the 20th c. It modest, though sincere, realistic style is characteristic for many interwar intelligentsia women who studied painting at Kaunas art school but didn't enter or were not striving to enter the art circles of 1930's for various reasons. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Athena: Filosofijos studijos is the property of Lithuanian Culture Research Institute 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.)