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The exhibition space intertwines the author’s works and sketches made with various techniques: oil paintings, pastels, gouache, colored pencils, tempera paints, watercolors; lesser known biographical facts influencing creative motives and style, everyday shots recorded by P. Kalpokas and his son Rimtas. All archival material allows to create a different portrait of P. Kalpokas, to see the author not only as a romanticized artist and palette, but also as a teacher, father or husband.
Neo-romantic landscaper
It is no coincidence that I mentioned the success of P. Kalpokas’ works at auctions. Along with Antanas Žmuidzinavičius, he is the best-selling artist of this century. Of course, such success can be attributed to the fact that P. Kalpokas was one of the heralds of the Lithuanian professional cultural field, with his contemporaries Mikalojus Konstantinas Čiurlionis, Petras Rimša, A. Žmuidzinavičius, participating in the first exhibition of Lithuanian art in 1907 At the museum, one of the exhibits recalls this historically important event: a photograph, a still shot of the work “In the Mountain Nebula”, Jan Bułhak, the pioneer of photography in Lithuania. The canvas of other landscapes will help the visitor to form an image and idea of an early creation.
Some of them often capture the nature of Lithuania and the panoramic beauty of the fields, others focus on studying fragments of specific areas.
Warm-colored snow, deciduous trees, grasslands blend into an earthly color scheme, and cool shadows speak of the direction of sunset, animating work with the blue rhythm visible in the snow.
P. Kalpokas’ desire to create more national art, to capture and represent the images of his homeland, makes the artist’s motifs interesting and valuable even today. Such compositions not only do not bother the eyes of the viewer, but, on the contrary, make them stop, appreciate the simple landscape and its uniqueness, romanticize it. The artist’s choice not to signify the object, often without naming a specific place, the repetition of the study, especially the images of the riverbed fixed at different times of the year, become symbols of eternal and idyllic nature on the canvas , whose relevance does not fade.
Visual observation becomes an important accent both in the artist’s creation and in the viewer’s assessment of creative results. In the case of P. Kalpokas – careful analysis of nature, mutual comparison of visitors to the exhibition – it works. By observing the environment, evaluating how it is affected by sunlight or its absence, the author presents his own perception of the environment, which the viewer can notice and compare.
The same stream bed is clearly different in Stream in Spring (1907) and Early Spring (1907). At the beginning of spring, the visible stream flows calmly, evenly, fills with melting snow on the dry grasslands, and the entire landscape is animated by the warm afternoon sun, which ensures that the depicted snow disappears.
Stream in spring.
Warm-colored snow, deciduous trees, grasslands blend into an earthly color scheme, and cool shadows speak of the direction of sunset, animating work with the blue rhythm visible in the snow. Using a brush stroke and bridge, the author uses colored means to create and shape a space, a stream that has dried the visible grass on the shore.
A slightly different and less calm mood can be seen in “Stream in Spring”. The already melting snow, the bright green, the fresh grass, the still dormant trees, a dazzling blue reflection of the sky in the water create the image of a vibrant and vibrant spring. Looking at this canvas, it seems that one can hear not only the stream, but also the birds singing somewhere behind the frame. This canvas is much colder in color, with fewer shades of color visible in the grass compared to the snow rendering. However, the open, free line, the movement that symbolizes the water and the rhythm of the trees visible in the paintings, which create both canvases, are only two versions of the same motif, which allows us to delve deeper into painting skills. from P. Kalpokas, but also in natural changes.
Another reason talks about the tendencies of neo-romanticism and the admiration of nature in the work of P. Kalpokas – “Kolka ragas” (1912). The low horizon line, the huge and energetic clouds that let the sunlight in, in their own way, are equivalent to the canvases of the English romantic William Turner.
The manifestations of romanticism or neo-romanticism can also be seen in works such as “Stormy Day” (1908), in which P. Kalpokas captures pine trees leaning against the wind, “Seaside Landscape” (1926), in which sandy mountains, balls and clouds of feathers, the Roman Pantheon at night (1920), in which the moon is masterfully transmitted, or the House of the afternoon (1912).
Looking at the canvas to feel the freshness of the shadow and the scorching sun.
I would like to highlight the latter, because it reveals the special talent of P. Kalpokas to represent light. The plot of the work is simple: a two-story house can be seen on canvas, with logs on the front. This annex or porch is the main accent of the work, the most illuminated, warm and pastoral place of the work. In contrast, the roof of the annex, covered with vines, wandering towards the ground, obscuring the transmitted light. The entire environment is drowned in the darkness of the night, which is reinforced by the conifers that grow around it. Romance and comfort are created by the gloomy, cold and mysterious color of the clouds and the warm and hospitable light visible in the center of the work, whose open yellow lines equal the fire.
Impressionist leadership
Although the artist can be labeled with traditional art, realism, when presenting works like “Sunny Morning” (1911), “Woman in the Garden” (1912), “Boy in the Garden” (1912), one cannot stop thinking on the influence of impressionism on the artist’s works. P. Kalpokas can be considered an impressionist in part, because, like many of those outdoors, it is important to him to capture sunlight, color change, non-detailed surroundings, without lengthy preparations, free, vibrant strokes and textured, oil painting, the author points out environmental observations, captures moments of beauty, brightness of shadows. In the garden portraits mentioned above, the author attempts to capture the mood of the seated figures, the overall composition, rather than the detailed portraits.
Delving into the impressionist influences on the works of P. Kalpokas, they expanded on the reasons for the fishermen’s purchases in Palanga. “Flowers in the Fisherman’s Shop” (1932) depicts a woman sitting in the distance next to a farm house that hides from the sun under a wooden village shelter. In the foreground, you can see a track that takes the viewer to the figure, framing it in the corner of the ceiling. Looking at this work, one cannot help noticing how precisely it is painted. Each stroke creates a lively rhythm and movement from nature, the plants match their represented shadows, which seem to vibrate leaf after leaf.
Looking at the canvas to feel the freshness of the shadow and the scorching sun. Although the work is realistic, it is possible to distinguish the represented white and red flower pillars, other elements that make up the work, but the generalized representation, the bright color and the non-detailed environment created by the rhythm of the strokes testify the influences of Impressionism . This is also emphasized by studying the shadows that fall from the bushes.
Another motif from the fisherman’s house has also been developed regarding the interaction of light with the environment. “The Fisherman’s Purchase in Palanga” (1926) recalls the color of Impressionist Gustave Caillebotte’s “Canoes” (1878) and the pastoral and widespread painting of small tree leaves. In this work, although there are no characters, there is an action: the sun shines from the right and the shadows fall perpendicularly, the useful windows show rhythm and action.
The idea of Impressionism and the desire to capture a different modern city full of action and bustle can also be seen in Tivolis at Night (1927). Here, the author also represents the real environment, does not detail them, the characters of the work, in a similar way to the works of Pierre Auguste Renoir drowned in the crowd. The canvas represents a vital and inhabited landscape of a night city characterized by a soft, soft, green-brown light. The drawing is incomplete, generalized, it was much more important for the author to represent the total mass with a few more visible men and women sitting at tables lit by lanterns.
A different treatment of a woman.
Until now, the works I mentioned were mainly landscapes: nature or city, settlements, but there are a number of portraits in P. Kalpokas’ work archive. In the exhibition, one could notice the author’s frequent distraction between the academic and realistic image of a woman and the much bolder experiments.
In “Woman by the Mirror” (1936), the author represents a girl with her back to the observer, who tries to cover her face with her left hand and her bare chest with a slipped white blouse. In an ascetic environment, diversified by the golden mirror frame, one can feel the girl’s reluctance to pose or even be ashamed. This is reinforced by his posture: shrugged shoulders, squatting back. Even the light from the back exposes the girl, giving the skin a dramatic and mysterious drama. The skin of the poser contrasts with the cold and dark background, which further emphasizes the fact of nudity and the uncomfortable part of the poser. This composition, the nuances of color that recall the academic study of the figure, is an example of pure realism in painting.
Image. Woman by the mirror
We see a different attitude of a woman with regard to posing in the work “Sketch. The nude of a woman” (1933). Here P. Kalpokas painted his wife posing in the sand. The woman is resolutely represented, sitting in silence, looking out to sea. Although the body of this is also twisted, but with a proud look, the irritated skin does not speak of shame, but of stubbornness and determination. This woman is not afraid to be the model of the artist, on the contrary, povyza calm encourages the artist to create more. Although the work is not complete, it acts as an opposition to “Woman by the Mirror”. If the aforementioned light figure was against a dark canvas background, then in this case, the dark body of a woman stands out from a light and sandy environment.
The author has emerged as a truly universal personality with his own stylistic views and gestures, but he is not willing to take risks.
And this is not the only composition in which P. Kalpokas departs from the realistic and academic canons. In The Ball Woman (1933), the painter depicted his wife in a thick angle, a fashionable swimsuit, and a beret with a beach ball. The figure itself is composed so that the sharpest part of the elbow faces the viewer, and the held ball does not fit in the frames of the canvas. The composition is also reinforced by the chosen angle of the figure, which allows us to imagine that we see the woman a little from below. This strengthens the overall sharpness of the composition, masculine strength, non-feminine fragility. The force is also transmitted through the bridge of the figure, the moment before the ball is thrown. The calm but determined face of the character can suggest the canvases of the art deco painter Tamara de Lempicka and represent a fatal and powerful woman. In contrast to the strong, muscular arms and bridge of the figure, the author contrasts the woman’s carefully curly hair with a bright makeup that emphasizes femininity.
Another work, which also departs from strict academic realism, is that of 1923. A portrait of his wife is created, visible in the ornamental background of peacock feathers. In this canvas, Olga Dubeneckienė-Kalpokienė dynamically addresses the viewer, flirtatiously supports her head with her hands. Fall clothing reminiscent of ancient civilizations, gold trim and light cheek-blushing facial features bring this work closer to modern art nouveau ideas, flirtatious and mystical women, especially well-known characters in Alfonsas Mucha’s works.
It is true that, looking at the entire exhibition, it can be assumed that the portrait of a strong, independent and fatal woman is represented and associated with a specific personality: the artist O. Dubeneckiene-Kalpokiene, the founder of the first Lithuanian ballet studio, and not all women, like the first two female and later compositions. The portraits of other women are more subdued and seek a softer, lyrical side of personality.
Personality Colors
From the various genres discussed, it can be understood that the artist was interested and studied the entire environment and the people around him. Although I have only mentioned a few stylistic trends, in this exhibition the author has revealed himself as a truly universal personality, with certain stylistic points of view and manners, but not willing to take risks: adapt the popular trends of art in Europe, apply them to his canvases.
Although P. Kalpokas is best known as a neo-romantic landscape painter, he is no stranger to the ideas of Impressionism, which he united in the works of realism. It is also possible to see a progressive art deco or art nouveau style and throughout Europe. In this exhibition it is possible to observe not only his most diverse work, but also the human, not artistic side, P. Kalpokas: photographs of a beach vacation, an image of the artist himself painted by O.Dubeneckienė-Kalpokienė. The exhibition is an excellent source of knowledge about the famous Lithuanian professional disseminator and art teacher, revealing the personality and creativity of the famous artist.
The author has emerged as a truly universal personality with his own stylistic views and gestures, but not willing to take risks.
WHO? Exhibition “Petras Kalbokas (1880–1945) and the environment”.
When? Until November 14.
Where? At the National M.K. Čiurlionis Art Museum
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