Realistic Old Man Mask

LITHUANIAN ART

DMT Collection (Canada)� www.dmtcollection.com

This publication introduces one of the largest collections of Lithuanian art in the world, acquired by author and collector Dmitry Tamoikin. Readers will feel that they are taking a tour of a beautiful Baltic country, learning its history, culture and art. The entire Lithuanian nation is presented like never before through the paintings in this vast collection. The author also analyzes the Lithuanian art market and its perspectives, providing valuable photography, prices and artists' biographies. Overall, this publication presents a genuine picture of modern Baltic art within the region, where each artwork collected by author serves as a guide to Lithuanian culture.

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LITHUANIAN ART

DMT Collection (Canada) �

� DMT Collection (Canada) - Lithuanian Art - Life - 212 p - 2008

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HISTORY

…Lithuania… Geographical center of Europe, recent member of the European Union, a 1000-year-old nation…

…Vilnius, capital of Lithuania…European Capital of Culture 2009…

Lithuania is a small, unique country with a rich history. Located on the shores of the Baltic Sea, this nation of 3 million has maintained its identity for centuries. It is a country famous for its knights, castles, natural environment and the beautiful architecture of its Old Towns.

Early hunting tribes started cultivating this land over 11, 000 years ago. In the 14^th century, under the rule of Vytautas the Great, Lithuania grew to one of the largest countries in Europe, spreading from the coast of the Baltic all the way to the Black Sea. Great and powerful civilizations left their mark on Lithuanian soil. Nordic and Scandinavian warriors brought sword and trade to Lithuania; Romans prized Baltic amber more highly than gold. The Soviet Union ruled the nation for 50 years. Now Europe is assimilating Lithuania into its own economy and lifestyle. Yet no matter how the greatest empires have tried, the Baltic people remain true to their roots and traditions to this day.

Stanislaw Plawgo "Panorama of Vilnius City" Oil on canvas 52x120cm 2007

Ethnically, Lithuania is a multinational country with Lithuanians as a majority. Russians, Poles, Belarusians and other nationalities comprise more than fifteen percent of the population.

Historically Lithuania was, and remains, a cultural bridge between East and West. For centuries Lithuanians have fought for independence, searching for freedom between opposing sides. Under Germanic, Polish and Russian rule Lithuanians have not lost their identity; quite the opposite in fact. They embraced their new rulers, gained knowledge, traditions and beliefs, and preserved their nation for better times to come. Adam Mickiewicz, the great Polish Romantic poet, who was born in Lithuania and who regarded it as his motherland, depicted it as a mysterious country, which repeatedly disappears from history and then returns to it.

Lithuanians have their own ancient language that is one of the oldest in Europe. It has virtually no similarities with the tongues of its neighbouring countries or any other countries in the world. This has allowed the Lithuanian people to pass knowledge from generation to generation, shielded from inconsistencies and intrusions by other cultures.

Throughout history Lithuania established itself as a strong nation that can overcome difficulties and maintain its ethnic identity. This national character is deeply rooted in the art Lithuanian people have created and continue to create.

ART

… World's most famous artists like Čiurlionis, Levitan, Sutin, Ruszczyc, Lipchitz trace their roots or came form Lithuania…

Arunas Miliukas "Guardian of the City" Acrylic on canvas 80x60cm 2006

Lithuanians by nature are very artistic people. Their culture is a complex structure with many sides and angles; however, art was and always will be at the forefront of this nation. Their ancestors cut figures and jewellery out of amber that today's archaeologists consider national and world treasures. Lithuanian pottery skills, passed from generation to generation, are like no other, and attract tourists from around the world. Folk-art and national costumes, decorated by traditional design, show sophisticated culture even in the most simple of souvenirs. Lithuanian woodcraftsmen are true masters of their trade, creating incredible mysterious, strange and beautiful totems and statues on various themes, from Christian crosses to bizarre devil statues.

V. Tokozhevski "Panorama of Vilnius City" Oil on canvas 65x45cm 2007

Lithuania, although a Christian nation, was the last in Europe to adopt Christianity, so everywhere you look ancient pagan traditions and influences remain strong. Roman Catholics are the dominant religious group, but all other faiths and pre-Christian traditions live in a close symbiotic relationship, allowing Lithuanians to visit Church on Saturday and on Sunday drive for a picnic in the open-air "devil park" in Klaipeda. This diversity of believes has had a profound effect on Lithuanian art, allowing Lithuanians to be faithful to their religion yet totally open to the art they create.

Leonid Lindin "Planet of the Red Star" Oil on canvas 60x90cm 2008

To say exactly what separates Lithuanian art from that of its neighbours or other countries is a difficult task, not because there isn't any diversity but because there is so much; to take upon oneself this task is a large responsibility, to say the least. True ethnic art in Lithuania - whether painting or sculpture - is very different from other art that is created in this country.

There are many styles of art that the Lithuanian nation uses to portray its culture, yet the true theme of Lietuva (Lithuania in the native language) is hidden in the name itself. Lietus in Lithuanian means rain, so Lietuva may be understood as "Land of Rain." Although Holland may experience wetter climes, and hot summers in Lithuania are not a rare event, rain, hail and a dark, gloomy climate are common in this part of the world. Possibly in ancient times this region was truly a land of rain; perhaps it was then the theme for Lithuanian art was formed. However it happened, it survived to this day, maybe in different forms yet still in the same colors.

Cheslovas Grigonis "Pilies Street, Vilnius" Acrylic on canvas 56.5x71cm 2007

So what is Lithuanian art? To explain art in words is like trying to sing on paper; the best way is to travel and see it for yourself, but as many don't have that opportunity, an attempt must be made.

Lithuanian ethnic art is different first of all in its colors - colors that perfectly represent the Land of Rain. Different artists, from different time periods, sometimes of different nationalities, are driven to the colors of the rain. These colors don't necessarily represent wet conditions, but it is certainly the overall impression of artworks created in this style. The colors of Lithuanian ethnic art are rarely bright and vibrant; they are usually darker and muted, as if under dim light. Even when white and yellow are used, still the artwork remains in shadows and mystery.

Regardless of the colors at use, such artworks have a specific theme - and whether it is brown, blue or green, the artists manage to use endless variations of that same color in very different shades, creating perspectives of depth, illusion and distorted reality. Sometimes images appear masked by unclear brushstrokes, yet the artists rarely intend to show reality as it is. When viewing ethnic Lithuanian paintings, one feels as if he is in another dimension, while nevertheless in the same world. Everything is the same but different. Even when colors remain the same, a familiar street suddenly transforms into an 18^th- century passage; a known landscape becomes a futuristic land, as if the dark, rainy Lithuanian climate has captured the artists' souls, forcing them to paint this way. Artists try to escape in their art by painting the same, still faraway land; creating new worlds full of mystery, uncertainty, romance and hope while never breaking out of their hypnotized state of color.

Cheslovas Grigonis "Quiet evening in Nida" Acrylic on canvas 109.5 x 99.5cm 2008

The second defining aspect of ethnic Lithuanian art is the shapes and dimensions that are given to the objects at play. It is difficult to find clear lines and symmetry in these types of paintings. Clearly the artists were guided by Impressionism, but somewhere crossed path with Romanticism, Futurism and even Realism. Objects in their art are usually either simplified or exaggerated into shapes with very complex internal structures. In other cases images of objects within the artwork are twisted and stretched as if the artist's thoughts were passing through a broken mirror.

Cheslovas Grigonis "St. Anne Church, Vilnius" Acrylic on canvas 59x49.5cm 2007

A final defining aspect is the emotions and thoughts that ethnic Lithuanian art generates. There are always exceptions, but most of these works are very emotional pieces that stimulate the thought process. While with Realism the viewer can almost instantly enter the artist's world, in Lithuanian art one is struck first by the many emotions that come up. Moving from uncertainty to curiosity, one has to understand and get comfortable first and only after a few minutes begin to unravel the artwork. Other artists in Lietuva show emotions by distancing themselves through difficulty of composition. While staying within the borders of the ethnic style, their art portrays seemingly simple images emphasizing a purity of emotions, behind which the more complex color patterns of the background are seen. In such art, colors play a secondary role, supporting the emotions of a creature depicted in the painting. A happy cat with a satisfied smile, showing simultaneously human and animal emotions, might be surrounded by colors of warmth - even if they are black and grey. Another composition of sadness will have colder and more distancing colors. Still, the main emphasis is on the central image and its simplicity, showing emotions that are highlighted by a more complex background.

Cheslovas Grigonis "Vilnius Old Town" Acrylic on canvas 59x69.5cm 2007

M A R K E T

"The market for Baltic art has slowly grown from a state of non-existence during the Soviet period to a free and open economy since independence." The Baltic Times

Stanislaw Plawgo "Cathedral: Bell-tower" Oil on canvas 70x80cm 2007

Today, the Lithuanian art market and the national art movement are experiencing fascinating changes not seen before. Baltic art culture is establishing itself as a strong competitor in modern Europe. Lithuania will, at the start of 2009, be celebrating one thousand years of existence; its name appeared for the first time in the ancient German chronicle "Annals of Quedlinburg" in 1009. Vilnius, Lithuania's capital, was nominated as European Capital of Culture 2009! Huge numbers of tourists, new government programs, investment from the private sector and extensive support from the European Union are placing Lithuania, a country 373 kilometres wide from east to west, in the centre of European culture. The Lithuanian government is spending over hundred million Euros, primarily on cultural events in the city of Vilnius. Even more investments, tripling that amount, are being made by the European Union.

The primary goal of the Lithuanian government is to publicize Lithuania to the extent where every person in the world knows something positive about it. Informative programs about Lithuania are shown by main international channels such as CNN and the BBC on a daily basis. Since 2004, the year Lithuania entered into the EU and NATO, large events, holidays and news in Lithuania are regularly covered by major world news agencies. Lithuanian tourism is growing almost 20% per year. Such a confluence of events has never happened before to this nation, so for Lithuania it's like going from nothing to everything in the blink of an eye. The high focus of mass media on this small country's cultural well-being spells large market growth in all spheres of culture, especially art. Add in the fact that the population of this country is a little over three million, of which artists of all kind comprise merely four to seven thousand for the entire nation; as a comparison, a metropolis like London or New York is home to a minimum of ten thousand artist at any one time. All indicators thus point to limited supply and very high demand. This means that, realistically, even a modern work of art from Lithuania must be considered a rarity and highly collectible.

From the 15^th to the early 20^th century Lithuania, as a cultural bridge between Europe and Russia, had many renowned historical figures pass through, greatly benefiting the nation's art culture. Although the idea of an "art market" was not yet formed, a strong foundation for the growth of talented artists was embedded early on. This foundation played a key role in establishing, by the early 20^th century, enough art schools, galleries, universities and private workshops that the growing circulation of artworks could be classified as a market. Here's what L. Laučkaitė writes in the book M.K. Čiurlionis and Lithuanian art at the beginning of the 20^th century: "…The first changes were brought about by liberalization at the beginning of the 20^th century in the Russian empire: in 1905 the manifest of Nicholas II provided civil freedom, allowing for the establishment of cultural and societal organizations, publishing of the press, the right to gather and other public events. Lithuanian culture began to rapidly develop: many associations and schools were founded, the printing of periodicals was allowed, and exhibitions, evening events and concerts were organized." It may be stated that the start of the 20^th century gave birth to the art market in Lithuania.

The beginning of WWII ended normal life in Europe, as all human and technical resources were dedicated to the war. When the Second World War ended Lithuania was completely integrated into the Soviet Union, where the ideas of markets and socialism did not merge at all. Although it cannot be said that Lithuania was a free-thinking nation under the wing of USSR, Lithuanian and Baltic artists in general had fewer restraints than artists in other Soviet Republics or in Russia itself. While in other parts of the USSR painting of pro-western and religious art was strictly forbidden, in Lithuania it was to an extent tolerated and sometimes allowed to be exhibited. Because of this, the Lithuanian art market was not precisely extinguished, but rather went underground, being latent for the time being. But though the art market was in stagnation, Lithuanian art was far from being still. The overall direction of art in all Baltic regions changed from ethnic and culturally-oriented towards the national art of the Union, Socialist art. This forceful change affected the direction of Lithuanian art, but not the art itself.

On the other hand, Lithuania maintained traditional, classic and academic art schools, which are often forgotten in Europe nowadays. Lithuania was fully immersed in the Russian art that is breaking all price records today, and was left with large amounts of Soviet art now valued in the millions by top American and European auction houses. Above all, Lithuania received a survivor's legacy: It overcame all hardships and returned to its own path in life. These turbulent events on the one hand preserved, enriched and introduced completely new art knowledge into Lithuanian art culture, and on the other acted as a rubber band that was continually being stretched. The collapse of the Soviet Union, followed by Lithuanian Independence, released the rubber band, propelling accumulated and isolated art ideas into the modern world art market.

Cheslovas Grigonis "Architecture of Vilnius City" Acrylic on canvas 85x46cm 2007

In 2004 Lithuania entered the European Union. Europe's gates were opened to Lithuanian culture for the first time in decades. Art was at the forefront of this surge, establishing a strong foreign and internal market demand for Lithuanian paintings.

In 2008 Lithuania was accepted into the Schengen zone, opening the country to the entire world. Lithuanians can now travel all over Europe and to most of the world without any travel permits, and allow visitors the same. This is having a significant effect on all aspects of Lithuanian culture. Millions of tourists from all over the world are discovering Lithuanian art and culture, while Lithuanians by the thousands are promoting their art and culture in Europe and overseas. Completely new horizons and possibilities are opening for Lithuanian artists. The world is finally seeing Lithuanian art for the first time ever, and their enthusiasm is clearly shown by the growing number of Lithuanian art exhibitions and rising prices worldwide.

Yet no matter how many exhibitions take place, the number of pieces will always be limited by the small population of Lithuanians within the country and abroad. This means Lithuanian art is likely to become more like an exclusive art gallery than a vast painting factory. On top of that, large central European art galleries, managers, developers and investors are really beginning to take notice of Lithuania as a competitive nation. Their general policy towards Lithuanian artists is that it's more profitable to work with them than compete against them. Demographically this situation is clearly seen, with many young and old artists from Lithuania living and working far from their homeland because of highly profitable opportunities elsewhere.

This situation is having a positive effect on the entire Lithuanian art market. There will never be a lack of artists within the country; no matter how many artists leave to work abroad, new young artists take their place. Painters, who have already become successful within the country, acquiring enough fame to attract notice in central Europe or overseas, may leave to develop their talents elsewhere, simultaneously promoting Baltic art. New artists who take their place bring new ideas and talent to the market until they as well gain fame. None of this was possible during the Soviet and Post-Soviet periods, occurring only since 2004 when Lithuania first joined the EU. However, if the Baltic art market was previously in the startup-ignition phase, now it is fully running and prepared to take a leading position in the world of art. Finally, because Lithuania is a very small country, each political, economic or cultural achievement that this country makes significantly impacts its own art market.

In 2011 Lithuania is expected to enter the Euro Zone. Its currency, Lit, will switch to the Euro. This economic change will single-handedly raise the quality of life for the entire nation. Lithuanian art, an ambassador of Lithuanian culture to the world, will become more valuable than ever before. So it is more than reasonable to suggest that, regardless of someone's direct interest in this collection purely for the art, early investment in Lithuanian art today is a strong investment in an exclusive art market that is sure to grow in the near future.

Elements of Nature

Igor Latyshev "Summer Snowflake" Oil on canvas 87x79cm 2007

Lithuanian territory is spread over 65000 sq. km, 30 percent of which are forests. There are more than 3000 lakes, about 800 hundred rivers, and five national parks: Zemaitiya, Dzukiya, Aukstaitiya, Trakai and Curonian Spit. All the parks are different by nature and landscape. To the Baltic Sea Lithuania is introduced by 100 kilometers of sandy shoreline. Incredibly, on this small area of land there are many very different natural landscapes. There are wild forests and endless plains, desert dunes and humid swamplands, lakes and rivers and a picture-perfect shore on the Baltic Sea.

Gintas Markevichius "Baltic Fisherman's Dream" Oil on canvas 55x85cm 2007

Yonas Augulis "Nida Dunes" Oil on canvas 80x107cm 2007

Lithuanian nature is distinctive, beautiful and diverse. A very long time ago this entire region was the floor of the Baltic Sea. Even in a deep pine forest, only ten to thirty centimeters into the earth clear coastal sand is easily found. Because of that, most of Lithuania is located on flat terrain. Endless forest, grass fields, rivers and lakes lie on smooth rolling hills, like ocean waves. Uncultivated wild lands mix with dense pine forest, creating the feeling of infinite space in this small country. Winds constantly play their game of hide and seek. With no mountains to stop them they bring clouds of moisture from the Baltic Sea, constantly plummeting rain, hail and snow. This abundance of water irrigates the Lithuanian soil, feeding rivers and rivulets, filling old and creating new lakes. No wonder Lithuania is called the country of a thousand lakes.

Alexander Lysiuk "Neris River Curve" Oil on canvas 60x90cm 2007

In spring, when the sun begins to shine and the last snow melts, vegetation begins to flourish and everything turns green with spots of yellow, blue, red and violet as flowers awaken from their sleep and begin to blossom. In the late summer, when in most countries of similar climate the vegetation is already burned out and turned yellow by the sun, Lithuanian nature stays just as green, feeding on the abundance of water from the earth beneath. As summer fades away, fall shows its rare beauty for the last time that year. The Amber Season starts, when the lustrous green turns to bright yellow, orange and red, as if each leaf on every tree wants to show how gorgeous it is for the last time in its life before rains and snow takes it away. Rains come, sun rarely appears and Lithuania submits to its glum period. Months pass and snow begins to fall. A different kind of energy sets over the land; temperatures drop, everything freezes, mud and dirt disappear under a white cover of snow. A time of calm allows everyone to rest and enjoy the beauty of frozen nature. Winter in Lithuania is beautiful, especially in rural areas of the country where civilization and its side-effects are rare. In such places the rhythm of life is totally different. To a city winter is a time of traffic, slush and cold weather. But to nature it is a time of rest, peace and tranquility before the circle of life starts again.

Alexander Lysiuk "River in the Winter Forest" Oil on canvas 90x60cm 2007

Artists of all kinds are drawn to nature like bees to honey. Many of them spend a lot of time in the wild, not necessarily painting. Lithuanians are very close to nature, although most do not realize this. Before I discovered this country I thought North America probably had the most fishermen of any nation on earth. By sheer population and by the size of the industry, perhaps it does; however, when I travel across Lithuania I rarely find a person who does not fish in their spare time. When summer comes, wild berries overfill all local markets - berry picking is a very popular and, to some, profitable way to spent leisure time in nature. During the fall, fishing and berries are set aside as the entire nation advances into the forests in search of mushrooms. Mushrooming is so popular that it is hard to find a place where someone has not been before you, no matter how early you get there.

Alexander Lysiuk "Colors of Autumn" Oil on canvas 90x60cm 2008

Knowledge of the wild passes from generation to generation and these activities are considered completely natural; it is hard to imagine any national holiday without time spent out of doors. Obviously, most artists who grow up in Lithuania and neighboring countries still continue to participate in national traditions. Without a doubt, nature is not just part or their daily life and work but a close friend throughout their entire lives.

Oceans of the Baltic Sea

Leonid Lindin "Amber Sea" Oil on canvas 55x85cm 2007

When artists of Lithuania paint marinas, like it or not, the Baltic Sea will always replace whatever ocean they are trying to paint. Lithuania was part of this sea long before civilization came to these lands. Lithuanian climate and thus the entire way of life depend on the sea. The energy of the water spreads through the entire region, affecting all inhabitants of the land. The culture of Lithuania formed on and around Baltic Sea.

Cheslovas Grigonis "Klaipeda" Acrylic on canvas 49x119cm 2007

From history we know that prior to and during WWII German navy officers were rotated every two years from the Baltic region because of the atmospheric pressure's effects on their health. Aboriginal residents of the Baltic countries hardly feel it, and even tourists rarely notice this effect because it starts only after a few months of continuous living near the shore. But one cannot deny that artists are much closer than all of us to these thin tunes of nature. Images and colors that appear in their minds are more easily influenced by nature's mysterious ways, which is why Lithuanian art has similarities within the region and is so different from the rest of the world. Inland this effect is almost nonexistent, but no matter how many oceanic artworks I've seen - some were good copies of Aivazovsky - the water was always Baltic. Only by physically escaping to other parts of the world can Lithuanian artists create magnificent paintings of foreign lands. The question is why would they want to?

Edward Anishchenkov "Blue Gruppers" Oil on canvas 90x80cm 2004

The Baltic Sea is beautiful, wild and strong. Always cold, even during the hot summer, it is controlled neither by man nor by the sun. The sea is not very deep and has a specific greenish-gray color, as if after a storm. The shore line is covered with perfect white sand all the way into the sea. On some beaches, if the weather and water permit, you can walk for hundreds of meters into the sea and still be standing half dry. On a good summer day the Baltic Sea becomes the perfect place to relax in sunlight on a sandy shore.

Kostas Zhuolis "Old Klaipeda Port" Oil on canvas 70x119cm 2006

Still Life

Leonid Lindin "Your Girl's Fantasy" Oil on canvas 50x70cm 2007

Still life is a part of the Lithuanian classical movement that represents the Academic, Classical and Realism art styles. Most Lithuanian artists were born in the Soviet Union, attending Soviet schools, academies and universities, so it's not surprising that classical realism is rooted deep in Lithuania. The uniqueness of this situation lays not in art but in political movements during those times in the region. Throughout Soviet time the Baltic territory was always considered and allowed to be more liberal and free-thinking than other parts of the Union, so classical, academic art dominated over social-realism. Although the Soviet art school had significant impact on Baltic and especially Lithuanian art, not all may be credited to it. A strong classical movement was present earlier, when Lithuania was annexed by the Polish Crown and in the 18^th century by Russian Czars. Both countries had strong art schools that undoubtedly influenced the development of Lithuanian styles. Interestingly enough, the same countries that once taught Lithuania how to paint are now losing their classical roots - maybe not by total number of artists within the country but definitely by percentage - while in Lithuania academic art holds surprisingly strong. While there are many other styles that Baltic artists use to portray still life on their canvas, be it Expressionism or Futurism, their color, brushstrokes and composition will always have a touch of classical style.

Yuri Tarasov "Still Life with Fruits" Oil on canvas 55x60cm 1997

Yuri Tarasov "Still Life with Cherries" Oil on canvas 50x60cm 1997

Architecture - The Old Town

Architecture is the face of every country, city or town, yet not all buildings have the right to be considered as historical monuments. Only the architecture that passes the test of time will have the right to tell a city's history.

Yonas Augulis "Kazimiro Street, Vilnius" Oil on canvas 60x80.5cm 2007

Old towns are the heart of each Lithuanian city, and the heart of Lithuania is Vilnius. European capital of Culture, UNESCO World Heritage site, Vilnius truly lives up to all expectations. Contrary to what one may expect, it is not the size of the buildings that amaze visitors, but quite the opposite: It's the down-to-earth, narrow, and cozy interconnecting streets, that spread throughout the city like endless corridors of a castle. Everywhere you go there's history to discover, from gothic to baroque; Vilnius is full of architecture that tells more history about Lithuania than any book or tourist guide could. Catholic cathedrals remind us of the Polish Crown, Russian Orthodox churches tell of the Czar's Empire, Gothic architecture displays Central European influences on this small country, and all this is before you even enter any of these places; inside you will discover much more history.

Stanislaw Plawgo "St. Anne Church" Oil on canvas 68x99.5cm 2007

Such extraordinary beauty is not limited to Vilnius. Other major Lithuanian cities like Kaunas, Klaipeda and many others are homes to magnificent architecture that is bound to leave delightful impressions. When the night falls, old towns all over Lithuania are transformed from imaginary to actual castles; streets become passageways leading into the dark, street lamps shine like torches with dimmed orange light, throwing shadows on the walls from passing strangers.

Sergey Isakov "Pilies Street, Vilnius" Acrylic on canvas 80x60cm 2006

However there's no need to worry as that is part of the allure; warm restaurants, bars and pubs are always glad to greet you with a zeppelin or two (those who don't know what Lithuanian zeppelin is must travel and find out for yourself). Even if you are fearless and not hungry at all, by entering these small restaurants and pubs you will find the most exquisite part of Lithuania architecture - the underground basements. At one point actually serving as basements for buildings above, now - with prices for real estate, especially in the city's center, the highest in Europe - they have been modernized into the coziest restaurants in the world. Why cozy, you ask? Mainly because the restaurants' passageways are actually like those in ancient castles. To get to your table you must go down a floor, half bent by a narrow passage where a whole cavern system of similar walkways and leisure rooms open up to you. All the rooms are decorated in the most interesting medieval designs and while you wonder how other waiters maneuver in such close quarters you are served with the most delicious meals Lithuania has to offer.

Tatiana Tarasova "Vilnius Courtyard" Oil on canvas 70x60cm 2007

There are countries like England where only internal influences changed the architecture of the cities. Lithuania is a country where this process was driven by the geopolitical events that took place in and around it. Influences and invasions from east to west constantly led to changes in the architecture of cities in order to please the victorious side. Lithuania has came out of the past as a united nation facing new challenges ahead, but its architectural history, like medals for bravery, remain and are carried proudly for all others to see.

V. Tokozhevski "Stikliu Street, Vilnius" Oil on canvas 65x45cm 2006

"Rare Lithuanian artist doesn't paint Vilnius. It is obvious. City is beautiful, artistic and limitless to imagination." - says L. Buchneva, Director of "Art initiative". Artists are very emotional by nature, so who better to capture the beauty, mystery, antique architecture and colors of the Old Town in angles that most of us never see? Who better to enter into that parallel world and bring back images that we may also feel and see yet can never capture, even with the best cameras? It is each and every single artist who shows an emotional state of the entire city.

Igor Latyshev "Vilnius in the 60s" Oil on canvas 80x61cm 2007

ART OF WAR

Throughout the ancient past of any nation there have been countless wars and battles that now play out their predetermined outcome on the pages of history books. Today tragedy and heroism, defeat and victory are still part of our civilization, but during ancient times people felt the power of war much more closely than most of us do now. New technological achievements, countless movies and nonstop news reports have brought us virtually closer while physically distancing us from the harsh realities of war. By turning on TV you get a quick update on any conflict on earth, all from the safety of your living room sofa. Perhaps that is a good thing… when service in the military is no longer mandatory our civilization rarely feels the reality of armed conflicts. Unfortunately, by most, this blessing is taken for granted, rarely thinking, if giving a care at all, at what cost the peace is maintained.

Igor Latyshev "Bloody Sunset" Oil on canvas 87x150cm 2007

In the past, when television and the internet were a few hundred years away, the only way to show the battlefield was through art. Painters accompanied armies and at a "safe" distance captured the true face of war. Today only museums hold large collections of art depicting the military at battle. Artists of those times became modern-day news reporters, and with them paintings of war disappeared. The wars changed, too, and it is a rare artist who would set out into the streets of Baghdad to casually paint the realities of battle today. At best we get glimpses of such art in pencil on paper rather than oil on canvas, from soldiers with artistic talent, not from professional artists. Most art that is painted on the theme of battle is done by civilian artists, some with a military background, while the overall tendency to paint war as art has practically disappeared.

Lithuanian military history is full of wars and battles that played a crucial role on the European continent. One such conflict was the Polish-Lithuanian-Teutonic War (1409-1411) between the Kingdom of Poland, allied with the Grand Duchy of Lithuania, and the Knights of the Teutonic Order, under direct orders of the Pope. This war to Christianize Eastern Europe set a place for one of the largest battles in European history. "The Battle of Grunwald", a.k.a. "The Battle of Tannenberg", a.k.a. "The Battle of Zalgiris", took place between the villages of Zalgiris (Grunwald) and Stebark (Tannenberg) on July 15^th, 1410. Two armies met on the green field, equally matched, numbering each at over thirty thousand strong. Command of the Polish-Lithuanian army was divided between Wladyslaw II Jagiello from Poland and Vytautas the Great from Lithuania. The Teutonic Order was led by Ulrich von Jungingen. The battle was harsh; the Teutonic Order lost the battle, its leader, and most of its elite and was forced to retreat in defeat. This great Polish-Lithuanian victory ended the war and stopped all invasions into Eastern Europe and the Baltic region by the order forever.

Igor Latyshev "Anticipation of Victory - Near Grunwald" Oil on canvas 90x160cm 2007-2008

Two war paintings in the collection, created by Igor Latyshev, illustrate that early 15^th century conflict. The first, "Bloody Sunset", shows Lithuania under threat as heavy cavalry of the Teutonic Knights charge to invade Eastern Europe. It is a harsh winter season; colors in the painting are cold and grim, creating a feeling that devastation is seconds away. The sunset's orange-red colors provide no comfort as they foreshadow the warm blood that is about to spill. The second artwork, "In Expectation of Victory - Under Grunwald", shows a happy end at its beginning. The Lithuanian and Polish warriors are about to enter the greatest battle of their lives to liberate their homeland. Colors are bright and cheerful; knights portray strength and will to fight with the foreign invaders. The atmosphere for victory is set. These two paintings go as a pair, colorfully, emotionally and historically completing each other. If viewed separately they become just good paintings of war, but when united the full power of 15^th century war-raging atmosphere comes to life, leaving the viewer alone on the battlefield.

Soviet Art

Art created by the Soviet Union came about as a rare and controversial outcome of history. In the text above a few words have already been said on Soviet art; of course this subject would easily take up a book or two. The rarity of such art is unquestionable; there will never again be another USSR where such paintings could be created. This means that even an average Soviet painting becomes a unique witness of that tremendous past. By the laws of the art and antiquities markets, Soviet art qualifies for both of the factors that lead to the most demand and the highest prices: "rarity and history". All art painted in the USSR is, for one, becoming more rare very fast, and second, willingly or not, it is a child of a historical Empire that was created out of nothing, rose to the top of world power and then collapsed, disappearing forever. What is left behind are fragments of that epoch that many wish to posses but never to return to it. Each Soviet item is tied to the colossal history of the Soviet Union and so bears an essence of the fears and achievements that shocked the world, regardless whether it actually participated in those events or not.

Cheslov Znamierovsky Oil on canvas 45x56cm 1961

The controversy surrounding the Soviet Union makes all the items associated with it even more desirable. Western powers spent billions to defeat the USSR and its ideology, while today the same western nations spend even more billions to buy, import and invest in Soviet collectibles full of that same ideology, with the United States the biggest importer of valuable Soviet goods. A rising number of Soviet items flow into the West through large auction houses like Sotheby's and Christies or through eBay and other internet auctions worldwide. Other controversies like "Balance of Power" and the divided population of former Soviet republics continue to heat up the fire of history that spreads to all aspects of the Union, including art.

Cheslov Znamierovsky Oil on board 40x70cm 1960-70s

"To the victor goes the spoils", and North America and Europe being those victors, they created a market with a very large appetite for the Soviet spoils. Art of the Soviet Union is the leader in this market, and prices in it reach from tens of thousands to fifty million dollars. On the other hand, the USSR was the largest Union of countries ever on earth politically and geographically. Many countries with their own groups of painters were part of the Soviet Union, but while in Russia, Ukraine and even Belarus the population was estimated as tens and hundred of millions, Lithuania was still no more than four million people.

Cheslov Znamierovsky Oil on canvas 49x49cm 1972

Thus the same effect, described earlier, applies to Lithuania and all Baltic countries: with a smaller population come a smaller number of artists. For every 1000 Soviet artworks created in Russia, only 10 were created in Lithuania. Accordingly, even at a similar level of professionalism, Lithuanian art by geographical and population limits was a hundred times more rare then, and is three hundred times more rare now. On top of that, in Russia or Ukraine it is illegal or very difficult to export Soviet paintings from the country, whereas in Lithuania there are no such restrictions. This means it still possible to find Russian Soviet art, while Lithuanian art created in the Soviet Era is spread in private collections all over Europe and the world.

Cheslov Znamierovsky Oil on board 52x90cm 1975

Soviet Lithuanian art in this collection is represented by Honorable Artist of LSSR (Lithuanian Soviet Socialist Republic) Cheslov Znamierovsky (1890-1977), one of the most famous national painters of Lithuania.

Cheslov Znamierovsky "The Green Lake" Oil on canvas 145x250cm 1955

� Dmitry Tamoikin

� DMT Collection (Canada) - Lithuanian Art - Life - 212 p - 2008

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