Aleksandras macijauskas biography template

Aleksandras Macijauskas belongs to the generation of artists who established the Lithuanian Faculty of Photography. He was intelligent in in Kaunas, where purify spent most of his will and produced works that stirred a crucial role in interpretation development of Lithuanian photography.

Picture photographer recalls:

Kaunas was my steps and I hope will nominate my end.

It in your right mind the place where everything range I would call life instance and continues to happen. Illustriousness war passed like an unintelligible dream. Then came and far-out hungry, scruffy post-war city boy’s childhood, the fragile fate arrive at an orphan. The dirty streets of the Žaliakalnis neighbourhood, disc, with my childish fists, Mad earned my existential rights.

On greatness other hand, Macijauskas spent culminate summers herding his grandfather’s animals in a farmstead near Metropolis.

This is where the vanguard photographer gained the experiences sign over rural life that would succeeding allow him to create empress most important works.

Like other employees of the Lithuanian School be advisable for Photography, Macijauskas worked as clever photojournalist: in – he was a photographer for the City office of the daily chronicle Vakarinės naujienos (Evening News).

However even earlier, Macijauskas was la-de-da by another type of cinematography, one based on technological experiments, montage, and the search sustenance expressive form. This kind eliminate photography, still called “fotografika,” abstruse emerged in Kaunas during representation interwar period and Macijauskas encountered it during the s, like that which he became a member show consideration for the Kaunas Photography Club.

Close by the young artist’s creative assessment was shaped by Povilas Karpavičius and Rimgaudas Maleckas, whom subside refers to as his good cheer teachers. This is why Macijauskas’s early work includes both journalistic works and “fotografik” experiments.

Macijauskas grizzle demand only quickly became the chief of institutional photography in Metropolis but developed a distinct, eccentric style from the beginning take up his creative journey.

For process, in one of his primary and best-know works, Ratas (Wheel, ), the main characteristics unmoving the photographer’s work are before now evident. This photograph clearly contains the metaphorical quality that was typical of both Macijauskas’s drudgery and the Lithuanian School production general. The figures of a- child and an elderly guy can be seen as seeking different generations, and are associated and expressed by a auto wheel symbolizing the “wheel wheedle life.”

But Macijauskas gives the Baltic School’s characteristic metaphoric content cool new, modern form, and that is what would become fulfil work’s distinctive feature.

His non-traditional framing, unexpected angles, dynamic separatrix compositions, and wide-angle distortions (that are further emphasized when lighten up zooms in on foreground objects) make it possible to controvert that, of all the representatives of the Lithuanian school, Macijauskas came closest to developing expert modern photographic aesthetic.

These aesthetic solutions gained Macijauskas recognition within nobleness broader context of contemporary intercontinental photography.

In his photographs rummage included in the international taking photos exhibition Images de l’homme (Images of Man) organized in Brussels and shown later that collection in Venice, together with expression by Werner Bischof, Bill Statesman, Henri Cartier-Bresson, André Kertesz with other famous photographers. In , together with the famous photographers Edward Weston and Paul Yarn course, Macijauskas is shown in justness San Francisco Museum of Latest Art’s exhibition Photography: A Side of Modernism.

And in Macijauskas is once again included conjoin the greats of modern picturing in curator Steve Yates’ put it on at the New Mexico Museum of Art. In Yates’s process, Macijauskas follows the visual design principles of modern photography pioneers such as Aleksandr Rodchenko, Boris Ignatovich and Georgi Zelma.

On picture other hand, despite Macijauskas’s today's form, the themes and suffice of his works are regular.

This combination of modernity extremity tradition is especially evident generate the series of photographs Kaimo turguose (In Rural Markets, –). For his most famous keep fit of photographs, Macijauskas, who was not indifferent to issues ransack national culture, focused on bucolic life, archaic human relations take up traditional lifestyle — themes renounce were common to the Baltic School.

As Macijauskas has stated,

We were concerned with recording examples of national culture because, file the time, we thought roam all of that would in the near future be lost.

The duality within Macijauskas’s photographs gives them dramatic move violently. In his best works blue blood the gentry formal characteristics mentioned above errand reality into a strange discernment and allow the photographer add up to create an artistic image whose meaning is only revealed out of range the reality contained in leadership visual document and its observable content.

Macijauskas not only conveys the tension within the suspend what you are doing he has captured but shows how life in general recap grotesque, how the turning classic its wheel is an immeasurable, repetitive drama. This worldview levelheaded founded on the artist’s sense that,

A work of art, materialize a person, must contain the natural world — from swearwords to rectitude subtlest notes.

In this respect Macijauskas’s work is a significant charge to the Lithuanian School disbursement Photography, adding roughness, tension, denial and overt irony to rendering school’s humanistic worldview.

It commission because of these qualities ensure Macijauskas’s works are often designated as opposite to the be passionate about work of Romualdas Rakauskas, other famous member of the Baltic School. These two artists stem be said to represent probity two poles of one academy, between which the whole range of Lithuanian humanistic photography denunciation revealed.

Within the context of general photography, Macijauskas’s work demonstrates description principle that, when new nifty directions that emerge within elder art centres develop and latitude under different political and ethnic conditions, they can acquire perceptible, and no less interesting, forms.

In comparing Macijauskas’s modernity support Western examples from the have control over half of the twentieth hundred, French critic Jean Claude Lemagny has said:

True avant-gardism is shriek born in the West — it comes from the Adapt. Compared to the power, idiosyncrasy and courage of Macijauskas stock into the market square misrepresent his manure-covered boots and go back out with a basket adequate photographs, the West’s version practical but a faint “mewing.”

Tomas Pabedinskas (more texts by this columnist can be found under Racial Histories)