Even though M. K. Čiurlionis started professionally painting from 1903 (and painted until 1910), his artworks started to find an international audience mostly in the new millenia. It amazed not only regular viewers, but also weathered art critics. What’s so appealing about this 20th century painter and why are we finding out about him only now?
Who was M. K. Čiurlionis?
Lithuanian artist M. K. Čiurlionis was born in 1875 – a time when Lithuania was occupied by the Russian empire. His first profession was music – he could read the notes from the age of 5 and would often accompany his father to play the organs in the local church during Mass. He pursued his musical career in the Mykolas Oginskis Orchestra School in Plungė (1889-1893, Lithuania), then received his composer diploma in the Warsaw’s Institute of Music (in 1900) and later studied in Leipzig’s Conservatory to receive music teacher diploma (1902). After becoming a professional musician he turned to art and threw himself into painting: attended drawing and art classes in Warsaw, was crucial in organizing the first Lithuanian Art Exhibitions (1907, 1908, 1909). While he was an extremely productive painter (1904-1909 produced more than 200 paintings), he died early: while spending time at a health resort (to overcome burnout), he got ill with pneumonia and died in 1911, aged 35.
In between the styles, painting, and music
Living on the verge of millenia (19-20th centuries), M. K. Čiurlionis witnessed not only the changes of styles (symbolism, impressionism, first attempts of abstractionism), but also numerous inventions: photo cameras, cinemas, airplanes. With the possibility for the world to change so easily, he developed wonder and fascination with everything he could get his mind on: he researched religions, myths, numismatics, astrology, astronomy, aesthetics, history, and read the newest issues of magazines he could get his hands on.
So no wonder when you look at the paintings of M. K. Čiurlionis you see a mixture of interests and styles. Some even argue that M. K. Čiurlionis’ use of delicate lines and synthesized forms to capture the essence lets some of his artworks sit between symbolism (showing spiritual reality) and abstractionism (stripping to the essence, creating a new art language). A great example of this is the 1907 cycle “Winter” in which M. K. Čiurlionis does not follow narrative, but instead uses color, forms that turn into generalized symbols and metaphors and takes us along the journey of feeling winter.
In the picture above we can almost feel the heavy snow on the trees. We can see that it was achieved with only a few lines and strokes, and yet there’s nothing more that is not needed. We don’t have a lot of written accounts on whether M. K. Čiurlionis himself wanted to turn to the abstract path, but we do know that he wanted to accent the musical rhythms and find a new language of art. We can see M. K. Čiurlionis leaving the typical dimensions and adding lines in his Vignette (Composition), 1908 on top. He dabbles with abstraction, but never fully embraces it and returns to synthesizing experiences into symbols that allows the viewers to submerge themselves into these unknown worlds.
While only a few paintings can boast being on the verge of abstraction, one of the other reasons why M. K. Čiurlionis catches the eye are his musical paintings. Using his musical education, he worked out the Sonata system in which he used the proper musical forms to create cycles of paintings. While the first cycles (Sonata I (Sonata of the Sun), 1908, Sonata II (Sonata of the Spring), 1908, Sonata no 3 (Sonata of the Serpent), 1908, Sonata no 4 (Sonata of the Summer), 1908) use all four parts of the musical Sonata (Allegro, Andante, Scherzo, Finale) appropriately and have more distinguishable musical forms, the latter become more blurred.
We can take as example the Allegro painting from Sonata no 6 (Sonata of the Stars), 1908. While same as in musical form, this part presents well the topic for the cycle (outer space, angels, possible higher life), it no longer follows the sequence of exposition – development – recapitulation as it does in the first musical cycles.
Of course these technicalities usually interest only those who are more versed in M. K. Čiurlionis artworks. Most are engaged by his use of unknown, yet inviting lands which during the exhibition in Dulwich Gallery (London) were equated to the fantasy worlds of J. R. R. Tolkien.
The use of active nature (it’s never just a simple paysage), play on colors, anthropomorphic and myth inspired details, even a simple forest can become a magical meeting between the kings of nature (Forest, 1907). The trees, standing tall, almost with crowns, turning to each other to discuss, the night sky, so full of color and shimmer, while similar to real life photos of nowadays telescopes add a sense of magic, while the blurred bottom right corner adds just enough mysterious fog to further the notion of unknown land.
The theme of fairytale is common to a lot of M. K. Čiurlionis paintings, and some (like Fairytale (Castle Fairytale), 1909) have the same first title even though depicting various themes. The use of fairytales, so known among everyone, ensures that people, looking at M. K. Čiurlionis paintings feel the same sense of wonder as they had when they were hearing these stories told by their moms, dads, grandparents or when they read them themselves. And similar to fairytales, which have more than just the story and might need multiple rereads to find the little details, so M. K. Čiurlionis paintings have hidden features that wave at you (just like the cloud person in the Fairytale (Castle Fairytale), 1909).
Hidden behind the Iron Wall
So why haven’t we heard about M. K. Čiurlionis already? Why is he not studied in art books, why is he less known than Van Gogh? The reason might be the 50 year occupation of Lithuania by the Soviet Union. While Lithuania was behind the Iron Wall, so was its artwork and 20 years of independence during the Interwar were simply not enough to spread the news of this creator. During the time in the Soviet Union the paintings were not only seldom shown in the Lithuanian museums, but also were in danger of being destroyed for being too philosophical to be used for the Soviet agenda.
Furthermore, since the paintings were so fragile (painted on cardboard with tempera or pastels), it was advised not to have them travel anywhere in order not to damage them. While some early paintings are still discouraged to leave the M. K. Čiurlionis National Museum of Arts, with the use of better protection and traveling boxes, the artworks were able to travel not only around Europe, but also to other continents like Japan.
Current reviews and possibilities to study
The possibility to see M. K. Čiurlionis not only in Lithuania helped people not only discover this artist but also fall in love. While weathered art critics discuss the various techniques used by M. K. Čiurlionis, younger audience is enthralled to find imaginary worlds drawn in the beginning of 20th century.
With Lithuania now in the European Union (since 2004) it is quite easy to visit the originals, but if not, people can now see all of M. K. Čiurlionis paintings (that are owned by M. K. Čiurlionis National Museum of Arts) on the platform ciurlionis.eu. The platform is always updated to include not only M. K. Čiurlionis artworks, but also research, projects and events that immortalize the Lithuanian artist.
M. K. Čiurlionis National Museum of Arts invites everybody to come with M. K. Čiurlionis to the world of imagination and see his paintings live in Kaunas, Lithuania or online on ciurlionis.eu.
Written by Greta Katkevičienė from M. K. Čiurlionis National Museum of Arts
