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Cultural History
Cultural History
Authors
About the project
Fine Arts
Art in the Stalinist Period
Painting
A Short Introduction to the History of Lithuanian Painting
Modernisation
Anachronisms
Painting after Painting
Graphic Arts
A Short Introduction to the History of Lithuanian Graphic Arts
Tradition and Innovation
Depth and Surface
New Art of the Late Twentieth Century
What Is New Art?
In Jest: Artificial Art
On a More Serious Note: Art Actions and Performances
In All Seriousness: Institutions of New Art and Their Projects
Before and After Twilight
Applied Arts
1945–1955: The Stalinist Period
Facing New Demands
Ceramics and Textiles
...and Stained Glass
1955–1974: Folkloric Modernism
Art for everyday life
Ceramics: From Mass Production to Individuality
Textiles: "The Future Belongs to Mass-produced Fabrics"
Woodworking: Between Mass Production and Unique Creations
Metal Art: For the Public and for the Home
Leather Art: Bringing Beauty to Everyday Life
Glassworks: Drawn to Transparency
In Conclusion
Photography
1944–1953: The Sovietization of Photography
1954–1969: The Opportunities of the “Thaw”
1970–1979: The Phenomenon of the “Lithuanian School of Photography”
1980–1989: The Conceptualization of Photography
Literature
1945–1954: Lithuanian Literature in the Stalinist Years
1955–1965: Freedom in the Years of the "Thaw"
1965–1972: Resurgence
1973–1980: The Gray Years
1981–1988: Flower Children and Utopia's Collapse
1989–1992: The Unity of the Singing Revolution
1993–2002: From the Gariūnai Market to the Frankfurt Book Fair
Dance
1945–1967: The First Post-War Decades
1967–1978: Lithuanian Ballet’s Efforts at Renewal
1978–1990: Between Classical Ballet and Innovation
1990–2000: Embracing New Spaces and a New Language of Dance
Theatre
1945–1956: The Theatre of the “New Reality”
1956–1968: Recovery and First Strides
Recovery and First Strides
Juozas Miltinis and the Laboratory for the Modern Consciousness
The Theatre of Henrikas Vancevičius
1968–1980: Outbreaks of Rebellion and Semblances of Freedom
Outbreaks of Rebellion and Semblances of Freedom
A Critical Revision of Reality
“Theatre of Hope”
Playful Theatre
1980–1990: The Triumph of Authorial Directing
The Triumph of Authorial Directing
Eimuntas Nekrošius: “The World Itself”
Jonas Vaitkus: "Studies in Evil”
Rimas Tuminas: Theatre “Without Sweat”
1990–2000: The Taste of Freedom
The Taste of Freedom
The Elders: “Displaced” and Newly Established
The Young Generation: Continuity and Discovery
Scenography
1945–1955: Traces of Modernity in Stage Design in the Post-War Period
1956–1968: In Pursuit of Artistic Imagery
First Strides
Laconic Expressive Imagery
The Search for Dynamic Imagery
Set Design for Musical Productions
The Set Designer's Theatre
Architecture
1944–1954: The Stalinist Period in Architecture
Sovietizing Architecture and Instilling the Principles of Socialist Realism
Urban Planning and a Hierarchy of Cities
The Hierarchy of Buildings in Soviet Lithuania
1955–1959: The Beginnings of Modernism
Emancipation from Stalinism – the Transitional Period (1955–1958)
1959 – The Start of Modernism
Industrialization and Urbanization
1960–1969: The Lithuanian School of Architecture—Growth and Maturity
The Nature of Socialist Modernism
A New Architectural Typology
1970–1979: The Lithuanian Architecture School—Years of Triumph
Modernization within the Confines of Stagnation
The Nature of Late Soviet-Era Architecture
Urban Development and Residential Architecture
1979–1989: Toward Postmodernism: The Final Soviet Decade
Toward Postmodernism
The Final Contortions of the Late Soviet Era
Stagnation and Diversity in Residential Architecture
1990–2000: The Architecture of Freedom
Design
1954–1979: Was There Such a Thing as Soviet Lithuanian Design?
Why Were the 1960s So Important for the History of Lithuanian Design?
The Process of Graphic Design Projects: The Establishment and Practice of an Experimental Design Bureau
Examples of Lithuanian Graphic Design: From Labels to Corporate Branding Projects
Cinema
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