Laima Petrusevičiūtė's attention focuses on two artists, Čiurlionis and Munch, who are considered to be powerful symbols of the spiritual revival of the Lithuanian and Norwegian nations, with their lives and art blazing the trail to independence.
This exceptional book, uncommonly for our art criticism, deserves the strongest praise. It is significant from various points of view, and I would like to point out the most important ones. First of all, this study, which is concise and yet full of su…
Laima Petrusevičiūtė's attention focuses on two artists, Čiurlionis and Munch, who are considered to be powerful symbols of the spiritual revival of the Lithuanian and Norwegian nations, with their lives and art blazing the trail to independence.
This exceptional book, uncommonly for our art criticism, deserves the strongest praise. It is significant from various points of view, and I would like to point out the most important ones. First of all, this study, which is concise and yet full of subtle observations, creates a solid bridge of understanding not only between key symbols in Lithuanian and Norwegian art, but also between our two nations. Also, it expands the traditional field of research, and connects Čiurlionis' work with the art movements of northern countries more daringly than in the work of other art critics.
Laima Petrusevičiūtė's attention focuses on two artists, Čiurlionis and Munch, who are considered to be powerful symbols of the spiritual revival of the Lithuanian and Norwegian nations, with their lives and art blazing the trail to independence.
This exceptional book, uncommonly for our art criticism, deserves the strongest praise. It is significant from various points of view, and I would like to point out the most important ones. First of all, this study, which is concise and yet full of subtle observations, creates a solid bridge of understanding not only between key symbols in Lithuanian and Norwegian art, but also between our two nations. Also, it expands the traditional field of research, and connects Čiurlionis' work with the art movements of northern countries more daringly than in the work of other art critics.
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