Manifestations of National Style and Art Deco in the Work of the 1930s Ceramics Alumni of the Kaunas School of Arts

Acta Academiae Artium Vilnensis

Abstract

The article seeks to analyze the work of the inaugural generation of professional Lithuanian ceramicists trained at the Kaunas School of Art (KMM) Ceramics Studio, aiming to unveil the distinctive features of art deco and the national style that manifested within it. The evolution of European applied art in the first half of the 20th century advanced significantly in the realm of design, shaped by scientific and technical breakthroughs, as well as mass-machine production. Against this backdrop, Lithuania trailed behind not only Western Europe but also its neighbouring countries such as Poland, Latvia, and Estonia. In the 1940s, the nation lacked nearly any professionals in applied art, prompting the recognition of the necessity for training decorative art specialists, which was acknowledged by artists and various cultural figures, sparking considerable discussion on the matter at the Kaunas School of Art. It was only in 1931 that the first studio of applied art, specifically the Ceramics Studio, was established at the Kaunas School of Art. Its inception posed numerous organizational and technical challenges, compounded by the difficulty in assembling a cohesive team of teachers.

The primary instructor, ceramic technologist Pranas Brazdžius, a graduate of the School of Applied Arts in Myrhorod (Ukraine) and with an internship at the Bechyne School of Ceramics (Czechoslovakia), played a pivotal role in shaping the Ceramics Studio. Despite an initial intake of nineteen students, the numbers dwindled significantly over the course of the school year for various reasons. Firstly, mastering ceramics proved to be a challenging endeavour, requiring substantial physical effort and a grasp of both chemistry and technical intricacies. Secondly, while Brazdžius had commendable technological skills, his artistic competence fell short, hindering the development of a clear curriculum for ceramics. In the subsequent years of its existence, the Ceramics Studio underwent a rejuvenation with the enrolment of new students from the Kaunas School of Art. Individuals like Vaclovas Miknevičius, Voldemaras Manomaitis, Emilija Vaškevičiūtė, Povilas Krivaitis, Ona Šuminaitė-Jurkienė, Eleonora Lukštaitė-Marčiulionienė, Teodora Slyvauskaitė-Miknevičienė, among others, chose to specialize in ceramics. Already demonstrating a serious interest in ceramics and a natural curiosity, most of these students, upon graduating from the Kaunas School of Art, became the founding members of the first generation that laid the groundwork for Lithuanian professional ceramics. They went on to collaborate in various educational and production institutions.

In 1934, Liudvikas Strolis became the head of the Ceramics Studio at the Kaunas School of Art. This artist, who initially studied painting at Kaunas School of Art, later pursued ceramics at the Paris National Conservatory of Arts and Crafts from 1929 to 1933. Strolis’s works seamlessly blended the professionalism acquired abroad with a keen understanding of modernity, influenced by art deco, and a creative interpretation of folk-art traditions. His early creations reflected the so-called national style, where, alongside modernist features, the incorporation of Lithuanian folk décor elements and forms held significant importance. Strolis emerged as a practitioner of frugal minimalism, showcasing a penchant for moderate forms and a distinctive styler of national patterns. This artistic vision laid the foundation for the pedagogical approach to teaching ceramics at the Kaunas School of Art under Strolis’s guidance. Upon assuming his role, he swiftly devised a comprehensive curriculum encompassing artistic design, decoration, and the technical realization of works using diverse ceramic materials. The introduction of specific and clearly formulated learning objectives, coupled with discussions on the nature of ceramic works and exploration of decoration and materiality issues, catalyzed positive transformations in the students’ work.

As the quality of ceramics studies advanced, the works of young artists began to garner recognition and favourable evaluations at exhibitions featuring students’ and graduates’ creations. Attention was captivated by the harmonious interplay between form and decor, the discerningly chosen glazes employed in the works, and the decoration inspired by motifs from Lithuanian ornaments. Some products exhibited artistic characteristics emblematic of the art deco style, with diagonal or undulating elements evident in handles and covers, as well as a more structured approach to decoration. Furthermore, these art deco stylistic elements persisted in the post-war cutlery of certain artists. Angular, bevelled handles, and constructive design or shape elements continued to appear in their works.