Gediminas’s Dream in Art: The Political and Cultural Context

Authors

DOI:

https://doi.org/10.37522/aaav.106.2022.116

Keywords:

Gediminas’s dream, Iron Wolf, legend of the founding of Vilnius

Abstract

In the article, the theme of Gediminas’s dream and its reception in 19th–21st century art is analyzed with a focus on the political and cultural aspects that made an impact on the formation of the tradition of representing this motif in artworks, and its change. It was not until the middle of the 19th century that this subject popularized by chroniclers and historians appeared in fine art; until then, it was only found in texts.

The Gediminas legend combines real historical events and a mystical vision; thus, it is not surprising that this theme was aligned with the world perception of the 19th and early 20th century. Artists fascinated with the ideas of Symbolism expanded the rather literal iconography of Gediminas’s dream formed in the era of Romanticism, combining a nostalgic view of the past with ethnic motifs. In independent interwar Lithuania, stripped of its historical capital, the narrative of Gediminas’s dream became one of the key topics of propaganda art; its imagery was also successfully disseminated in popular culture. In the Soviet period, when patriotic aspirati- ons were not tolerated in official art, the history of one of the founders of the Lithuanian state, Duke Gediminas, in many cases was reduced to the legend of the founding of the city of Vilnius. Finally, when the country’s independence was restored, the statehood-related connotation of this topic regained prominence, and a monument to Gediminas became probably the state’s most important initiative, and later, in the 1990s, also an object of discussions. The history of the founding of the capital of the Grand Duchy of Lithuania has not lost its relevance today, and its popular symbols (the Iron Wolf, the castle tower and the image of Grand Duke Gediminas) are used in both traditional and somewhat unexpected forms. Analysing how the relevance of the legend of Gediminas’s dream has been changing is one of the most convenient ways to overview and explain the impact of the political situation on the language of art.

Author Biographies

Dovilė Barcytė, MO museum, Vilnius, Lithuania

is an art historian and exhibition curator. She earned a master’s degree in Art History and Theory from the Vilnius Academy of Arts, and her graduation work The Iconographic Aspects of the Stucco Décor in the Wołłowicz Chapel of Vilnius Cathedral was acclaimed as the best master’s thesis in the humanities in Lithuania in 2020 by the Lithuanian Union of Young Scholars. Main areas of scholarship: 17th–18th century baroque art and architecture and the reception of the heritage of the Grand Duchy of Lithuania in interwar Lithuania. The art historian curates exhibitions and writes texts on various art topics, conducts research and is a lecturer at the Vilnius College of Design; from 2019, she works as an art researcher at the Lithuanian Art Centre Tartle, and from 2022, as an exhibition curator at MO Museum.

Ieva Burbaitė, Lithuanian Art Centre TARTLE, Vilnius, Lithuania

is a Doctor of Humanities, an art historian and an exhibition curator. In 2016, she defended a thesis in Art Research, The Activity of the Society of Lithuanian Women Artists (1938–1940) and Its Contexts, at the Vilnius Academy of Arts. Main areas of scholarship: the art scene in Lithuania and interwar Vilnius of the first half of the 20th century, the work and organisational activity of Lithuanian women artists in the interwar period, Lithuanian photography of the first half of the 20th century. The art researcher writes academic, critical and popular articles on art and curates exhibitions. She has been taking part in scientific conferences from 2010. From 2013, she works as an art researcher at the Lithuanian Art Centre Tartle.

Published

03/06/2022

How to Cite

Barcytė, D., & Burbaitė, I. (2022). Gediminas’s Dream in Art: The Political and Cultural Context. Acta Academiae Artium Vilnensis, (106), 18–44. https://doi.org/10.37522/aaav.106.2022.116