Vilnius

Leon Kosmulski (1904–1952) made this print when he was a student at Stephen Báthory University. His inclination towards imaginary views of the city are evident in the work. Vilnius was the main subject and source of inspiration for the younger generation who studied at Stephen Báthory University in the 1930s, but they rebelled against the old ideas, and were bored with the usual repetition of the same themes and the realistic form of expression. Kosmulski’s print, which is distinguished by a primitive Cubist approach to shapes, shows the rebel in him: the view of the city is flat, lacks perspective, and resembles a medieval drawing. The strict contrast between black and white is relieved by an inscription in red, similar to the writing in a medieval manuscript. It is impossible to identify the subject and its location, or to determine which area of Vilnius is represented. The main part of the print, a massive Gothic church with towers on the corners, standing in the middle of a city on the bank of a river surrounded by a wall with gates, is a metaphor for an imaginary or lost medieval Vilnius.

Source: Law firm Valiunas Ellex art album VILNIUS. TOPOPHILIA I (2014). Compiler and author Laima Laučkaitė
Expositions: “Vilnius. Topophilia. Views of Vilnius from the collection of the law firm Ellex Valiunas”, 5 October – 26 November 2017, National Gallery of Art, Vilnius (curator Laima Laučkaitė)

Leon Kosmulski (1904–1952) made this print when he was a student at Stephen Báthory University. His inclination towards imaginary views of the city are evident in the work. Vilnius was the main subject and source of inspiration for the younger generation who studied at Stephen Báthory University in the 1930s, but they rebelled against the old ideas, and were bored with the usual repetition of the same themes and the realistic form of expression. Kosmulski’s print, which is distinguished by a primitive Cubist approach to shapes, shows the rebel in him: the view of the city is flat, lacks perspective, and resembles a medieval drawing. The strict contrast between black and white is relieved by an inscription in red, similar to the writing in a medieval manuscript. It is impossible to identify the subject and its location, or to determine which area of Vilnius is represented. The main part of the print, a massive Gothic church with towers on the corners, standing in the middle of a city on the bank of a river surrounded by a wall with gates, is a metaphor for an imaginary or lost medieval Vilnius.

Source: Law firm Valiunas Ellex art album VILNIUS. TOPOPHILIA I (2014). Compiler and author Laima Laučkaitė
Expositions: “Vilnius. Topophilia. Views of Vilnius from the collection of the law firm Ellex Valiunas”, 5 October – 26 November 2017, National Gallery of Art, Vilnius (curator Laima Laučkaitė)