Pranas Domšaitis: 8 works

A slideshow of artworks auto-selected from multiple collections

By Google Arts & Culture

Gypsies (1928 - 1928)Lithuanian National Museum of Art

'P. Domšaitis started studying fine art at a time when, alongside Impressionism in Germany, a new art wave was rising -- Expressionism. Graduating from the Königsberg Academy of Art in 1910, P. Domšaitis became an apprentice in the Berlin studio of the East Prussian painter Lovis Corinth.'

Fishermen’s Boats in the Curonian Lagoon (1935 - 1935)Lithuanian National Museum of Art

'In his landscapes from before World War II, the painter liked to depict the sensation of the "sun shining through the clouds", where expanses of meadows, forests, hills or water are bathed in a soft, scattered light, as in this painting, in which P. Domšaitis created a lyrical image of everyday life on the Curonian Lagoon.'

Four figures (1951 - 1951)Lithuanian National Museum of Art

'Using different colour combinations, shape and line rhythms, P. Domšaitis gave the same theme a new meaning each time.'

Karoo with Gold (1953/1953)Lithuanian National Museum of Art

'However hundreds of paintings remain in P. Domšaitis' studio in Cape Town -- a long journey to Lithuania awaits them as well.'

Flight to Egypt (1958 - 1958)Lithuanian National Museum of Art

'P. Domšaitis started painting the Flight to Egypt compositions under the influence of the events of World War I. They combined the biblical theme, war-ravaged settlements and images of long lines of refugees.'

The Crucifixion (1959 - 1959)Lithuanian National Museum of Art

'The Impressionist stylistics in P. Domšaitis' paintings were replaced by the expressionism that the new art style was known for.'

Goldmines in Johannesburg (1961 - 1961)Lithuanian National Museum of Art

'Landscapes were a means by which he could express man's existence, and symbolically speak of the universality of being.'

Annunciation (1962 - 1962)Lithuanian National Museum of Art

'It is as if P. Domšaitis has captured the exact moment when other-wordly beams of light, a metaphor for the good news, touch Mary, glowing in a halo of light herself. Already early on in his career, art critics had noticed that P. Domšaitis was a person who was living in a world of symbols and stood out for his ability to create poetry using pure painting as his tool.'

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
Google apps