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Purpose. The purpose of this paper is to present appraisal models of visual material printed in the newspapers. Furthermore, the aim is to analyse aspects of its description and reformatting in the context of heritage institutions. Methodology. The research presented in this paper was conducted on the sample of Jastrebarske novine (1964-1991) and based on the analysis of historical and contemporary contexts of the newspaper's creation and use. In addition, a quantitative and qualitative content analysis was conducted on the same sample. Findings. Visual material and elements of graphic design in the newspapers are important from the perspective of their content and are often inseparable from the textual parts of the articles. The societal and political discourses of the visual material printed in Jastrebarske novine is of less importance compared to their significance as the resources for better comprehension of local history and everyday life. When reformatting newspapers in which visual contributions are valued as significant, it is necessary to take into consideration the visual elements. Originality. This paper validates the need to appraise individual newspapers in their historical and contemporary context and from the perspective of their visual material. Moreover, the reformatting methods are examined, and emphasis put on the importance of inductive and analytical approach during conversion to other media. According to our current knowledge, this paper for the first time presents a content analysis of visual material in the newspapers based on a contextual analysis of a local newspaper and from the perspective of reformatting policies and practices. [ABSTRACT FROM AUTHOR]

The present article revisits Bruno Latour's Actor-Network theory, as well as Erika Fischer-Lichte's theory of performative aesthetics, which are employed as a methodical approach to review the works of Lithuanian photographer, photographic artist Gintautas Trimakas, in his exhibition Answer. In the exhibition, the artist chose to present a series of works whose photographic processes took place in the gallery space itself. This decision opened new possibilities to consider the exhibition as a performative action carried out by various networks of actors, starting from local, surrounding objects, such as the space itself, the visitors and architectural elements, and ending with electromagnetic waves generated by the Sun or the rotation of the Earth. All these factors played a role in creating photographic images in the camera-less technique, capturing the light throughout the exhibition. Hence, it is proposed that these actors should be considered co-authors of the work. It is noted that the traditional dual structures of nature / culture, and object / subject have faded away. All the actors in this exhibition have received an equal status; therefore, human as well as non-human agents are recognized to have participated in this performative action. Thus, the visuality of the work should be considered a result of collective effort. Moreover, the positions of a subject and an object have also lost their relevance, since the objects of the exhibition are no longer seen as passive; just like the subjects, they are able to react to the surroundings and be active performers of the work. [ABSTRACT FROM AUTHOR]

The research presented in the article explores the features and use of historical photographs chosen to represent the Holocaust in Lithuania in Lithuanian and international historiography, including popular literature. Referring to the theoretical literature on Holocaust photography, critical areas of Holocaust photography are outlined, and images found in the historiography of the Lithuanian Holocaust are systemized accordingly. Secondly, by analyzing different categories (the photographer's identity, topic, event, subject, location, caption type, archival source), photographs from Lithuanian and international publications are compared. Finally, the main critical aspects of the publication of photographs representing the Holocaust in Lithuania are identified and discussed, paying special attention to the issues of their iconic properties and authenticity. The results of the presented research show an obvious necessity for historical research on the circumstances of the emergence of Holocaust photography and its dissemination in later times. A superficial approach to historical photographic sources is evident from abstract, laconic and sometimes even erroneous captions, the failure to indicate the original circumstances of the appearance of specific images, omitting the photographer's name or the archival source. Other aspects of photographic representations of the Holocaust worth mentioning are a strong countertrend to the prevailing perpetrator perspective, the predominance of images from Kaunas, and the prominence of the topic of ghetto life. This situation is mostly a result of the wide circulation of photographs taken by the Kaunas ghetto inmate Zvi Hirsh Kadushin (1910-1997) both in Lithuania and abroad. Pilot rather than conclusive, the present research aims to map out the main topics for the future research on Holocaust photography in Lithuania. [ABSTRACT FROM AUTHOR]

Straipsnyje tiriamas teisėsauginės fotografijos tapsmas Rusijos valdytose istorinėse Lietuvos žemėse. Siekiama atsakyti į klausimus, kaip XIX a. keitėsi asmens tapatybės samprata, kokioms Lietuvos gyventojų grupėms caro administracija fotografinės identifikacijos metodą pradėjo taikyti pirmiausia, kas lėmė būtent šių grupių išskyrimą, kaip vizualinė visuomenės priežiūra buvo vykdoma ir kuo Šiaurės vakarų teritorijoje praktikuoti būdai skyrėsi nuo vaizdinės kontrolės kituose Romanovų imperijos regionuose. Kartu aptariamas fotografijos, kaip moralės ir politikos požiūriu pavojingos medijos, statusas bei mėginimas XX a. pradžioje liberalizuoti teisinį jos reglamentavimą. [ABSTRACT FROM AUTHOR]

The article explores the infamous photographs from the Abu Ghraib prison that circulated and were made public in 2004. It specifically looks at how the sense of togetherness was enacted by the U.S. military personnel stationed in the site, and the way cameras were instrumental in this process. It argues that the resultant photographs can be seen as tourist-like in several respects. A notable aspect of the photographic images is that the soldiers who took them repeatedly appear in the frame themselves. Appearing in and photographing the abusive acts was not only a form of structuring and reinforcing power relations at the prison, but also an attempt to portray a fun-having personnel group. The visual signifiers - thumbs up, smiles, pointed fingers - authenticate the images, lending them some of the qualities of tourist photography. At Abu Ghraib, the soldiers' photographic practice also partly served as a sense-making mechanism, allowing a symbolic distance between the camera-wielder and unforeseen emergent events. It promised a wishful alternative to the grim realities of the prison: an overcrowded and undersupplied facility with a lack of on-site leadership. The scars of resultant violence - and the notorious photographs that document it - remain relevant, and continue to resurface in recent social and political contexts. [ABSTRACT FROM AUTHOR]

The publication presents a collection of photographs from the end of the 19th century by Daunorava Latvians – Dundurnieki (Joniškis parish) collected in 2016–2019 (1,270 items). Methods used in the research were: interview, genealogical, source and literature analysis, typological, and comparative. It is a valuable source of local history in terms of quantity and content to study the anthropology of Latvians living in the northern part of Lithuania, the genealogy of individual families, their daily lives, customs, holidays, education, social and economic activities, clothing, homesteads, huts or their details and more. [ABSTRACT FROM AUTHOR]

The article deals with the life of Anton Sedej (1887-1959) from Dole above Idrija, a construction engineer who devoted most of his free time to photog- raphy. His life was spanned from the last decades of the Austro-Hungarian monarchy to the turbulent first half of the 20th century and was therefore extremely interesting: from his youth at the secondary school in Idrija and studying civil engineering in Vienna to being drafted in the First World War and convicted at the end of the Second World War. He left about two thou- sand photographs, partly on glass, which are kept by the City museum in Idrija and waiting to be processed in detail. A collection of photographs is also kept at his home. Both collections consist of not only images of his home surroundings, but also images from other sites in Slovenia and abroad. [ABSTRACT FROM AUTHOR]

The paper presents analysis results of the album by Ivan Standl from 1871, entitled “Memory of Zagreb”. Besides its remarkable cultural-historical value for Zagreb and Croatian photography in general, the album is also impor-tant due to printing technique of prints it contains. Namely, the photographs were multiplied by the collotype printing process, the latter being put into prac-tice only several years before, which makes the album a pioneering achievement of the photomechanical printing on the Croatian soil. It was conceived and com-pleted on the occasion of the First General Croatian Teachers’ Assembly held in Zagreb in 1871. Standl’s motifs of Zagreb were photomechanically multiplied in Munich at the establishment of Joseph Albert, a photographer, one of the inven-tors of the collotype printing. The procedure was refined and became commer-cially available only two years before Standl’s album was made. Standl most prob-ably became aware of the possibilities of the photomechanical printing and of the basic features of the collotype process via the Photographische Correspondenz jour-nal, the official organ of the Vienna Photographic Society, whose member he was from early 1866. Albert’s collotype prints illustrated more than one issue of that professional journal, the latter being available to Standl every month as the Soci-ety’s member. In all likelihood, the Croatian and Zagreb photography for the first time thus became aware of the possibilities provided by then brand new photo-mechanical prints and thanks to Standl and the financial aid of the Main Com-mittee of the Teachers’ Assembly, they were able to see and obtain examples of the new invention with motifs of Zagreb. The results of the research presented in the paper – by reconstructing the context of creation of Standl’s photo album and by precisely determining the making process of the prints it assembles – enrich the history of photography in Croatia with new insights and indubitably confirm the already known importance of its author as the most renowned protagonist of the photographic medium in the 19th century Croatia. [ABSTRACT FROM AUTHOR]

The experts from the Book and Paper Conservation Centre of the Archives of the Republic of Slovenia used visual analysis to identify the type of a black-and-white photograph on glass from 1860 and to determine if it was made by inventor Janez Puhar (Johann Pucher). The photograph was embedded in the cover of the card, addressed to the Prince Bishop Jernej Vidmar, which is currently owned by the Archdiocesan Archives in Ljubljana. We investigated the photographers who at the time made photographs in the Slovenian territory, researched the methods used to produce the oldest photographs; then we examined the photograph with the naked eye and compared it at magnification to similar photographs from that time, and we examined all Puhar's photographs kept by the National Museum of Slovenia. The card was conserved and restored. [ABSTRACT FROM AUTHOR]

This article chronologically explains the known and so far many unknown information about the life and work of a Zagreb photographer Ivan Standl, based on the research of the archival records, periodicals and numerous photographs kept in various Croatian institutions. Born in Prague, this photographer began his work in Zagreb in 1864 and almost immediately upon the arrival won the prize on the Economic Exhibition (Prva dalmatinsko-slavonsko-hrvatska izložba plodinah, tvorinah i umjetninah). This was the beginning of imposing series of eight rewards won on various exhibitions throughout Europe (besides Zagreb, he won the awards in Moscow in 1872, London 1874, Teplice 1879, Szekesfehervar 1879, Eger 1881, Trieste 1882 and Budapest 1885), two medals ('The Highest Recognition' in 1869 and 'The Golden Medal for Science and Art' in 1881), as well as the title 'The Photographer of the Yugoslav Academy of Sciences and Arts' which was bestowed upon him in 1874. All the medals and awards were printed on the background of the decorative cardboard of Standl's photographs in the sequence he received them, testifying until today about the high quality and continuity of his photographic work. During his long active years in Zagreb Standl's photographic studio changed several addresses. He began his work at 750 Ilica Street and for a short while he worked at the same time as a lease-holder at Gyorgy Mayer's studio at 867 Ilica Street. Around 1866 he moved to a new studio at 747 Ilica Street, where he remained until 1875. After that he moved to 9 Mesnička Street where he worked until his death. The photographic work in the studio was represented in great deal almost since Standl's very arrival to Zagreb and later he began to take photographs outside the studio, mostly of landscapes, urban panoramas, architecture and cultural monuments. He went to the island of Krk on two occasions (in 1865 and 1869) to photograph the Baška tablet. He mostly published the work taken outside the studio in the form of volumes, photo albums or books. In 1869 Standl himself produced the album entitled 'Remembrance of Zagreb', dedicating it and giving it to Emperor Francis Joseph I during his visit to Zagreb. Besides portraits taken at his studio or photographs shot outside, Standl photographed various historical documents, works of art and artefacts, while his numerous photographs were also used as illustrations in the works of the contemporary renowned scientists of various profiles (Franjo Rački, Josip Torbar, Ljudevit Vukotinović, Dragutin Gorjanović-Kramberger etc.). He was the official court photographer and a close associate of the Art Society in Zagreb. Near the end of his life, due to his big experience and verified work quality, Standl began his pedagogic activity, passing his knowledge to first photo-amateurs of Zagreb gathered around the Club of Photo Amateurs at the Art Society, putting his studio at their disposal from 1894. He died in Zagreb on 30 August 1897 and after his death the studio was run for a short while by his widow Klementina. It stopped working on 1 August 1898. For more than three decades Standl left numerous traces of his various photographic activity, as well as particularly valuable visual documents of various aspects of the Croatian society from the second half of the 19th century. The importance of his work exceeded the scope of Zagreb long ago, establishing him as one of the greatest names of the Croatian photography of the 19th century. [ABSTRACT FROM AUTHOR]

In 2011, Ivo Arany, the son of Dragutin, donated the legacy of his father to the Croatian Music Institute. The legacy consists of music magazines, concert posters, programs and other documents. The hardworking violist and organizer of Zagreb's music life Dragutin Arany (1899-1964) has collected newspapers almost his entire life, but so far only one part of his collection has been processed. A list of newspaper articles from the period 1912 to 1929 showed that 4,000 newspaper articles, music critics, announcements, essays, biographies and other texts were collected in that period only. Apart from the fact that the collection of Dragutin Arany off ers a rich source of information on the musical life of that period, it also depicts it with iconographic sources. Musical events and their protagonists have been recorded with photographs, drawings and cartoons, so the collection is not only a source for musical life but of the overall artistic and social life of Zagreb in the twentieth century. In the 1920s there are lot of amateur, but also professional photographers in Zagreb, such as Antonija Kulčar and Otto Antonini. Their photos, printed in newspapers and magazines document composers, conductors, opera singers, musical and other events. In that period, most of the painters do caricatures because it brings them money. Besides caricatures of musicians there is the interesting example of musician and caricaturist Ivo Tijardović, whose caricatures were also found in Arany's collection. There are also other drawings and music iconography elements mentioned in this paper. Altogether these elements of music iconography represent modern aspirations of that time and bring us closer to the reception of musicians between the world wars. [ABSTRACT FROM AUTHOR]

Domicėlė Tarabildienė expressed herself in various fields of art, first of all, we know her as graphic artist and children's books illustrator although she was educated in Sculpture. Her early adopted form of creation - photography and photo graphics. Around 1930s Domicėlė, then student of the Kaunas Art School, started taking photographs, encouraged by her classmate Vaclovas Kosciuška (1911-1984). From her family's kept photographs and negatives we can see dynamic moments of Kaunas Art School students' lives, quiet everyday life of interim capital and its suburbs communities, family portraits in Jočiūnai village, bits of her studies and travels in Paris and Italy in the late 30s. For the first time the wide audience had an opportunity to see her photographs only in 2002 (The exhibition Unseen and Unknown Domicelė Tarabildienė: Photographs and Photo Graphics). Modern researchers, including me, are most interested in Tarabildienė's self-portraits and use of photo graphics, which was unique in the interwar Lithuania's photography. It allowed her to move from provincial village commonness to the world of imagination. I do not doubt that Tarabildienė (then Tarabildaitė) had to admire her own personality as there are direct tries to identify herself with images of stage heroes in remaining photographs and negatives. Photomontage with Lillian Roth's skirt (1932) prototype was initially named by art critic Giedrė Jankevičiūtė in first catalogue of Tarabildienė's photography exhibition (2002). In this photomontage the young experimenter "borrowed" and tailored a chequered skirt, which she has seen worn by American actress and singer Lillian Roth in "Naujas žodis" ("The new word") magazine, for herself. There are more images and paraphrases of this kind. This article presents several Tarabildienė's prototypes from foreign movie actors or other popular characters photographs published in local periodicals. Their interpretations are discussed in 1930s Tarabildienė's photomontages. Other creative inspirations, such as women nude photographs taken by Czech photographer František Drtikol (1833-1961) in 1920s and 1930s, are mentioned as well. Finally, the significance of images from media or cinema to artist's self-realization and creative work experiments are questioned and corresponding findings are formed. [ABSTRACT FROM AUTHOR]

Roland Barthes's "Camera Lucida. Reflections of Photography" is a book that attracted attention not only from researchers of photography, but also those of other visual expressions, philosophers, and cultural critics. The last decade has seen intensive analyses of the relation between his photography and phenomenology. Meanwhile, this paper suggests a different approach - reading "Camera Lucida" in the context of all Barthes works, i.e. in the framework of his theoretic thought. In the analysis of his theoretic thought we explore the meaning of the question: "What does my body know about phenomenology?" asked by the author in this book. This question describes an approach to photography that could be named "corporeal knowledge". Corporeal or body knowledge in the description of emergence, formulation and production of signification is a common topic in Barthes's works. A look at the corpus of his works makes it apparent that Barthes cared about several essential problems that connect his works of different themes and styles into one methodological field. One of such problematic threads continues in a dashed but consistent fashion all the way until his final works is the signification of body (or corporeality) in the production of meaning. This paper studies how the conception of "corporeal knowledge" is spread in a book dedicated to photography. The paper carefully looks at the Barthes's photography researchers' notion that in "Camera Lucida" the author returns to phenomenology, since such concepts of phenomenological philosophy as perception, experience, memory, and imagination have never left Barthes's sight. We raise an assumption that instead of talking about a turn or return to phenomenology, it is better to talk about the isotopy of body and corporeality in the Barthes's works. Therefore the further discussion raises the questions of: how is Barthes treating the concept of body? What does he call the corporeal knowledge? What does the body mean generally in an attempt to answer the question what is photography? This paper shows that in Barthes' "Camera Lucida" for the first time an ontological question is raised, i.e. it aims to understand what is photography itself, what is its essence. The author has never raised the question of essence and not signification before, since structuralists or semioticians do not raise such questions. The analysis of the chronological way the author follows in his descriptions of the phenomenon of photography shows how he starts with photography as a message without a code and gradually reaches the concept of photography as an object, in which expression, content and the referent (the reality) coincides. This identity is photography's essence without signification that, according to Barthes, cannot be described by any traditional analytical methods. A rational, analytical view takes apart and generalizes; therefore, it cannot reach the essence of photography. This view is counterpoised by a personal view. Therefore, it is argued that the only possible way to understand what photography is in itself is to research the primal, true relationship between the viewer and the photographical image that takes shape before any conceptualization. Such relationship is exactly what Barthes calls "corporeal knowledge", where the basis of understanding is the position of the personal "1". Unlike in his other works, in "Camera Lucida" Barthes asserts that there are such fields or phenomena, where only this alternative (personal "corporeal knowledge") understanding is possible. Further on this study analyzes the conditions for such alternative view. The third part analyzes Barthes's description of the essence of photography by using two concepts studium and punctum. This analysis shows how these two elements of photography are connected to corporeal knowledge. 1t shows two conceptions of punctum. Several important aspects of corporeal plane are elucidated: describing punctum with corporeal terms (wound, stab, sting, cut, etc.) he attributes this element to the plain of corporeal senses instead of rational cognition. 1n the further description for the first time he conceptualizes the essence of photography - that which allows understanding the point of photography is indescribable, experienced and unarticulated. 1t also shows how the temporal aspect of punctum (photography shows that the object existed) is linked to the bodies' direct relationship. The conclusions propose that even though Barthes's last book "Camera Lucida" stands out among other books dedicated to photography and other expressive objects due to its conceptualization of the plain of "corporeal knowledge", a lot of issues still remain. That is especially because in his works Barthes has not described the conception of "body". 1t is stated that only by analyzing the fragments that create the isotopy of corporeality in his theoretical works it is possible to reconstruct the Barthesian conception of corporeality. By interpreting Barthes's question "What does my body know about Photography?" in the context of all his works, it becomes evident that on the one hand, the descriptions of the signification of photography and the search for its essence are inscribed in the systemic structure of the development of significations. 1n his analysis of visual objects Barthes uses the structures of linguistic significations, which means that he also faces challenges that arise in the text theory. One of such challenges is the place of corporeal experience and meaning in the description of signification, its emergence and comprehension. Therefore, after considering the development of his theoretic thought, what is in his critique called Barthes's return to phenomenology appears to be a consistent step towards the description of those uncoded, irrational and unsystematic elements of meaning that Barthes assigns to the plain of "corporeal knowledge". [ABSTRACT FROM AUTHOR]

The article focuses on the creative development of Eglė Ridikaitė (b. 1966). It's the first exhaustive research in which author aims to analyze and interpret Ridikaitė's artworks along with their links with the local context, the social and historical phenomenons considering the relations with the modern art processes. Also in this article author uses the interview with the artist. The article is based on authors Bachelors thesis that was inspired by the recent cycle of works "Came, saw, left: cultural floors" (2017), while closely examining the creations of the artist it came to light that exactly 20 years have passed since E. Ridikaitė has finished her painting studies but so far there is no detailed study or a published catalog that analyses her works. This led to consistent investigations of the artists oeuvres since the beginning of her studies at 1991 Vilnius Academy of Arts, department of Painting, in order to reveal the overall formation of her creative image. The consistent research based on analysis and interpretation of artworks allows to see the full view of Ridikaitė's creative development. Almost of the artist's paintings are created in groups - cycles and the author of this article analyzes them chronologically by seeking to show the natural growth of the artist. [ABSTRACT FROM AUTHOR]

This article concentrates on exploring theatre culture of interwar Kaunas through photographic archive of images and theatre documents. The main focus is on State theatre of Kaunas, the only professional theatre institution of that time which had an impact on society's cultural opinion. At that time commercial photography was used to promote theatre, the actors and their performance. They were viewed as the representatives of the whole theatre community. Photographic images of the staged roles in the studios, documentation of the produced plays and various other archival documents of the theatre are analyzed in the local and cultural context of commercial photography. Photographic archive of the theatre not only represents the institutions and the life of the theatre community, but also reveals the individuality of outstanding artists and their profesional and personal space. The main attention is focused on two actresses of interwar period: Ona Rymaitė and Potencija Pinkauskaitė. They both represent different theatre personalities through their work. Their photographic archive gives us an insight into the characters they created during their working period and show how photography represents different portrayals of their work. The archives of actresses Elena Žalinkevičaitė-Petrauskienė and Antanina Vainiūnaitė-Petrauskienė also open up the importance of a woman, an educated actress of the interwar theatre, prompting to do research and consider their roles in the local context of Lithuanian art history. [ABSTRACT FROM AUTHOR]

The album "The City of Karlovac And Its Countryside" by Karlovac photographer Hinko Krapek is one of the most significant achievements of Karlovac, as well as Croatian early photography. Since its release in January 1889 it has been praised by the Karlovac and Zagreb newspapers and its importance has been recognized by researchers of the Croatian photographic history. Its popularity was still vivid in Karlovac families in 1930s. This research shows that there are only five preserved albums, three in Karlovac (the Karlovac City Museum and the City Library "Ivan Goran Kovačić"), two in the Croatian State Archives and the Special Library of the Directorate for the Protection of Cultural Heritage of the Ministry of Culture in Zagreb, while the copy from the National and University Library in Zagreb is lost. All of them are of the same size, with the same text by the history teacher Franjo Valla about the history of Karlovac and the photographed sites, printed by the Karlovac printer Dragutin Hauptfeld. The analysis proved that Valla had no influence over the sites' selection or the arrangement of the photographs within the album. All the albums, but one in the possession of the Karlovac City Museum, have twenty-four photographs. Although they slightly differ by the final cut-out during the making of prints out of negatives, main differences concern the album layout - starting with its cover design, different texts of dedication, cover sheet and captions under photographs. Due to its final presentation, every preserved copy of the album should be considered a unique item of the kind. [ABSTRACT FROM AUTHOR]

The article discusses the connection between the visual means used in posters of the late 1980s and early 1990s, created in the period of disintegration of the USSR and the formation of the independent state of Belarus, which coincided with the transition to digital technology in graphic design. Thus, the formal characteristics of typefaces used in the posters are considered in the context of technological, social and institutional reconfiguration. [ABSTRACT FROM AUTHOR]

Referring to the surviving photographs, artworks, reminiscences by contemporaries, and other written sources, the paper discusses the representation of the naked body in visual arts and its public reception in Lithuania in the 1920s and 1930s. Nude photographs of the Russian-born ballet dancer and painter Olga Dubeneckienė-Kalpokienė (1891-1967) become an impetus to discuss what might have been the reasons for a woman to undress in front of the camera and what meaning this kind of act had. The paper analyses the general attitude towards the naked body made public, referring to the origins of the movement of nude aesthetics and naturism, and the spread of its ideas in interwar Lithuania. The analysis of the history of creation of the artist and ballet dancer's nude photographs and portraits allowed to highlight the fact, which has not been previously emphasized in Lithuanian art history, that painter Petras Kalpokas (1880-1945) used photography as an aid in his works. The author of the paper presents new facts attesting to the close relationship between Dubeneckienė- Kalpokienė and Kalpokas, which began earlier than is asserted in traditional Lithuanian art history. This proof is important not only for the biographies of the above-mentioned artists, but also for that of Vladimiras Dubeneckis (1888-1932), as it may explain several dramatic moments in the famous architect's life. Moreover, Dubeneckienė-Kalpokienė and Kalpokas's wedding date is specified (1935). A sketchbook, which was thought to belong to Dubeneckienė-Kalpokienė, is newly attributed to Kalpokas. Research of the public attitude towards the naked body in the interwar period has revealed that even the priest Juozas Tumas-Vaižgantas did not hide his fascination with partially naked portraits. Dubeneckienė- Kalpokienė's allegorical nude photographs received exclusive attention from exhibition visitors and reviewers. Even the nude photographs by foreign artists, displayed in an international photographic exhibition in Kaunas (1938), were acclaimed by some professionals. However, despite the fact that interwar society was becoming more modern, it was not ready to accept fellow-countrymen's nude photographs about which we learned only in the 21st century and which are still 'without a place' in the history of Lithuanian photography. [ABSTRACT FROM AUTHOR]

It has often been argued that in modern physical culture since the 19th century, the valorization and aestheticization of the human body has correlated with profanization, i.e. the loss of transcendence. This essay shows that modern physical culture remains deeply rooted in the ideas of transcendence. Especially bodybuilding, the epitome of modern physical culture, can be interpreted as an attempt to transcend the deficiencies of the given body through rigorous training, asceticism, and aestheticization, and thus to sublimate it into a timeless statue. In this connection, photography plays a crucial role as, metaphorically speaking, an amplifier of the 'iconogenic' characteristics of bodybuilders' physiques. [ABSTRACT FROM AUTHOR]

Janko Ravnik (Bohinjska Bistrica, 1891 - Maribor, 1982) is known to the Slovenian public as an accomplished musician, composer, and the founder of the Slovenian piano school. He is also acclaimed for directing and shooting the first Slovenian feature film V kraljestvu Zlatoroga (In the Realm of Goldenhorn). From an early age he was a keen photographer as well, capturing important public events, personalities, and objects of the 20th century on various media. His heritage is now taken care of by the Jarina Association Bohinj. Discussed in this paper is a small, but in terms of artistic value probably the most valuable part of his photographic heritage - 567 glass plate negatives. The photographs mostly depict the landscape of Lake Bohinj, the capital city Ljubljana, the beauty of the Slovenian mountains, and WWI related topics. His opus of glass plate negatives has been thoroughly analysed and temporarily catalogued and digitised. [ABSTRACT FROM AUTHOR]

The close relation between photography and heritage is excellently illustrated by the work and activity of Jan Bułhak. From the 1910s, he was the chief photographer of Vilnius, and in the interwar period he was one of the few experts in heritage preservation. As a creator of photographic art and pictorialist, Bułhak did not seek an objective representation of reality in his photographs. On the contrary, he aimed to create images of lasting artistic value, which depended on the motif and composition of the photograph. He considered photographic art national, and thought that the motif, topic and content of the images had to be Polish. Motifs of nature and landscape were best suited to express the Polish character, and these topics were regarded as having lasting artistic value, which was permanent, stable and unchanging. In the album under discussion, Vilnius: Twenty Images from Bułhak's Photographs, the city is represented as rural and Catholic, as a place that has retained the glory of its past and the beauty of nature and architecture; in this way the city's nobiliary and Polish features were expressed. Heritage preservation in the interwar period also aimed to protect the Polish, Catholic and nobiliary values through material and aesthetically attractive objects. The common aims and values allowed heritage preservation specialists and Bułhak to collaborate in creating the institutionally established vision of the Polish Vilnius. [ABSTRACT FROM AUTHOR]

At the beginning of the 1980s, two factions misunderstanding each other emerged in the field of Lithuanian art photography. The generation of photo artists, who had become famous in the Soviet Union and abroad, conceived photography as an artistic interpretation of reality and did not accept the young generation's idea of photography as a process that may be turned into a performance, become reflexive, disrupted or reconstructed. The paper investigates the reception of works by Alfonsas Budvytis, Gintaras Zinkevičius, Alvydas Lukys, Gintautas Trimakas, Remigijus Treigys, Saulius Paukštys, Vidmantas Ilčiukas and Snieguolė Michelkevičiūtė trying to answer the following question: how has the attention of Lithuanian and foreign artists and art historians helped the young photographers to strengthen their position and to become integrated into the field of contemporary art and the international context?. The analysis of documentation of group exhibitions that showcased the aforementioned photographers in 1987-1994 reveals that the discourse of recognition differed remarkably in Lithuania and abroad. In Lithuania, photographers still had to overcome the ideologically imposed Soviet view that photography was a document of reality. Thus, photographers attempted to emphasise the specific characteristics of the photographic medium, the ways it distanced the image from reality and the artificiality of art photography. The young generation of art historians to whom photography's attachment to reality was no longer a problem read this formal language learning from their experience of modernist art. Meanwhile, foreign curators were interested in the manifestations of creative freedom under the conditions of political repressions and recognised them in the works of some young Lithuanian photographers. Critics who wrote about their exhibitions saw formal experimentation as a phenomenon of the past, thus they were more impressed with impersonal evidence of historical reality without apparent means of artistic expression. The work of Vytautas V. Stanionis who appropriated his father's photos for Soviet passports seemed to conform to the method invented by Bernd and Hilla Becher, which was widespread by then as the dominating principle in photography. Thus, even though the work by Stanionis was older in terms of the time the passport photographs were taken and he did not understand the implications of his own action, it looked more up-to-date than the experiments of young photographers in the West. Yet the success of young photographers remained unnoticed in the field of art photography in Lithuania, which was still upholding the reportage method. Thus, Lithuanian photography "caught up" with the processes in the West, although it did not affect the institutionalised tradition of art photography at home. [ABSTRACT FROM AUTHOR]

Background/Aim. The tibial slope is one of the most frequently cited anatomical causes of anterior cruciate ligament trauma. The aim of this study was to determine the possibility of direct measuring of the tibial slope of the knee without prior soft tissue dissection in cadavers. Methods. Measurement was performed on the two groups of samples: osteological and cadaveric. The osteological group consisted of 102 matured tibiae and measurement was performed: indirectly by sagittal photographing of the tibia, and directly by a set of parallel bars. The cadaveric group consisted of 50 cadaveric knees and measurement was performed directly by a set of parallel bars. The difference and correlation between indirect and the direct measurements were observed, which included also measuring of the difference and correlation of the tibial slope on the medial and lateral condyles. Results. A statistically significant difference between the direct and indirect method of measuring (p < 0.01) of 1° was found for the tibial slope on the medial condyle, which is of no practical importance. Direct measurement of the osteological and cadaveric groups of samples did not show a statistically significant difference regarding the values of the tibial slope on the lateral condyle (p > 0.05). However, the slope on the medial condyle, as well as indirect measurement showed a statistically significant difference (p < 0.01). Conclusion. By the use of a set of parallel bars it is possible to measure the tibial slope directly without removal of the soft tissue. The results of indirect, photographic measurement did not statistically differ from the results of direct measurement of the tibial slope. [ABSTRACT FROM AUTHOR]

Background/Aim. Aesthetics is the reason for most of the class II malocclusion patients to opt for orthodontic treatment. In order to regulate retrognathic profile Herbst appliance for anterior movement of the mandible can be a treatment of choice. The aim of this study was to determine the soft tissue profile changes following Herbst appliance therapy on before and after treatment photos, using the computer program. Methods. This investigation was performed on profile photographs of 20 class II patients (12 females and 8 males) aged 18-23 years. Analysis of the changes in soft tissue facial structure relationships evident on the photographs before and after the Herbst appliance therapy was performed using Bentley Micro Station program. The first contour of the soft tissue profile was marked. The following reference lines were subsequently traced: Ricketts aesthetic E line and Juanita line. The area enclosed by these two lines included the nose, upper and lower lip, chin and free space in front of the lips. Using the computer program, the surfaces of the soft tissue structures and free space defined by the reference lines and profile contours were measured. Calculation of the relative proportion of surfaces was done for each photograph. The data obtained were then compared for each patient before and after the treatment. Skeletal and dentoalveolar treatment effects that support soft tissue changes were presented by the profile cephalometric parameters of sagital occlusion (SO) analysis. Results. A reduction in the relative surface of the upper lip in males (p < 0.01) and females (p < 0.05) was shown by the pictures. The space occupied by the chin was reduced after the treatment for females only (p < 0.05). The relative surface of the nasal soft tissues, that was included in the reference space was increased (p < 0.01) in both genders. The relationship between the soft tissue and empty surface was changed in favor of the empty surface (p < 0.05) in females. No statistically significant differences were found between the males and the females, before or after the Herbst appliance therapy. The soft tissue changes were the consequence of skeletal and dentoalveolar treatment effects: upper incisors retrusion, lower incisor protrusion and forward movement of the lower jaw. Conclusions. The Herbst appliance therapy caused a significant improvement of the profile appearance. The extent of soft tissue changes that occur on its dentoalveolar and skeletal support is a complex issue. [ABSTRACT FROM AUTHOR]

"Artistic research" has recently become a trendy word in the circles of higher art education. It has many faces and there is no mutual agreement between artists, theorists, and science and education politicians policymakers about on its precise definition. The goal of this paper is to try to answer what shape artistic research might be and what kind of opportunities it has to solve artistic and scientific issues. The arguments are based on personal experience and reflections on collective artistic research project "Mapping Lithuanian Photography: Histories and Archives", also known as photo/carto/historio/graphies. This project was implemented in 2007, and a retrospective look helped to identify 4 possible artistic research methods: imaginary, spatial, performative and editorial. The theory was deduced from practice, and was possible only as a follow-up to practice-based research. This is very much likely to be true for most other artistic research projects. Moreover, visual mapping as material thinking is discussed here as one of the most important methodology of artistic research. [ABSTRACT FROM AUTHOR]

The aim of the article is to show how the conjunction of traditional photography and computer graphics in Algis Griškevičius' works opens up possibilities for relevant critical comment on the specifics of the medium of photography as well as on broader cultural contexts. The discussion of the works, based on structural analysis and Vilém Flusser's theoretical insights on photography, reveals not only different technological and perceptual, but also cultural layers of the works, which are related to long-held traditions of Lithuanian photography. The article concludes by stating that it is precisely this multi-layered technological and conceptual character of Algis Grikševičius' works that makes it distinct on the scene of Lithuanian photography. [ABSTRACT FROM AUTHOR]

The first and important phase of documentation of cultural heritage objects is to understand which objects need to be documented. The entire documentation process is determined by the characteristics and scope of the cultural heritage object. The next question to be considered is the expected outcome of the documentation process and the purpose for which it will be used. These two essential guidelines determine each stage of the documentation workflow: the choice of the most appropriate data capturing technology and data processing method, how detailed should the documentation be, what problems may occur, what the expected outcome is, what it will be used for, and the plan for storing data and results. Cultural heritage objects require diverse data capturing and data processing methods. It is important that even the first stages of raw data capturing are oriented towards the applicability of results. The selection of the appropriate working method can facilitate the data processing and the preparation of final documentation. Documentation of paintings requires different data capturing method than documentation of buildings or building areas. The purpose of documentation can also be the preservation of the contemporary cultural heritage to posterity or the basis for future projects and activities on threatened objects. Documentation procedures should be adapted to our needs and capabilities. Captured and unprocessed data are lost unless accompanied by additional analyses and interpretations. Information on tools, procedures and outcomes must be included into documentation. A thorough analysis of unprocessed but accessible documentation, if adequately stored and accompanied by additional information, enables us to gather useful data. In this way it is possible to upgrade the existing documentation and to avoid data duplication or unintentional misleading of users. The documentation should be archived safely and in a way to meet the needs of potential users. Inadequate archiving may cause irreversible damage to documents. It is unreasonable to store data in a format which could not be read by future generations. In spite of high capacity of data bases the aspect of long term archiving of analogue documents should not be neglected. The past is being stored for the future, including different methods of storing various types of historical archives. [ABSTRACT FROM AUTHOR]

This paper analyzes the media's visual representation of various poverty groups within Serbia. The visual representation is not simply a reflection of reality, but rather an instrument that plays an important role in prescribing different meaning to media events and their appearances in public. The aim of this research is to determine how the visual code transmits messages about poverty and socially excluded groups, in the analyzed television news, newspaper and online photographs. Based on the sample of 410 articles on poverty, collected between the 14th and 28th of October 2010 and 2011, this paper critically analyses the medias representation of poverty within Serbian society through methods of content analysis, critical discourse studies, and the use of semiotic approaches to images. Analysis of the structure of discourse shows that the visual representation of the poor in Serbian society is highly simplified, stereotyped and is separated from the wider societal context of poverty. It is rather reduced to bits and pieces of media images, which do not properly indicate the seriousness of the problem of poverty making it difficult for mass audiences to identify with. [ABSTRACT FROM AUTHOR]

The concept of écriture feminine proposed by French feminists Hélène Cixous, Julia Kristeva and Luce Irigaray in 1970s has been criticised for being apolitical. But the criticism has been contested with the argument that it has a potential in changing the discourse that structures gender relationships in society. Écriture feminine as 'writing the body' is constructed in feminist theory as an opposition to the dominating patriarchal discourse that prevents women from occupying the subject position and uses them to guarantee the subject position for men. By criticising Sigmund Freud's interpretation of female sexuality according to which a woman cannot sublimate, Irigaray claims that a woman who is prevented from realising her libido participates in discourse in two ways: mysticism and mimicry, which are both sadomasochistic. By using mimicry as a method in her philosophical questioning, however, i.e. by imitating the dominating discourse 'unfaithfully', Irigaray demonstrates its artificiality and fallacy. She suggests that women should leave the dominating patriarchal discourse by rejecting its rules and deconstructing its language. The dominating discourse, according to Irigaray, denies gender differences and is a discourse of 'oneness' pretending to be universal. In order to escape sameness, Irigaray suggests 'speaking the body' based on the relationship of gender differences where femininity and masculinity do not enslave each other, but preserve wonder with regard to each other thus creating a limit, a gap, a middle that does not allow absolute fusion and preserves difference. Writing the body is writing with the other, which creates a dialogical relationship. Thus, for Cixous, Kristeva and Iragaray, écriture feminine is an expression of specificity in female body and at the same time a realisation of Jacques Derrida's différance. The paper suggests that this conception of écriture feminine can be used to understand the significance of work by two Lithuanian female photographers, Veronika Šleivytė and Violeta Bubelytė, who 'spoke the body' without acknowledging their feminist strategies. This was caused by historical circumstances in which they created. Veronika Šleivytė photographed self-portraits during the inter-war period when the concept of écriture feminine did not exist and she worked in a male dominated field and society that held very traditional views regarding women. Violeta Bubelytė started photographing herself naked in the early 1980s, i.e. in the time when the concept of écriture feminine was very popular in the West, but it could not reach Lithuania that was under the Soviet regime. Yet when their work is interpreted through the concept of écriture feminine, it becomes clear how they both were opposing the dominating discourse of patriarchal photography. Be photographing themselves, they used mimicry (in Irigaray's sense) as a positive method by repeating the clichés of portrait and nude unfaithfully and thus showing the artificiality of the representation of women and establishing themselves as subjects. Both photographers rejected woman's identification with nature and transferred their bodies to the sphere of culture. By 'writing the body' they both created a dialogical relationship where a woman addresses herself with Irigaray's question 'who are you?' as if her self were already slightly other. Yet Šleivytė also inscribed the other in two more ways: by trying on other identities and speaking about herself through love to other women. Both photographers also disturbed the familiar discourse of portrait and nude photography by using a different lighting, creating superimpositions and using the gaze to establish subjectivity. On the other hand, in their own discourse, they undermined its 'oneness' by using alternative verbal discourses and introducing the dimension of time. Both photographers used the photographic medium by positively creating the space for dialogue, but also showed that woman's self is inaccessible to photography as a medium establishing the dualist subject-object position. Additionally, this paper is written as a meta-text, exploring the possibility to use the concept of écriture feminine in academic writing on photography. [ABSTRACT FROM AUTHOR]

Reminiscences (1975-1985), a series by the famous Lithuanian photographer Algimantas Kunčius (b. 1939), stands out in the context of the humanist photography that dominated in Lithuania during the Soviet period. Rather than photographing people, Kunčius focused on things and the everyday urban as well as rural environment. The series marked the beginning of a new aesthetic tendency, which was later developed in the 1980s by younger photographers. It also reflected processes that had been taking place in Lithuanian painting, which was then moving towards the observation of everyday life. After the restoration of independence in 1990, Reminiscences gained significance and came to represent Lithuanian photography in the international context; separate images were used to illustrate poetry and texts on the ethnic roots of Lithuania, displaying the images' capacity to touch upon universal sensibilities. Therefore, this paper explores how the photographic rendering of "things" in Reminiscences was used to express identity and reflect on ideas that were current during the late Soviet period as well as investigating how personal memories are associated with wider cultural phenomena. The discourse of memory is read by linking visual analysis with the photographer's memories and interpretations of this series that were made at the time of its creation. The discourse of memory in Reminiscences by Kunčius follows two main directions. The first leads towards a phenomenological reduction of the opposition between the observing subject and the object that is being observed. This effect is achieved through the use of various codes of photographic language, which supports the interpretation that the things being photographed were signs whose purpose was to carry the memories of a past that was able to both influence and form the present of the self. The second direction of the interpretation takes a turn towards reading cultural values in the structure of the series. Thus, every photograph becomes a step in the process of discovering national identity. The latter meaning is related to the significance of Reminiscences in Lithuanian culture, as the reading of common meanings in everyday things allows the audience to appropriate identity constructed by the photographs. [ABSTRACT FROM AUTHOR]

The article discusses the creative processes that took place during the years after the totalitarian regime in the field of photography. Those creative processes were responsible for the development of two artistic tendencies that were in opposition to each other. The Lithuanian school of photography that emerged in late 1960s formulated a conception of photography that was based on the documentary approach. In the meantime, the works of the new generation that debuted in early 1980s manifested an alternative expression that abandoned the values of the established tradition. This historical analysis focuses on how the principles of a stylistic vocabulary were constructed during the period and establishes the relationship that existed between the institution and the creative individual when culture underwent Sovietization. One of the most important objectives of the Sovietization of photography was related to the creation of a new ideological reality. With the aim of presenting the precise characteristics of this reality, the paper introduces a new term alt-reality. This term not only points to the nature of the phenomenon (as, for example, hyper-) or to its scale (as, for example, total-), but also provides grounds for its ideological goal to represent an idealized Soviet reality, i.e. to visualize it in qualitative categories. Documentary photographers who developed the traditions of the school usurped the concept in terms of the basic principles of the photographic art. Therefore, this new wave can be called "a movement for devisualization" (with some reservations) due to its main creative strategy isolation from the significance of the visual content. It remained peripheral for a whole decade, not only during the Soviet period, but also during the first years of independence. The first chapter discusses the construction of a Soviet alt-reality in photography during the Thaw period, when the emerging diachronic function of photography raised the modern aesthetics of photography to a position equivalent to social realism. The new documentary photographers announced their break from photojournalism publicly in 1969 by founding the Society of Art Photographers of Lithuanian SSR and creating a new aesthetic programme based on the synthesis of the documentary and psychologism; consolidating documentary photography as an art. The recognition that the status of the photo artist subsequently gained and the strengthened position of the Society itself prompted the development of a more diverse artistic expression in the Soviet Union. However, those Lithuanian photographers acquired such favourable conditions only because of the strategic implementation of political projects and the maintenance of good relationships with the nomenclature of the party and the government. They gained a strong ideological and theoretical rearguard in Moscow and most importantly created a trustworthy alt-reality that was widely spread not only within the Soviet Union, but also abroad, thus expressing not an individual point of view, but a common Soviet world outlook. During the last decades of the Soviet occupation documentary photographers interpreted reality much more critically. They searched for connections with the past and observed the unfriendly social environment. Their creative variations of the documentary medium, however, impeded experimentation and limited the use of formal aesthetics as a means to reveal the artistic potential of photography. The second chapter analyses the contradictions that were manifest from early 1980s between the traditional and alternative expression. The new generation of artists broke away from the canon of documentary reflection, maintaining that photography itself was a new artistic reality. Thus, the cornerstone of contention became not only the different perceptions of reality that were available in photography, or through photography, but also the definition of the limits of photography as an artistic object. Still, the pragmatic policy of public relations that was observed by the Society of Lithuanian Art Photographers was orientated towards the integrity of the medium in Soviet culture. This was pursued in a complex fashion by consistently reacting to party directives, implementing ideological engagements, suppressing inner controversies and by limiting the spread of alternative expression. Such a situation demonstrates that the alt-reality that was created during the Soviet period according to the conception of the traditional school of photography remained quite united in the public space; while the split took place on the level of the professional community's discourse and ideas. In the case of the school, photography was consolidated as a modern, yet "demonstrative" art, whereas the creators of alternative expression, who had a critical approach towards the traditional representation of reality, implanted the practices of devisualization. They were the first to inspire the use of postmodern tendencies in Lithuanian art photography under the circumstances of a weakened, although still ideological, restricted culture. [ABSTRACT FROM AUTHOR]

The article discusses the iconography of old Vilnius - an interesting and valuable field which has as yet attracted only a modicum of investigation in Lithuanian art criticism, and which consists of the illustrations published in the weeklies of Warsaw in the 2nd half of the 19th century (Tygodnik ilustrowany, Kłosy, Biesiada literacka, Tygodnik powszechny). By the late 19th century, around 80 various images of Vilnius had appeared in these weeklies in the shape of xylographs (panoramas, architecture and art monuments, and corners of nature in the city). Illustrations reproduced in a different fashion were also published; the latter included a significant number of portraits of notable Vilnius figures (cultural activists, artists, priests). According to available statistics, the weeklies' focus on Vilnius was not determined by special occasions or shortterm. From 1859 onwards the old capital of Lithuania received attention almost annually; moreover, in 1872 Tygodnik ilustrowany published 9 illustrations on the subject of Vilnius. Although until the mid-19th century, the depiction of Vilnius was "monopolized" mainly by local artists or at least to artists who were closely related to Vilnius. The onset of modernity (railway, photography, xylographical press) meant that the city became much more accessible to fresh, outside eyes. This, in turn, led to the control of the iconography of the city being transferred to Warsaw for some time. Such gravitation was also encouraged by the policy of the Russian Empire in Lithuania, which after the 1863 uprising converted the country into a deep cultural province. The illustrated weeklies of Warsaw became one of those windows through which the world could see Lithuania and Lithuania could see the world. This also meant that these "inclusions of Vilnius", which were permanently on show within these weeklies, slowly became an integral part of Polish visual culture. The latter tendency surely found an echo in the developing aspirations of the modern Polish nation towards Vilnius and the entire heritage of the GDL in general. We may even argue that it was precisely the illustrated press of the 2nd half of the 19th century who materialized that vision of Vilnius which had already by the 1st half of the century become seeded in Polish selfconsciousness by the romantic poets who originated from this city. [ABSTRACT FROM AUTHOR]

The lens of the photocamera, which in the middle of the 19th century represented a threat of overcoming the art of painting, at first faced hard critiques which often rejected and even ridiculed this mechanical art. However at the beginning of the 1920's, photography started to take roots in the printed media, and by the end of the 1940's it had become an important medium of historical documentation. Thirty years later it appeared to be an instrument for revealing reality, while on the other hand retained the power to shock the eye of the beholder with its pornographic images and pictures of terror, and the power to limit the beholder's opinion by arranging its own content. On the basis of the film Blow-Up, in this text I discuss the role of a photographer during the act of taking photos. I also discuss the subjective / objective reading of a photograph, as well as the mediatory / historicaly conditioned changing of perception. [ABSTRACT FROM AUTHOR]

The landscape Emptiness (Old Nest, 1901) by Ferdynand Ruszczyc appears one of the most valuable exhibits in the possession of the Lithuanian Art Museum. The natural scene rendered in an expressive manner is perceived as a symbolical metaphor for solitude, fleeting time and transience of being. In the painting we see typical of Ruszczyc's work motives of vegetation devastated by violent elements and the stormy sky, art historians usually associate such features with Neo-Romantic art, as a continuation of Romanticism. The Neo-Romanticism and Symbolism of the turn of the 19th and the 20th centuries traditionally provide the context for the interpretation of this particular canvas as well as the entire mature work of Ruszczyc. The article attempts to expand this traditional interpretation by virtue of the visual character of the painter's work as rooted in the era of positivism. The revision of the dominant approach is prompted by the artist's relation to photography the latter far from exhausted by his interaction with the pioneer of Polish Pictorialism Jan Bułhak. The painter was not only interested in the new branch of art and took amateur pictures, of more consequence was the fact that his artistic vision intrinsically possessed qualities characteristic of photographic optics. Ruszczyc's visual skills were considerably influenced by the studies at Art Academy of St Petersburg, the fact ignored or downplayed by most of his researchers. His first teacher Ivan Shishkin developed in him a habit to rely on photography as reference material, while his second professor Arkhip Kuindzhi taught him a skill to awaken his "internal vision" based on the developed visual memory. Ruszczyc attempted to perceive art as two-stage process embracing primary sensory experience and its mental absorption. He related the first stage with the basic, in positivist empiricism, sensory procedure accessible to every individual, while the second stage appeared rooted in emotional irrationalism and shrouded with mystery. The painter who reconciled different painting strategies emerges as an individual of the schism era. In observation Ruszczyc is a painter of positivism period, convinced in the power of direct glance, yet the very moment when he embarks on - actual or mental orchestration of a painting - he starts partaking in Neo-Romantic art. It is important to note that the usual stylistic and iconographic methods of analysis appear insufficient to present an in-depth interpretation of the visual qualities of Ruszczyc's art. Therefore, in order to revise and widen the interpretation of his legacy, new methodological principles in art research need to be developed. [ABSTRACT FROM AUTHOR]

This review is dedicated to the life and work of a physician, scientist, and university professor Hinko Emili (Rijeka, 1900-1983) Particular attention has been given to the artistic part of his vast work. As an epidemiologist, he was particularly interested in water (its sources, exploitation, distribution, disease-causing bacteria, microorganisms, arid chemical elements in it). The article brings a bibliography counting 84 published research articles. Just as interesting is Dr Emili's work in photography, which went beyond mere hobb'y and has a genuine artistic merit. Well many documents witness to either of his passions. Describing the sophisticated artistic atmosphere in the Rijeka of the 1920s and I 930s, this article shows how much of it is owed to amateur and art photography. It concludes that both passions of professor Hinko Emili - medicine and art photography - share a common drive, that is, his strong sense of humanism and a subtle outlook on the world of his time. [ABSTRACT FROM AUTHOR]