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The paper analyses the role of the Lithuanian diaspora and its artists in the art field of Argentina in the 30's and 40's, and overviews their input into the development of the nativist discourse. The paper employs social art history to show the impact the transatlantic migration had on the social mobility of migrant artists and their careers in South America and Lithuania. [ABSTRACT FROM AUTHOR]

The aim of this paper is to discuss and reconstruct in general features the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lithuania; two Soviet occupations: in the autumn of 1939 and June 1940, and the subsequent Nazi occupation a year later. The influence of politics on the art scene and the life of artists has been explored in institutional and other aspects by both Lithuanian and Polish art historians, but the big picture is not yet complete, and the general narrative is still under construction. A further aim of this paper is to highlight some elements that have not received sufficient attention in historiography and that are necessary for the reconstruction of the whole. Some facts of cooperation or its absence among artists of various ethnicities are presented, and the question is raised on the extent to which these different groups were affected by Sovietisation, and what impact this fragmentation had on the city's art scene. The timeline of the activity of the higher art school and the Art Museum has been detailed. [ABSTRACT FROM AUTHOR]

In 2018, the Uruguayan-Slovene artist Francisco Tomsich launched the artistic research project Give my regards to those you connect, an exploration on connections and dialogues between artists from the former Yugoslavia and the River Plate region corresponding through the Mail Art network from the late 1960s onward. The research's point of departure was a list of postal addresses from artists in Serbia prepared prior to the dissolution of Yugoslavia by the Uruguayan artist Clemente Padín and expanded in 2019 by Tomsich through the study of the "Yugoeslavia" folder at the General Archive of the University of the Republic of Uruguay. This paper traces the project's development in Uruguay and Serbia in 2019 and summarises some of its achievements while describing the author's approach to artistic research and the key issues of method, archive, comparative art histories, institutional context and failure. [ABSTRACT FROM AUTHOR]

Contemporary folk artists sculptors and wood carvers do not avoid portraying historic themes and historical personalities in their creations. Images of the rulers of Lithuania comprise a significant amount of it. Most frequently the only one sacred ruler of Lithuania is portrayed - St. Casimir. Also, sculptures of grand dukes have been created, especially those of Mindaugas and Vytautas the Great. Important events related to rulers, or their family members have been carved quite rarely. In the paper the iconography of the rulers of Lithuania in the works of folk artists is discussed for the first time. The images of the sacred ruler St. Casimir and the grand dukes of Lithuania (Vytautas, Mindaugas, Gediminas, Kęstutis, Jogaila, Algirdas), which were created from the beginning of the Rebirth (9th decade of the 20th century) until now, are examined. When creating St. Casimir's sculptures folk artists refer to the established iconography, using the canonical pose, gestures and attributes. However, at present, unlike the traditional folk sculpture, a greater emphasis is paid not on St. Casimir's piety, but to reveal his image as a patron of Lithuania. Lithuanian grand dukes are often depicted by one composite scheme, inherited from the interwar monuments to Vytautas the Great - a standing armoured knight with a sword in one hand and a shield in the other. Often these attributes are accompanied by one or more signs of a ruler (the crown, scepter, and the reign's apple). Therefore, the sculptures of dukes are characterized by the uniting of two images - hero and king. Although, sometimes only the image of the ruler is highlighted in the sculptures of dukes. Vytautas and Mindaugas are depicted in this way. And only one king - Jogaila is never depicted as heroi. Folk artists seek to give portrait likeness to each of the duke's images. For this reason they introduce some attributes, signs, and symbols specific only to one or another ruler, and sometimes use records. Certain signs characterizing the epoch or residence of the duke are found in almost all depictions of certain rulers, such as, the legend of the founding of Vilnius (wolf and Gediminas' Castle Tower) for Grand Duke Gediminas; monogram, date of baptism or the coronation, the royal crown, scepter, reign's apple - for Mindaugas; ducal crown, royal robe, the coat of arms of Lithuanian Grand Duke for Vytautas; royal crown, the reign's apple - for Jogaila. Only Kęstutis and Algirdas images are lacking customized attributes. Trying to get portrait likeness wood carvers, as a visual basic source, use the reproductions, duplications or under them redrawn illustrations of portraits of the dukes in various popular publications and on the Internet. Usually they follow illustrations of the A. Guagnini chronicle A Description of Sarmatian Europe (1578) and their remakes; they also use reproductions of Vytautas portraits from the 17th-18th centuries and reproductions of portraits by J. Matejko and A. Penkowski. Acknowledgements The Fellowship is being funded by the European Union Structural Funds project "Postdoctoral Fellowship Implementation in Lithuania" within the framework of the Measure for Enhancing Mobility of Scholars and Other Researchers and the Promotion of Student Research (VP1-3.1-ŠMM-01) of the Program of Human Resources Development Action Plan. [ABSTRACT FROM AUTHOR]