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Bibliofilinės lietuvių dailininko knygos ištakos, siekiančios XX a. pirmą pusę, siejamos su grafikos meno klasikų Viktoro Petravičiaus, Pauliaus Augiaus Augustinavičiaus kūryba. Naujas šiuolaikinės dailininko knygos laikotarpis Lietuvoje įsibėgėjo atkūrus nepriklausomybę. Kūrybinis duetas – Kęstutis Vasiliūnas ir Roberta Vaigeltaitė-V. (Roberta Vaigeltaitė-Vasiliūnienė) yra tarp pagrindinių šiuolaikinės lietuvių dailininko knygos kūrėjų. Straipsnyje apžvelgiamos jų sukurtos dailininko knygos, aptariami meninės raiškos ypatumai, koncepcijos, sąveika su poligrafine knyga. In Lithuania, the era of a contemporary artist’s book began with the restoration of Independence. The year 1993 saw the opening of “The Book”, the first international show of artist’s books (Vilnius Contemporary Art Centre; cur. Kęstutis Vasiliūnas) which was followed by various presentations of book art in many other international art fairs abroad. Since 1997 Vasiliūnas has been curating the triennials dedicated to artist’s book (including “Diary: Eight Days”, “Love”, “The Rabbit and the House” and “23 Sins”). The 8th triennial “Memento Mori” (2018) took place in Vilnius Martynas Mažvydas Public Library, later the exposition was brought to the USA, Italy and Germany. The triennials dedicated to the artist’s book have been organised across the entire world. Since 1993, over 40 international shows and symposiums were held in Lithuania, Germany, USA, Austria, France, South Corea and elsewhere. Vasiliūnas has managed to assemble a growing international community dedicated to the genre of artist’s book. The extensive international interest in the Lithuanian artist’s book trienials testifies to the lasting importance of Vasiliūnas’ curatorial work. R. Vaigeltaitė-V. became part of the contemporary artist’s book movement back in the early 1990s. During the next 30 years she has created over 60 artist’s books, all unique in terms of their form and structure. Most of her books have a traditional format of a leafed codex, but she also made leporello concertinas and book-objects. The books were made of various types of paper, including hand-made paper, as well as plastic, linen fabric, natural materials and found objects. The artist’s books often involve mixed media such as linocut, wood block, colography, collage, stiching, ink jet print. The subjects of these diary-like records of everyday and travel experiences include mythology and religion. In terms of printing technique, Vaigeltaitė-V’s book art is related to graphic printing: the ideas she comes up with during the making of the artist’s book are then explored in graphic prints, and vice versa. The artistic scope of Prof. Kęstutis Vasiliūnas (Graphic Art Department, Vilnius Academy of Arts) is truly universal – he is a graphic artist, artist’s book designer, installation artist and curator. Vasiliūnas got interested in the artist’s book in the early 1990s. His first work – The Book of Creation – was exhibited at “The Book” (1993), a show dedicated to the genre of artist’s book. Vasiliūnas usually makes singular books and small print runs. Among the techniques he uses are coloured wood block print, longhand writing, drawing, ink jet print and movable type print. Vasiliūnas’ books retain their visual link with the traditional block-shaped book. Despite of what they are made of – be it wooden panels, paper, tea bags – they all have landscape or square-shaped rectangluar pages and they all feature lapels. The series of of tea bag book-objects was launched in the naugthties. Vasiliūnas also works as a graphic designer. His work is defined by an interplay between these two disciplines.

Straipsnyje apžvelgiama vieno svarbiausių Lietuvos dailininko knygos kūrėjo Viktoro Petravičiaus kūryba ir tolesnė bibliofilinės dailininko knygos raida. Akcentuojamas ankstyvasis, ketvirtojo dešimtmečio pabaigos, Petravičiaus kūrybinės veiklos laikotarpis. Tuo metu buvo išraižytos klasikinių bibliofilinių dailininko knygų "Gulbė karaliaus pati" ir "Marti iš jaujos" iliustracijos. Šiais leidiniais pradedama lietuvių dailininko knygos istorija. Jie turėjo didelės įtakos dailininko knygos raidai. Šiuo periodu menininkai perėmė prancūziškosios "livre d'artiste" principus. Taip susiformavo lietuvių bibliofilinės dailininko knygos tradicija. Šią tradiciją, pradėtą Petravičiaus, toliau tęsė Vincas Kisarauskas. Deja, niekas nesirūpino publikuoti ir platinti jo bibliofilinių dailininko knygų. Visuomenė pasinaudojo proga susipažinti su savita Kisarausko kūrybos sritimi - dailininko knyga - tik paskutinįjį XX a. dešimtmetį. Bibliofilinės dailininko knygos estetikos įtaka juntama ir šiomis dienomis. Šiuolaikiniai XX a. paskutiniojo dešimtmečio - XXI a. pradžios dailininkai remiasi bibliofilinės dailininko knygos tradicija, suformuota Petravičiaus ir jo kolegos Pauliaus Augiaus-Augustinavičiaus. Jiems svarbi Petravičiaus specifinė kūrybinė maniera: vienodos baltos ir juodos spalvos proporcijos ir harmonija tarp vizualinio teksto ir meninio vaizdo. Viktoras Petravičius is one of the leading creators of the artist's books in Lithuania. Two of his illustrated books "Swan the King's Wife" and "The Daughter- in-Law from the Barn " became the classics of Lithuanian bibliophilic artist's book. Apparently, printing and publishing of these books was one the largest projects of artist's books in Lithuania. The early oeuvre of Petravičius in the 1930s had a great influence on the development of artist's books. During this period the principles of French livre d'artiste were adopted, and the tradition of the Lithuanian bibliophilic artist's books was formed. The tradition of Lithuanian bibliophilic artist's books, initiated by Petravičius, was continued by Vincas Kisarauskas. Unfortunately, no-one bothered to publish and spread his bibliophilic artist's books more widely in the Soviet time. The society seized the opportunity to get acquainted with the distinctive sphere of Kisarauskas' oeuvre - artist's books - only in the last decade of the 20th с The contemporary artists of the last decade of the 20th с and beginning of the 21st с refer to the tradition of the bibliophilic artist's books formed by Petravičius and his colleague Paulius Augius- Augustinavičius. Until present artists who work on artist's books consider the specific creative touch of Petravičius to be important: like the proportion of black and white and the harmony between visual text and images. The interpretation of the aesthetics of Petravičius' oeuvre supplements exclusive, small edition, and polygraphic books of contemporary artists.

Priimta skirti dvi istoriškai susiformavusias dailininko knygos kryptis. XIX a. pabaigoje-XX a. pradžioje Prancūzijoje atsiradusi vadinamoji livre d'artiste (dailininko knyga) siejama su meniniais bibliofilams skirtais leidiniais. Lietuvoje dailininko knygos pradžia - XX a. 4-asis dešimtmetis, Nepriklausomybės atkūrimas Lietuvoje lėmė jos plėtotę. Paskutiniojo dešimtmečio pradžioje atsirado galimybių Lietuvos dailininkams susipažinti su svetur susiformavusia dailininko knygos samprata, šios srities užsienio autorių kūryba ir išplėtoti savitas tendencijas, įsitraukti į bendrą pasaulinį judėjimą. Lietuvoje dailininko knygos reiškinys įgijo tarptautinę reikšmę. Tradicinės knygos virsmą unikalia, individualia dailininko knyga lėmė bendri kultūros pokyčiai. Išplėtojus masines informacijos priemones tradicinė knyga ima prarasti savo ankstesnę reikšmę. Dailininko knygoje, kai nebesiekiama kaupti, perduoti ir saugoti informacijos, atsiranda naujas, tiesioginis meninės raiškos ryšys su realybe. Joje taikomos netekstinės vizualios formos kaip estetinė kokybė. Straipsnyje nagrinėjama lietuvių dailininko knygos samprata ir pagrindinės formos. Remiantis dailininkų kūriniais, literatūriniais šaltiniais, siekiama išsamiau apibūdinti savitus Lietuvos dailininko knygos bruožus, kuriuos plėtoja šiuolaikiniai menininkai. Taip pat tapo aktualu apibendrinti Lietuvos dailininko knygos raidos kryptį, įtakas, sąsajas su knygos meno tradicija ir grafika. Traditionally two historically shaped directions of the artist’s book are distinguished. The so-called livre d’artiste (the artist’s book), which emerged in France at the end of the 19th – beginning of the 20th century is related with artistic publications, targeted at bibliophiles. The beginnings of the artist’s book in Lithuania are the thirties of the 20th century and the reinstatement of independence of Lithuania encouraged development of the genre. In the beginning of the last decade there emerged possibilities for Lithuanian artists to get familiarized with the concept of the artist’s book, which had shaped in the foreign countries, the oeuvre of the foreign authors in the area, develop their own peculiar trends and get involved into the global movement. The phenomenon of the artist’s book in Lithuania acquired an international significance. The transition of the traditional book into a unique individual artist’s book was determined by the common culture changes. Upon the expansion of the mass media tools the traditional book commenced losing its previous significance. A new direct relation between the artistic expression and the reality emerged in the artist’s book, when there was no longer the need to accumulate, convey and store information, there emerged a new direct connection between the artistic expression and the reality, in which such non-textual visual forms as aesthetic quality are applied. The article examines the concept and main forms of Lithuanian artist’s book. Referring to artists’ creations and literary sources, attempts are made to more comprehensively characterize the peculiar traits of the Lithuanian artist’s book, developed by the modern artists. In addition, it became relevant to summarize the direction of development of the Lithuanian artist’s book, the influences and the relations with the book art traditions and graphics.