Vilutis Mykalojus Povilas
Born in 1944 in Vilnius. In 1963-1970 he studied graphic arts at the Lithuanian State Institute of Arts (now Vilnius Academy of Arts). In 1970 he interned at the Kiev (Ukraine) Polygraphy Research Institute, studying screen printing techniques. Since 1994 he has been teaching at the Vilnius Academy of Arts. In 2004 he was awarded the Lithuanian National Culture and Art Prize.
The works of this graphic artist are known to a fairly wide circle of society, and in the art community he is regarded as an influential teacher of the Vilnius Academy of Arts. The artist’s works did not enter exhibitions immediately, but when the opportunity arose, his debut was striking, and later M. Vilutis’s works constantly received special attention: diplomas of the Baltic Graphic Arts Triennials of 1971, 1977, 1980 and 1983; In 1979, his prints were awarded a medal at the Baltic Young Artists Exhibition; in 1983, at the International Poster Biennial in Lahti (Finland) and in 1984, in Warsaw, his posters won diplomas; in 1989, he was awarded the main prize at the Baltic Graphic Triennial; in 2007, he won a prize at the Book Art Competition (Vilnius). His vivid stylistics are well recognizable, although several stages of change can be distinguished.
In his early works (1970-1980), his drawing resembles the pursuit of purity of form characteristic of heraldry – figures are reduced to spots, the image is constructed from contrasts of silhouette and color. As described by art critic Alfonsas Andriuškevičius, Vilutis’s prints are dignified, stern, solemn, here primordial strength and rough directness are important. According to the critic, the form of the works of this period sought to oppose fragmentation and salon decorativeness, and the words: laconic, constructive, monumental are more suitable for describing it. The human figure dominates the works, and the pyramidal composition is repeated.
Later works (1980-1990) have more complex compositions. Previously, a flat, airless space is now saturated with color depth with transitions, the drawing is collage-like – i.e., a drawing of different types is combined in one figure – from generalized spots to naturalistic details, while also introducing several areas of ornament.
With the advent of computer graphics, the graphic artist allowed himself to be baroquely eclectic – he combined a multitude of decorative details and symbols into one, and reinterpreted classical compositions. In his latest works, it seems that, having missed purity, he returns to a more moderate expression, exchanging color for a simple pencil. However, the lines remain mannered (the drawing is extremely effective), and the type of the human figure seems to still be borrowed from Renaissance graphics. The artist masterfully interweaves geometric shapes with naturalistic (self-)portraits and stylized figures. “I was influenced by many artists, eras (Renaissance). Folk primitive art – a laconic statement in the artistic language of what one wants to say. Picasso’s personality, freedom, courage and power to organize his world as he wants, made the greatest impression on me.”, – said the artist.
According to the graphic artist, “creation is changing what is, compensating for what a person lacks.” He names self-satisfaction and complexes as the engine of creativity. Vilutis does not agree to associate the imagery of his work with the creative methods of surrealism (the flow of the subconscious, the principle of free associations); for him, the creative process is related to the work of intellect and imagination (the personality itself) no less than to the ability to draw skillfully. The artist says: “I start drawing only when I have the whole image of the work in mind”.
Mikalojus Vilutis creates not only prints, but also works of applied graphics: posters, book illustrations. The graphic artist is called the pioneer of serigraphy (or silkscreen printing) in Lithuania. He most often creates in this technique. In addition to graphics, the artist likes to express himself in writing. His texts dedicated to reflections on art, culture and a personal nature can be found in various publications dedicated to culture. However, unlike, for example, in the prints of his colleague Petras Repšys, text and image are extremely rarely combined in prints.
