Sydney Lithuanian Artists’ Group Aitvaras

On 27–28 December 1950, several former students of the Institute of Applied Arts in Freiburg, who had gathered in Sydney, established the Lithuanian Artists’ Group “Aitvaras.” The group’s principal aim was to encourage and support its members in the creation of artistic work. It was agreed that an exhibition of members’ works would be organised in Sydney within the year, and that a library would be established for the use of the group. Initially, the library would consist of publications owned by members and subscriptions from abroad, to be expanded with new publications as circumstances allowed.

The group was led by the elected chair Jurgis Bistrickas, with Henrikas Šalkauskas as deputy. Correspondence for the group was directed to: Mr Jonas Kalgovas.

In 1953, Jurgis Bistrickas organised the first Australia-wide Lithuanian art exhibition, held at Mark Foy’s Gallery in Sydney. Seventeen artists participated, exhibiting a total of seventy-four works: thirty-nine graphic works and drawings, eighteen oil paintings, thirteen sculptural pieces, three watercolours, and one tapestry (Kazokas, p. 36).

In the exhibition catalogue, Vytautas Janavičius wrote in the introduction:

“This is an exhibition of restless, striving individuals. May these works emphasise their striving and seeking. May this be a small contribution to the young Australian nation, which is still fighting for its expression in art and culture.”

The exhibition represented, in many ways, the artists’ attempt to come to terms with exile.

Contemporary reviews of the exhibition were largely favourable. One critic noted that the exhibition at Mark Foy’s Gallery was, on the whole, pleasing, with considerable variety. The juxtaposition of traditional and modern styles was welcomed, and many artists were observed to be responding to the Australian environment, offering fresh and unusual interpretations of their new surroundings. While no single masterpiece was identified, the exhibition demonstrated strong craftsmanship and a sensitivity that reflected the cultural contributions Lithuanian artists were bringing to Australia.

The reviewer expressed the hope that many people would visit the exhibition, describing it as multifaceted and accessible, with relatively few overtly problematic works. For the average visitor interested in art, there was much to learn and admire.

Vladas Meškėnas was awarded first prize for his pastel Study for the Portrait of a Family, praised for its careful balance and engaging tonal qualities. Second prize was awarded to Teisutis Zikaras for the sculpture Land of Sorrows, a work that carried elements of Byzantine tradition into a modern idiom, particularly evident in the treatment of the head. Henrikas Šalkauskas received third prize for his linocut Three Women, which, although somewhat simplified, was noted for its feeling and charm.

Other notable works included Aleksandras Marčiulionis’ swift and dramatic impression of trees; Jurgis Bistrickas’ Displaced Persons, featuring desert peas and poppies, which, while not entirely successful, was recognised for its striking and unusual use of colour; and Vaclovas Ratas-Rataiskis’ woodcut Emu, a charming work inspired by Aboriginal art.

Daily Telegraph (Sydney, NSW : 1931 - 1954), Monday 7 September 1953, page 12