Dailininko V. K. Jonyno kūryba ir „lietuviško stiliaus“ paieškos JAV lietuvių baþnyčių architektūroje
The creation of a painter v. K. Jonynas and the search of “Lithuanian style” in Lithuanian churches’ architecture of the USA

Summary/Abstract: In the article the painter Vytautas Kazimieras Jonynas’ input while creating “Lithuanian style” in the Lithuanian churches of the USA is discussed, the artist’s architectonic, decoration, and design projects are analysed. The most important incentive for the development of church art in 6-7 decade – Vatican documents that gave new guidelines to the activity of architects and painters. Religious (liturgy) reform that was stated by Vatican II Meeting (1962-1965) concerned the churches architecture as well, and especially interiors. The change of architectonic image in the Lithuanian press in America was evaluated as an important part of Church renovation movement. The painter Jonynas brought some new ideas to the church art, and at the same time he reflected the classical tradition. He appealed to the fundamental principles of classical art, such as the simplicity of architectonic and design forms, the respect to historical relics, the close connection between priest and the prayers. This suited the times and the needs of society. The first work of Jonynas in architecture is stained glass created in 1955-1956 for Holy Mary’s Immaculate Conception Church (architecture Jonas Mulokas) in East Saint Louis, in the state of Illinois. This church is the first meeting-house of “Lithuanian style” in the North America. There Mulokas and Jonynas started searching for “Lithuanian style”, which was intertwined of historical styles and folk culture forms. J. Jonynas performed the sculptural decoration on the walls and ceiling of Chicago St. Mary’s Birth Church (1957) in Marquette park district. The stained glass and gypseous models of Jonynas are the most valuable “Lithuanian style” accents of this church. While decorating Christ Transfiguration Church in New York (1962), the Lithuanian accents gained its own modern form that suited the times. The taste for simplicity, continence, the harmony of stained glass’ content and form are the idiosyncrasies of Jonynas’ style. His concept of Lithuanian accents is very wide; it includes the pictures of Lithuanian history characters (East Saint Louis), the pastiche of church inner decoration elements, which unites nature and national elements (Chicago), the considered choice of material and colours for altars and stained glass (New York). The collaboration of Jonynas and Mulokas while creating “Lithuanian style” showed that the nation or country cultural features, the temperate and tasteful use of the main architectonic or sculptural forms for the modern person’s sacramental environment can give the individuality, vitality, and spiritual comfort.

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