{"id":27694,"date":"2026-04-07T07:10:15","date_gmt":"2026-04-07T07:10:15","guid":{"rendered":"https:\/\/mck.krakow.pl\/publikacje\/dialog-muzyki-i-malarstwa\/"},"modified":"2026-04-07T08:24:42","modified_gmt":"2026-04-07T08:24:42","slug":"dialog-muzyki-i-malarstwa","status":"publish","type":"publikacje","link":"https:\/\/mck.krakow.pl\/en\/publikacje\/dialog-muzyki-i-malarstwa\/","title":{"rendered":"Dialogue of music and painting"},"content":{"rendered":"\n

\u010ciurlionis connected closely with the Warsaw community; in this city he studied in the field of music and painting. Therefore, his special interest in the idea of \u200b\u200bthe synthesis of arts is not surprising. One of the artist’s first works, in which musical clues appear, is the painting\u00a0“Murmur of the Forest”. The composition, created in 1904, has similarities with the painting of Wojciech Weiss, probably known to the artist, entitled\u00a0“Evening ray”. The work itself presents a forest thicket, shown in such a way that tree trunks bring associations with harp strings.<\/p>\n\n\n\n

In the following years, the artist developed exploration at the interface of music and painting. The type of musical tale is the triptych\u00a0“Sonata No. 5\u00a0(Sea Sonata)”, one of the artist’s several sonata cycles. As in many works from this period, the musical theme has already been suggested in the title itself. The painting composition is divided into three parts entitled\u00a0<\/em>“Allegro”,\u00a0“Andante”\u00a0and\u00a0“Finale”. At the same time, the atmosphere and structure of each of them is to correspond to the specificity of the musical form mentioned in the name. In the\u00a0“Allegro”\u00a0part, which usually has a fast pace, an analogous effect has been achieved through meticulously rendered elemental movement of sea waves. The\u00a0“Andante”\u00a0form – thanks to the axial composition – is balanced and calm.<\/p>\n\n\n

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\n M.K. \u010ciurlionis. Litewska opowie\u015b\u0107<\/div>\n
\n W ksi\u0105\u017cce mo\u017cna znale\u017a\u0107 niemal sto prac: melancholijnych rysunk\u00f3w, obraz\u00f3w i szkicownik\u00f3w, kt\u00f3rych tematyka inspirowana by\u0142a natur\u0105, \u015bwiatem mit\u00f3w i ba\u015bni litewskiego folkloru. <\/div>\n\n
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\n Author of the publication: <\/strong> Praca zbiorowa
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view the publication<\/a>\n <\/h3>\n <\/div>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n\n

The\u00a0“Finale”\u00a0painting, which closes the whole series, depicts small boats floating uncertainly on the surface of the sea, over which a giant wave hung. Its form reveals the inspiration of Japanese graphics. The spontaneity of this performance is in harmony with the solutions used in musical works, in which the final may take a dynamic form. In addition, the artist composed his initials in the central part. He used a similar procedure in several other paintings and in musical compositions. The element of the sea recalled in the sonata also fits in with the artist’s interests – \u010ciurlionis has repeatedly returned to this motif both in terms of artistic expression and in music, e.g. in the symphonic poem\u00a0Sea<\/em>, one of his most famous compositions.<\/p>\n\n\n\n

The exhibition \u201cPrivate: M. K. \u010ciurlionis. A Lithuanian Story\u201d<\/a> was held at the MCK (October 16 \u2013 January 31, 2026).<\/p>\n\n\n\n<\/div><\/div>\n

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\n M.K. \u010ciurlionis, Murmur of the Forest, 1904. <\/div>\n <\/div>\n \n
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\n M.K. \u010ciurlionis, Sonata nr 5 (Sonata morska), Allegro,1908. <\/div>\n <\/div>\n \n
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\n M.K. \u010ciurlionis, Sonata nr 5 (Sonata morska), Andante, 1908. <\/div>\n <\/div>\n \n
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\n M.K. \u010ciurlionis, Sonata nr 5 (Sonata morska), Finale, 1908. <\/div>\n <\/div>\n <\/div>\n
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M.K. \u010ciurlionis, Murmur of the Forest, 1904.<\/div>\n \n \n
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M.K. \u010ciurlionis, Sonata nr 5 (Sonata morska), Allegro,1908.<\/div>\n \n \n
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M.K. \u010ciurlionis, Sonata nr 5 (Sonata morska), Andante, 1908.<\/div>\n \n \n
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M.K. \u010ciurlionis, Sonata nr 5 (Sonata morska), Finale, 1908.<\/div>\n \n \n
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