hear that the name of Chiurlionis has become famous throughout Lithuania. Actually, he has become the pride of the nation. I rejoice at the news in the depth of my heart. Every recognition of true values of all ages and of all nations should be welcome. It is there where national heroes, creators and true workers are valued that a bright future is attainable. Away with ignorance when, at the crossroads of history, one witnessed the best human achievements being flouted and outraged. Away with the negations of ignoramuses. One can live only by a bright admittance and acceptance. When construction is on the way, everything stirs.
Until recently, it was the general practice to mock, or shrug the shoulders sceptically at everything new and unusual. Ah, those hard-hearted sceptics! They would like to suppress every new attainment. If any manifestation turns up in a new form, why should this young sprout be lacerated?
Remember Van Gogh, who sent his house owner his severed ear as a symbol of the notorious Shylockian reward, and the young Modigliani who died of starvation. His shocking death paved the way to the recognition of his paintings. Remember Vrubel, the tragedy of a genius which went on before the eyes of his contemporaries. He went mad because of the cruel injustice perpetrated by the ignorant barbarians who slaughtered and burnt his sublime consciousness.
Hard was the earthly road of Chiurlionis. He brought about a new, inspired and true art. Wasn’t it enough for savages, abusers and disparagers to get indignant? Their dusty, narrow-minded life was threatened by something unheard of; therefore the most savage means would be administered to protect their relative prosperity.
I recall the stony scepticism with which Chiurlionis was met in all social circles a quarter of a century ago. Hardened hearts are unable to be moved either by a solemn form, or the harmony of elevated and well thought out shades or a beautiful thought which transforms all art of a true artist. There was something naturally spiritual about him. Straightaway, Chiurlionis introduced his own style, his own concept of movement, and a harmonious relevance of composition. It was his art; it was his world. He couldn’t help but think and work in that way. Chiurlionis was not an innovator, he was entirely new. This kind of rough diamond should be cherished by all. Sadly it happened the other way round. His best compositions were looked upon as questionable. During my chairmanship of “The World of Art” many battles had to be fought to protect the art of Chiurlionis. Mstislav Dobuzhinskiy responded very warmly. A subtle artist and connoisseur, Alexander Benua, was very impressed by the magic of Chiurlionis. Alas, even the best artistic circles didn’t understand Chiurlionis and rejected him.
The same is true of Scriabin. His most subtle work was rejected by many. There’s a lot in common between Scriabin and Chiurlionis. The very characters of both geniuses were very much alike. Somebody said that Scriabin had been born too early. Who are we to decide the time? It’s most probable that both he and Chiurlionis did come on time, undoubtedly so, because creative energy of such power is given out very sparingly. Both artists, each in his own field, stirred up many young minds by their unconventionality and power of convincingness.
After all, do we know where the greatest perception of creation takes place? Leonid Andreyev, not long before his passing away wrote to me: “They say I have readers, but I neither know nor see them.” The declaration sounded mournful. Another great artist wrote: “I speak as if to the winds.” It’s true, nobody knows the ways of an artist’s work. The formula: only God knows, is quite realistic. Next to the invisible perception of his work by the artist himself, there exists a great exertion of his energy. Everybody remembers the tragedies in the lives of Rembrandt and Frans Hals, though from the tragedies emerged so much of their triumph. Devoid of such heroic triumph, the stature of these artists would have lost much.
Fires and torches serve to illuminate the road. But for the enemies, people would have forgotten much of the most useful and beautiful. Not without a reason are praises sung to the enemies.
Chiurlionis could also have sung praises to his enemies in his beautifully melodious tranquil works. Barbarians and enemies worked hard for his glory. And it happened - the light winged visitor came not just to stay beside the paintings of Chiurlionis for the night, but to illuminate his work for ever. The news that the whole nation acknowledged its true treasure is an immense joy. […] It won’t be a short-lived sentiment but the expression of the gratitude and worship to the indefatigable and heroic national artist. I’m happy to hear the news from Lithuania about the recognition of the fine artist Chiurlionis.