Vaidotas Vankevičius, a painter specializing in portraits, landscapes, and interiors, lives and works in Vilnius, Lithuania. For him, establishing a direct interaction with his subject is vital—he is committed to painting solely from life, purposefully steering clear of photographs as references or tools. This immediate and profound relationship with his subjects brings a distinct authenticity and tangible presence to his artwork.
Motivated by an inner artistic drive, Vankevičius seeks to become the leading realist painter of contemporary Lithuania. He aims to reinvigorate and reinterpret the Lithuanian realism movement by offering new artworks and perspectives. His creative practice revolves around depicting ordinary life, focusing on its people as well as the unexpected moments that emerge within everyday scenes and spaces.
To record fleeting scenes, Vankevičius adopts a swift painting process, frequently finishing his pieces in just one or two sessions. He consistently finds inspiration in the works of masters such as Diego Velazquez, John Singer Sargent, Anders Zorn, and Joaquin Sorolla, regarding their pieces as reference points that fuel his continual development and imagination.
Vankevičius earned a BA in Fresco-mosaic at the Vilnius Academy of Arts between 2016 and 2020 and received personalized instruction from artist Arūnas Jonikas during the years 2017 to 2019. His paintings have been included in both group and solo exhibitions, among them “Near the door” (Curonian Spit History Museum, Nida, 2017), “The stories from memory chips” (Gallery “Akademija”, Vilnius, 2018), and the solo exhibition “Faith” held at Užutrakis Mannor, Trakai, in 2020. In addition, he was selected as one of 100 Lithuanian artists to participate in the 2020 initiative “Menas be stogo” [Art needs no roof] in Vilnius.
About this artwork+
The painting captures a cluttered, vividly detailed study room featuring depictions of various objects and elements related to artistic study and creation. Central to the scene are several hands in different positions and contexts which suggest the study of human form, perhaps an artist's intense observation of anatomy. On the left side, atop a pile of books, a sketch or illustration of a hand is visible, while another hand appears reflected in a circular magnifying mirror on the right side. Directly in the foreground, a real hand, intensely detailed and lifelike, reaches out across an open book, creating a shadow. Each element, from the sketch and the reflection to the actual hand, plays with perspectives of reality versus artistic representation. The rich, warm tones and textures throughout the canvas add depth, making the scene feel dynamic and alive with intellectual and creative endeavor. The painting as a whole appears to be a contemplation on the tools of art—books, tools, sketches, and the human body itself—as subjects and objects of study.
