1960-1988 In the miniatures painted during the period of 1960-1988 Lida Meskaityte goes on developing, improving, making her individual style more pure. She is interested in the light, reflection of her motives on water, synthesis of bright and clear, dark and distant colour surfaces, rendering of space. Tendency towards decorativeness can be detected. Her compositions of complicated plastic structure are often multi-grounded, sometimes a bit fragmentary. Next to traditional colour combinations one can see effective, uncommon, but harmoniously combined colour consonances. L. Meskaityte goes on painting nature. Lively and highly emotional mood prevails in her landscapes 'Birches' (1961), 'The Sventoji Riverside' (1965), 'The Pasventis Lake' (1965), 'Lilac Bush in Blossom' (1966). Expressiveness of her plastic, originality of her thought marks such miniatures as 'Scarecrows in Potato Field' (1967), 'Ant-Hill' (1971), 'Electric Shepherd' (1981). Watercolours of amazing beauty 'Canal Overgrown with Grass' (1978), 'Wild Boars' (1978), 'Lupines' (1978), 'A Home-Stead with Ferns' (1982), radiates with lyricism. The most mature part of L. Meskaityte's creative work consists of miniatures, in which the artist goes into the everyday life round her, portrays her parents, their daily work. A woodshed, a barn, a pit, a cattle-shed, a domestic interior attracts her attention. She calmly observes the objects, admires the simplicity and prettiness of everyday life. Concreteness is a characteristic feature of her pictures, they look as if stiff and pausing in the space of time, spiritualised and lost in silence. The prosaic life is beautifully revealed in miniatures 'At the Well' (1972), 'Cattle-Shed' (1975), 'At the Pit' (1975), 'Barn' (1975), 'Our Farm-Stead' (1977). Her last works are dedicated to her beloved and respected Mother 'Mummy on a Foot-Bridge' (1983), 'Mother's Portrait' (1986, 1988). M.KUODIENĖ