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  Teatras, gyvieji paveik...  
Antikines formas ir mitologinius įvaizdžius J. Rustemas taikė ir intymesnių, šeimyninių švenčių apipavidalinimui. Laiškuose Feliksui Veisu jis aprašė keletą Pūškų dvare rengtų „siurprizų“, kuriems pastatė girliandomis puoštas kolonas, vazas, aukurą, įrengė kerinčią iliuminaciją.
J. Rustem used ancient forms and mythological symbols in decorations for more familiar and domestic family celebrations. In letters to Felix Weiss he described a few “surprises” created at Pisani's estate in Puškos, where columns adorned with garlands were built and vases, an altar and fabulous illuminations were installed.
  Darbas Vilniaus univers...  
Svarbiausiu dalyku rengiant dailininkus J. Rustemas laikė piešimą, tačiau svarbų dėmesį jis skyrė ir tapybos mokymui. 1807–1819 m. , kai tapybos dėstymas Vilniaus universitete oficialiai buvo nutrauktas, tapybos meno dailininkas mokė privačiai.
J. Rustem’s teaching methods were based on the gradual increasing of complexity of tasks. The programme began with copying engravings and drawings of the plaster parts of a human body, later proceeded with drawing plaster antique sculptures and finally with drawing from nature.
  Darbas Vilniaus univers...  
Svarbiausiu dalyku rengiant dailininkus J. Rustemas laikė piešimą, tačiau svarbų dėmesį jis skyrė ir tapybos mokymui. 1807–1819 m. , kai tapybos dėstymas Vilniaus universitete oficialiai buvo nutrauktas, tapybos meno dailininkas mokė privačiai.
J. Rustem’s teaching methods were based on the gradual increasing of complexity of tasks. The programme began with copying engravings and drawings of the plaster parts of a human body, later proceeded with drawing plaster antique sculptures and finally with drawing from nature.
  Amžininkų atsiminimuose  
„[..] kas iš vilniečių nematė jo važiuojančio ar jodinėjančio Antakalnio keliu ar žaidžiančio biliardą Didžiosios gatvės kavinėje vadinamoje „Polska kawa“. Kas nematė jo portretų, kurių tiek daug ir su tokiu taiklumu jis piešė.
“[...] there was no one in Vilnius who had not seen him going or riding along the Antakalnis road or playing billiards at the “Polska kawa” cafe in the Big Street of the Old Town. And there was no one who had not seen the portraits he had drawn in huge numbers and with such distinctiveness.” (A. Szemesz, 1844, p. 211)
  Darbas Vilniaus univers...  
Besimokantiems tapybos J. Rustemas duodavo kopijuoti savo paties ar katedros rinkiniuose buvusius kitų dailininkų paveikslus, vėliau mokiniai tapydavo iš natūros. Be praktinių įgūdžių lavinimo, studentams jis aiškino pustonių prigimtį, skirtingų potėpių reikšmę paveikslo meniniam sprendimui, dėstė kolorito teoriją ir tapybos techniką.
J. Rustem considered sketching as the main method for preparing artists, but devoted much attention to teaching painting. He taught painting privately when painting classes were formally terminated at Vilnius University. He also taught painting at Vilnius University from 1819 and was approved as an Extraordinary Professor of sketching and painting in 1821.
  Portretinė tapyba  
Kūrybinio kelio pradžioje J. Rustemas tapė daugiausia portretines miniatiūras. Marčelo Bačarelio karališkojoje tapybos dirbtuvėje jis įgavo aristokratinių portretų tapybos įgūdžių. Didelėms rūmų salėms skirtuose portretuose figūras dailininkas vaizdavo peizažo fone, modeliams suteikdamas antikinių personažų (mūzų, amūrų) išvaizdą.
J. Rustem usually painted miniature portraits in his early creative work. He gained the skills for painting aristocratic portraits at Marcello Bacciarelli’s royal painting studio. The artist depicted figures in the background as ancient heroes (such as the Muses and Cupid) in portraits for large halls. In half-figure representations, he used attributes showing the person’s profession or hobbies.
  Darbas Vilniaus univers...  
Dėstyti Vilniaus universitete J. Rustemas pradėjo 1798 m. ir tęsė šį darbą iki universiteto uždarymo 1832 metais. Iš pradžių kaip tapybos profesoriaus Pranciškaus Smuglevičiaus adjunktas jis dėstė pradinį piešimą. 1811 m.
J. Rustem started working at Vilnius University in 1798 and continued his work until 1832, when the university was closed. He initially taught elements of sketching as an assistant to professor Franciszek Smuglewicz. He was appointed an Extraordinary Professor of sketching in 1811. He extended the programme, with practical and theoretical sketching lessons already included that year, getting students to sketch antique sculptures, anatomical figures and live models in artificial light.
  Litografijos dirbtuvės  
1819 m. spalio 21 d. jis laišku kreipėsi į Aleksandrą Chodkevičių, savo dvare jau turėjusį litografijos dirbtuvę, prašydamas paaiškinti litografijų spausdinimo techniką, tušo ir kreidelių sudėtį. 1820 m.
When the supervisor of Vilnius University, Adam Jerzy Czartoryski, expressed his wish for the establishment of a lithography workshop in Vilnius in 1819, J. Rustem started putting it into effect. In his letter of 21st October 1819 he addressed Aleksander Chodkiewicz, who already had a lithography workshop at his estate. J. Rustem asked him to explain lithography printing techniques and ink and chalk compositions. In 1820, Vilnius University lithography workshop was given premises in the house of St. John College. On 1st September 1820 stones used for lithography were brought from Bavaria and on 1st October 1820 the lithography printing machine was brought from Warsaw (soon afterwards J. Rustem found out about an innovative machine invented in France and tried to bring it to Vilnius, but probably unsuccessfully).
  Kortos  
Laikydamas iš savo pusės nepadoriu tokį pono Rustemo užsiėmimą, aš nuolankiai prašau Jūsų prakilnybę, parodžius jam persiunčiamus čia piešinius, patarti jam nebegaminti ateityje šios rūšies kūrinių, nes jis gali sėkmingiau naudoti savo talentą“.
In 1814, Gotlib Kisling agreed to make engravings for 100 of J. Rustem’s cards and announced subscription. When the first 50 cards appeared, the Governor General of Vilnius received a complaint with the following denunciation: “[...] The chief administrator of Catholic spiritual issues, the secret advisor duke Alexander Nikolayevich, presented a few drawings on cardboard to me related to the Sacred Scripture that might cause indignation. He added that the author is one of Vilnius University’s professors, Rustem. From my side, assuming such an occupation of Mister Rustem indecent, I beg your Excellency to show the drawings delivered and advise him not to produce any such pieces in the future, as he might use his talent for better purposes”.
  Piešiniai  
Piešiniams jis rinkosi temas ir motyvus iš įvairių kasdienio gyvenimo sričių – vaizdavo dvarininkų, miestiečių, valstiečių buitį, įvairių luomų ir profesijų atstovus jų veiklos, darbų ar poilsio metu, siekė įamžinti skirtingų tautų ir socialinių grupių atstovams būdingą elgseną, kostiumus.
J. Rustem mastered different drawing techniques using pencils, chalk, pens, paintbrushes, ink, sepia, bister and other methods. For his drawings, he chose subjects and motifs from different areas of life and depicted the domestic life of landlords, townspeople and peasants, displaying representatives from different social strata and professions during their activities, at work or rest. He attempted to immortalise the behaviour and typical dress of different nationalities and societal groups. In particular, J. Rustem often sketched Jewish people whose appearances and manners attracted attention in the streets of Vilnius. In many sketches, the artist immortalised particular events that were renowned in Vilnius at the time or episodes of daily life, easily recognisable because of the particular figures from Vilnius streets that were always abundant there. The expression and specific nature of some sketches is close to innocent grotesque. The perspective from which he sees is delightful and a little humorous, and he also treats himself with humour: a bright spot on a Turkish fez or a sharp profile known from the artist’s self-portraits appears in the colourful representation of Vilnius life at the time.
  Piešiniai  
Piešiniams jis rinkosi temas ir motyvus iš įvairių kasdienio gyvenimo sričių – vaizdavo dvarininkų, miestiečių, valstiečių buitį, įvairių luomų ir profesijų atstovus jų veiklos, darbų ar poilsio metu, siekė įamžinti skirtingų tautų ir socialinių grupių atstovams būdingą elgseną, kostiumus.
J. Rustem mastered different drawing techniques using pencils, chalk, pens, paintbrushes, ink, sepia, bister and other methods. For his drawings, he chose subjects and motifs from different areas of life and depicted the domestic life of landlords, townspeople and peasants, displaying representatives from different social strata and professions during their activities, at work or rest. He attempted to immortalise the behaviour and typical dress of different nationalities and societal groups. In particular, J. Rustem often sketched Jewish people whose appearances and manners attracted attention in the streets of Vilnius. In many sketches, the artist immortalised particular events that were renowned in Vilnius at the time or episodes of daily life, easily recognisable because of the particular figures from Vilnius streets that were always abundant there. The expression and specific nature of some sketches is close to innocent grotesque. The perspective from which he sees is delightful and a little humorous, and he also treats himself with humour: a bright spot on a Turkish fez or a sharp profile known from the artist’s self-portraits appears in the colourful representation of Vilnius life at the time.