Māksla un politiskie konteksti: [rakstu krājums]
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Latvian |
| Veröffentlicht: |
Rīga
"Neputns"
2006
|
| Schriftenreihe: | Materiāli Latvijas mākslas vēsturei
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PT: Art and political contexts. - Zsfassungen in engl. Sprache |
| Beschreibung: | 196 S. Ill. |
| ISBN: | 9984729877 |
Internformat
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SAT URS /CONTENT
DA1NA LÄCE. levads 7
RUTA kaminska.
Krãslavas
katolu
baznícas
un
kiostera
büwésture novada
vësturisko
likteriu kopsakaribãs
9
KRISTINE
OGLE,
llűkstes katoju baznjca Kurzemes-Zemgales hercogistes
politiskas
vestures
konteksta
24
KRISTIÁNA
Abele.
Tautieši
un
novadnìeki.
Nacionalais
jautăjums un teritorială identitate Latvijas măkslas
dzivè
19.
gs.
beigãs
un
20.
gs. sakumă
39
GUNDEGA
gailÏte.
leskats
politiskas
kankaturas
vésturě.
19.
gs. beigas-20. gs.
sãkums
64
GINTA GERHARDE-UPENIECE. Kulluras fonda aktivilătes
tëlotâjas
măkslas
nozarë
(1920 1940) 77
RIHARDS
PETERSONS.
Politiskie
konteksti
Ріетіпек|и
valdes
darbibã
(1923-1940) 93
ILZE
KONSTANTE.
Măkslinleku biedrîbas
Latvija
(1934-1940).
jaunãkie Latvijas Valsts
vestures
arhiva
materiálu
pëlîjumi
1
05
STELLA pelSe. Mäkslas
іпЇефгеЇасі]а
un
auloritãrisma
konteksts; 1934.
gada
faktors I
Ύ7
JANIS KALNACS,
Cederla Elìasa ievadì
grãmatâm
"Franču jaunlaiku gleznieciba"
un
"Latvijas PSR
Mäkslas
akadémijas
20
gadi".
(espiesta teksta ietekme uz
Mäkslas
akadèmijas pasniedzéja
likteni,
okupãcijas
varům mainoíies
1 34
GEDERTS ELIASS. Latvijas PSR Makslas
akademijas
dibinašanas
un
20
gadu
darbibas atcerei I
45
RUTA
ČAUPOVA. Politisku faktoru
un
administrativu
lëmumu
loma
têlniccíbã
156
MAIJA KÖLE.
^ermenis,
mãksla
un vara I
66
PIELIKUMI
173
Summaries of articles
AUëlu saraksts
List of illustrations
Pcrsonu
rãditã|s
/
Index of persons
Vietu
rãditajs
/
Index of locations
SUMMARIES OF
ARTICI
FS
CONSTRUCTION HISTORY OF
KRÄSLAVA
CATHOLIC
CHURCH AND MONASTERY IN THE REGIONAL HISTORICAL
CONTEXT
8y
Ruta Kaminska
Sodai,
economical and political history is
nol
always the most signi¬
ficant aspect
m
the study of architectural and artistic hentage.
Stil!
there are periods when the con-elation between these factors and
building activities acquires a special importance. Usually these are pe¬
riods of changes when new political powers manifest their ideas that
might concur with new conceptions of style and form as well as with
involvement of masters coming from
certam
schools. The fortunes
of
Krãslava
St. Louis' (Ludwik's) Church construction and artistic fin¬
ish provide a good example. They have been influenced first of all
by hisloncal collisions concerning supervision and government of
Eastern Latvia in the 18th and
f
9th
centunes:
independent princi¬
pality of Polish Livonia included
m
the Polish-Lithuanian Common¬
wealth
(1562 1772)
and the Western Province of the Russian
Empire (since 1
772).
Parallel shifts of confessional balance influenced
by re-catholisation processes happened in the region. They were re¬
lated to the activities of particular Catholic spiritual orders
m
the
18th century. A! the same time sequential shifts of historical stylistic
paradigms are evident and local modifications of late Baroque are
replaced by Neo-Classicism
m
religious architecture and art by the
end of the 18th century.
Wooden church building in
Krãslava
has been mentioned already in
the 16th century but in
1676
Jesuit
Georg Lüdmghausen-
Wolff built
a new wooden church on its place where Jesuit fathers subordinat¬
ed to the Daugavpils residence of the order have served.
Most significant changes in
Krãslava
started in 1
729
when it passed
to the Plater family. Initially Jesuits retained their positions in the
Rater family properties and. possibly influenced by Jesuits, this
German
protestant
family returned under the wing of the Catholic
church in the late 17th century. When
Konstanty Ludwik
Plater
(1722-1778}
took over the
Krãslava
manor, ambitious plans wore
earned out to build up the mam family residence. Building a new
stone church
m
Krãslava
was among these initiatives, achieving the
status of the Cathedral of Livonia. This was supported by
Sejm
in
Warsaw in
1768.
Until this the Cathedral of
Livonian
Bishopric was
located in Daugavpils; its wooden building was constructed by Jan
Andrze)
Pialer
(before
1627- 1696).
In the 18th century [hens are
°ther changes as well fathers of the Congregation of the Mission
(Lazansts) were invited to construct the building and lead the spiri¬
tual seminary. They arrived in late 1
755
but Jesuits had to leave
Kräslava,
moving to Indnca. Construction works of the stone church
'π
Krãslava
were started in 1
756
and the building was consecrated
just in 1
777.
It was erected together with the monastery that housed
the spiritual seminary. Political events significantly modified the
church construction plans after the first partition of Poland in 1
772
the status of cathedral was lost and the scale of building reduced,
Two towers were omitted from the church facade and the
monastery was left without one block that would form a closed
courtyard. Because of political reasons activities of the Roman
Catholic Churxh, including construction works, were restricted.
Krãslava
Church and seminary were even limited in spending their
actual financial resources.
In spite of these changes, the established tradition of involving pro¬
fessional, respectable masters was carried over into the 19th centu¬
ry, In the 18th century they were Italian masters: the architect of the
building comes from the
Раггссо
family; ¡ts members were active in
the region and neighbounng lands also in the 19th century, The
painter
Filippo Castaidi
(1
734-
1
8
H),
bom in central Italy (Arpmo).
worked at the church interior finish in the 1760s. In the 19th centu¬
ry when the church and monastery ensemble was complemented
with Si Donatus' chapel (consecrated in
1818),
the sculptor
Kazimieras Jelskis
(1782-1867),
known in Lithuania, worked in
Krãslava.
The
Krãslava
Catholic Church conforms with solutions typical for the
late Baroque style. The monumental basilica, having a nave and two
aisles, features a reserved and expressive use of great order forms.
The classical forms are ennched by large-scale interior paintings
(now only the fresco of the main altar has been recovered and re¬
stored), The solution of the church, particularly its facade without
towers, is denved from well-known examples of Central European,
especially Polish, Baroque architecture. But the church itself has
served as an example for several late 18th century-1 st half of the
19th century churches in Latgale and Lithuania, thus fitting in a cer¬
tain cultural area,
ILOKSTE CATHOLIC CHURCH AND THE DUCHY OF
COURLAND AND SEMIGALUA: THE CONTEXT OF
POLITICAL HISTORY
By
Kristíne
Ogle
In order to know and understand a particular work of art, it seems
important not just to study close-ups but also to consider the mon¬
ument in a wider context of cultural history. Especially in cases when
visual information is restricted for a number of reasons, groups of
secondary sources whose links with the concrete artwork seem pro¬
visional at first can provide invaluable references and explanations,
llukste Catholic Church is an excellent example of an unfairiy for¬
gotten, outstanding artistic monument that deserves to be brought
to attention, standing out with its great significance in both local and
global art-historical context The building was destroyed during
World War I; therefore the rale of different sources, including those
of political history, are very helpful in the study of this monument.
Research lias demonstrated that events of political and cultural life
have been very closely intertwined in the history of this monument,
both determining and commenting vanous processes.
Firstly, one should note that appearance of a Roman Catholic can-
Ire of such a scale in the Duchy of Courtand and Semigallia is a note¬
worthy event, resulting from political decisions. As is known, at first
the Duchy of Couriand was markedly Protestant in its orientation
and the rights of Catholics and options to practice their ntes were
severely restricted. Significant changes were brought in legislation by
the Couriand regufations of 1
617
that defended Catholics" freedom
of faith. Although legalisation of Catholicism in Couriand was a po
liticai
decision and the Polish government had a major role
m
lhe
process of re-catholisation, local landlords' initiatives were very
173
important,
supporting Catholic faith with their money and activities.
Among these families one should mention the
Schwerin
family in
Alsunga, the
Carmel
family in Skaistkalne and the
Lieven
family in
Uvběrze,
Usually Jesuit missionaries were involved as an auxiliary
force in these efforts,
The Sieberg family should be mentioned among the most important
supporters of counterreformation in the Duchy of Courland and
Semigallia. The Sieberg family fostered the development of the fron¬
tier· town
Hütete
that became a powerful and influential centre of
Catholic culture, With the support from Rome, the Sieberg family
managed to reinforce Jesuits residing in llukste, founding a mission
here, later raising its status to residence and collegium. In 1
690
an
ambitious church was erected in the place of the old, modest wood¬
en building, Arrangement and decoration works continued after its
consecration as well. After the fire of 1
748
a new stone church was
built In HCikslc in 1
754-) 769.
Historical sources give a chance to know the background of social
life against which these events took place, In the situation when in¬
cessant military conflicts, famine and plague had impoverished the
country to the utmost degree, leaving no hope for successful further
life and development, it seems that there would be no time, power
or finances for cultural values: still the people's initiatives to support
them as far as they could stand out as a surprising phenomenon.
Decisions of benevolent political figures in complex situations, rich
classes' good will as well as active and stimulating work of Jesuit mis¬
sionaries provided preconditions for llukste Catholic Church to func¬
tion. Not just by its convincing artistic qualities but also by its physi¬
cal existence the building evokes the bygone period long after the
political system has changed again.
FELLOW NATIONALS AND COMPATRIOTS: THE NATIONAL
QUESTION AND TERRITORIAL IDENTITY IN THE ART
UFE
OF LATVIA IN THE LATE I9TH AND EARLY 20TH CENTURY
By
Kristiána
Abele
"If we accept that painting has nothing to do with language and that
it can be no less international than music, then there still remains
something disputable. It is generally known that every nation tries to
develop its particularity as much as an individual tries to develop his
one." Latvian writer, art critic and painter
Janis
JaunsudrabinŠ
wrote
in the newspaper "Latvija" in January
1910,
where he commented
on the rise of the multi-national Baltic Artists' Association
(Baltischer
Künstlerbund)
and came to a strictly nationalist conclusion: "To fos¬
ter this national particularity, our artists must develop more intimate
contacts among themselves and with their nation. An organisation
that unites four or even five nations under German banner will
never have such aims that our painters would like to set for them¬
selves." JaunsudrabinS was neither absolutely wrong nor nght but like
most of his contemporaries he was deeply concerned with the na-
bonai question
-
constantly present in the art life of the future Latvia
since the late 19th century until the rise of the independent nation¬
al stale. In this emancipation period of Latvian national professional
art the local art scene was dominated by German and Latvian cul¬
tural forces whose co-existence ranged from mutual interest and in-
spinng rivalry to politicised conflicts, focusing on contact areas in the
artistic interests of those ethnic groups which inhabited the Baltic
provinces of the Russian Empire, the article explores this scene as a
field of interplay between local patriotism, nationalism and the art's
general
universalism
in a changing society that was disturbed by his¬
torical collisions. The story covers roughly two decades from the
Latvian Ethnographic Exhibition
1896
over the storms in and around
the revolution year
1905
until the eve of World War I. Events and
aspects of discussion include: the appearance of Latvian graduates of
the St. Petersburg Imperial Academy of Art on the art scene of Riga
in the late 19th century; views and activities of their non-Latvian pro¬
moters; first steps toward a set of common artistic values that are
produced in the country and appreciated by art lovers of all local na¬
tions; the opposite tendency to discern every Latvian element from
the whole production of Baltic artists
-
fellow nationals from "our
compatriots"; the collapse of the Nordic Exhibition project for the
opening ofthe new-built Riga City Art Museum as a victory of short¬
sighted patriotism; the lonely position of landscape painter
Vilhelms
Purvitis
in the context of Latvian efforts to break with German cul¬
tural patronage; Purvilis' art and public opinion in matters of lan¬
guage and fatherland; the rise of Baltic German nationalism after
1
905
and its liberal counter-force; parallel activities of the Baltic
Artists' Association and the Latvian Art Promotion Society (LatvieSu
mãkslas
v&dnăsanas
biedrìbà)
in the early 1
9
10s; the origins of a
mono-ethnic (Latvian) vision of art history in Latvia; local artists of
other nationalities as unwitting winners in Latvian-German clashes, etc.
The
artide
is its author's dedication to the marriage centenary of her
great-grandparents Latvian-based German citizen
Wilhelm
Jager
and Latvian manor servant Emma Birzgale. Confirmed on 1
0 {23)
September 1
906
at
Pëterupe
Church in Vidzeme, their lasting union
offered an unbiased romantic solution to the flaring national contro¬
versies of their country and time.
THE HISTORY OF POUTICAL CARICATURE IN THE LATE
I9TH AND EARLY 20TH CENTURY: AN INSIGHT
By Gundega
Gaiľrte
The discussed period is typified by the high point of caricature as the
most topical genre of art because very different artists participated
in decisive historical events
ofthat
time. The article gives an outline
of the major themes, differing individual styles of artists, their means
of expression, etc.
The term "caricature" is derived from Italian word
caricare,
meaning
"to heap", "to exaggerate". Its task is to unmask contradictions of so¬
cial phenomena, relationships, human conduct and character in a pe¬
culiar manner. Caricature exaggerates and distorts external features,
revealing the inner truth.
The article deals with particular examples from periodicals because
their quantity and quality significantly increased on the threshold of
the 20th century. Thanks to the development of printing industry
and spread of liberal ideas, political and satirical publications helped
to change the public opinion. As periodicals reached wide audience
and had deep influence, critical and satirical imagery served as a po¬
tent means of visual propaganda, Besides Latvian caricaturists,
German and Russian artists are stressed as well because they had
the most influence upon the local authors' formal and thematic
174
choices. The most significant source was the German periodical
"Simplicissimus"
-
a promoter of democratic opinions and world¬
wide leader of political satire dunng the early years of publication
(1896-1908/09),
In
1897
it was printed in
15 000
copies but by
1904 -
in
85 000.
The major artists to be mentioned are Thomas
Theodor
Heine, Rudolf Wilke, Bruno Paul, f-erdinand
von
Reznicek.
Erich Schilling and
Olaf
GUIbransson. By World War
I
"Simplicissi-
mus" held the opposittonai stance but then gradually transformed
into a conformist, nationalist and chauvinist voice of the official power.
Russian government prohibited the import of "Simplicissimus", still
artists had access to it and influences are easy to detect, Russian car¬
icaturists
urçed
to dethrone the Tsar and campaigned against the
centralisation or" power, pointing towards the mass of social contra¬
dictions that had lead the state into a deep crisis. Majority of people
had no political nghts, national and religious restrictions were in full
sway. The failed policy of foreign affairs also pointed towards neces¬
sary radical changes. The
protesi
of the people grew inio revolution
after which it was promised to grant civil rights, organise general
elections and form
lhe
State Duma
ihat
would become the legisla¬
tive power and put an end to the absolutist era. Millions of people
started to think about the justice of state power as well as Tsar's and
politicians' personal merits, Thanks to the so-called free press, the
number of political satire periodicals reached almost
400
having
about
Ί0
millions of copies. Not all of them were on the same artis¬
tic level but caricaturists in the most biting political journals took up
topical events
m
both foreign and domestic policies, following the
best examples of German artists. Major periodicals were Zhupet'
{Scarecrow),
iskra
(Spart),
Gudok (Whistle), Zhalo (Prickle), Leshy
(Wood-goblin),
Zhteľ (Specíaior),
Adskaya pochta (Hell Post). A
little more restrained were publications
Osa
(Wasp), Zanoza
(Splinter), Budil'nik (Alarm-clock), Oskolki (Shivers), Strekoza
(Dragon-fly), etc. Cancaturists:
Aleksandr
Yungers (pseudonym Bayan),
Nikola/ Remizov-Vasilyev (pseudonym -Re-Mi), Mstisiav Dobu-
zhinsky, Valentin Serov, Evgeny
Lansere
(Lanceray),
Boris Kustodiev,
Ivan Bilibin, Artists tned to expose all important events in the birth
of new parties and mutual fights of radicals, liberals and monarchists
in the newly elected State Duma. So caricatures give a thorough in¬
formation on the complicated transitional period
fram
the tsarist ab¬
solutism to constitutional monarchy.
The so-called New Latvians started to create modem society in the
local context, already in the newspaper
"Pěterburgas
Avises" (Sí.
Pe¬
tersburg Newspapers) trying to awake self-awareness,
critica)
judge¬
ment and aspiration to change one's life. The naive protagonists cre¬
ated by our first professional graphic artist Augusts Daugulis still dif¬
fer from the angry texts aimed against German economical and ide¬
ological dominance. Despite the harsh political and economical situ¬
ation, Latvian nation learned to laugh and caricatures helped to fos¬
ter the awakening process.
Latvian caricaturists left behind the earthbound ideological content
and provincialism during the revolution of
1905-1907.
Artists de¬
nounced the tsarist regime, the privileges of Baltic Germans and cler¬
gy, russification policy, pogroms organised by monarchists' military
groups, Drawings were made by graphic artists as well as by painters,
sculptors and amateurs. The leading Latvian journal was
"Svari"
{Scales, 1
906-
1
907)
published in St, Petersburg, Its political criticism
is inseparable from graphical and compositional skill, versatile means
of expression and witty symbols.
Caricatures were so powerful and influential because the best artists
took up this branch of art
Janis
Roberts
Tillbergs, Rihards
Zarina,
Indrikis
Zebeririá,
Alberts
Kronbergs,
Rudolfs Vilctni, KriSjanis
Ceplîtis,
etc, They contributed to journals printed in St. Petersburg, such as
"Zibens" (Lightning) and
"Rits"
(Morning), and to those published in
Riga, like "Gailis" (Cock),
"Lietuvèns"
(Nightmare),
"týirga" {Jeere'%
"Väíťotäjs"
(Charme/), etc.
The number of Latvian caricatures is more
limited but their artistic quality can be
compareó
with both Germany
and Russia with their old, established traditions of caricature. Creat¬
ive success shows in the immense popularity of satirical publications
achieved by topical themes and artistic skill. Unfortunately, after the
stormy boom a sure decline can be detected. When the tsarist cen¬
sorship tightened its grips, political satire became almost completely
paralysed. Still caricatures of the discussed period should be inter¬
preted as both attractive reflection on the cultural history and doc¬
ument of the epoch, featuring high artistic quality.
THE CULTURE FOUNDATION AND ITS ACTIVITIES DURING
THE FIRST INDEPENDENT REPUBLIC OF LATVIA
(1920-1940)
By
Ginta
Gerharde-Upeniece
Financial support is one criterion which helps to assess the true at¬
titude of the state towards cultural heritage and creative processes.
During the first period of Latvia's independence, the
Cultu
Foundation
(Kultums
fonds)
established at the Ministry of Education
on
18
November
[920,
played an important part in this respect.
Incoming money was spent to support science, education, cultural
workers and institutions, for premiums and stipends, educative for¬
eign
traveis
and popularisation of science and art- The article aims to
browse the main functions, guidelines and priorities with particular
regard to supporting fine arts.
During the early period cultural processes in the countryside were
in the focus of attention: community halls were arranged or built
anew, a wide net of libraries was established in numerous towns, To
foster creative processes, the Culture Foundation granted travel
stipends and supported studies abroad. Creative travels stimulated
assimilation of Western European cultural experience and develop¬
ment of Latvian art in general. Culture Foundation Premiums in dif¬
ferent branches of art
-
painting, sculpture (monumental and stand
sculpture), graphics, stage design and applied arts
-
were signs of
recognition on the national level. Such artists as
Çederts Eliass,
Ludolfs Liberts,
Janis
Kuga,
Niklävs Strunke,
Ansis Grulis, Vilhelms
Purvitis.
Jànis
Roberts Tillbergs,
Kãrlis Zále,
Eduards
Kainiti
and Teo-
dors 2a|kalns
had received these premiums two or three times.
Considering the premium winners from the distance of time, differ¬
ent kinds of art had been praised in respect to both quality and so¬
cial significance, ranging from artworks
-
signs and symbols of their
time
-
to mediocre or even poor works.
After the
coup d'état
realised by
Kãtiis
Ulmanis
on
15
May
1934,
the
role of culture changed, becoming a representative voice of the
state, During this period, administrative structures of institutions also
tended towards authoritarianism. The Ministry of Education that su¬
pervised the Culture Foundation took the lead of organising cultur¬
al life, choosing such priorities as financial support for huge buildings
and monuments. Although initial plans were not realised, the second
175
half of the 1930s saw such initiatives supported by the Culture
Foundation: building and reconstruction of the House of Unity in
Daugavpils, Writers' House in Sigulda. support for the Committees
of Brethren Cemetery and Monument of Liberty as well as for erec¬
tion of monuments in memory of liberation fights in Latvia's regions.
Prom
1935
to
1938
there were four Latvian art exhibitions organ¬
ised by the Culture Foundation purposeful manifestations of
Latvian cultural unity during which the foundation bought artworks
for decoration of various public institutions. Numerous visitors testi¬
fy to responsiveness of the public to these ambitious shows. From
1935
the Culture Foundation realised
Kãrlis
Ulmanis'
idea of the
Friendly
Call donation of books and other contributions to schools
in both Riga and regions; educational institutions received also works
of fine arts. Although this initiative fostered patronage and education,
becoming a wide-scale and greatly supported action, still from the
viewpoint of fine arts there were just large numbers of items for
decoration of premises. The Unity Festival on the 15th of May in¬
cluded a special event
-
presenting with the Fatherland Prize found¬
ed in 1
937.
It was an award for outstanding public service in science,
economics, and defence, social and political spheres. Prize winners in
fine arts and architecture were
Vilhelms Purvitis.
Kãrlis
Zale and
Eižens
Laube.
When Soviet troops invaded Latvia in
1940,
numerous institutions
'and organisations, including the Culture Foundation, were gradually
abolished. Activities during the Nazi occupation period could be
considered as a maintenance of the foundation's work; the Culture
Foundation of the World Free Latvian Association was its echo in al¬
together different circumstances, safeguarding Latvian identity in
exile,
Latvia was the first among the newly founded Baltic states where a
successful model of financing culture was established. It served as an
example for Estonia where the Culture Capital was founded in
1922,
In Lithuania such initiative was not realised; it was replaced
with alternative models of financial support for culture. The fact that
the Culture Foundation was founded quite shortly after gaining of in¬
dependence testifies that education and culture were considered
important values in the building of the new state.
Looking for parallels in the 1990s, Estonia was more dynamic, restor¬
ing the Culture Capital in
1994.
At founding the State Culture
Capital Foundation in Latvia in
1998,
Estonian experience was con¬
sidered as well. Assessment of our past is important to delineate the
pnonties of cultural policy of today, avoiding the usual "syndrome of
waiting" or Utopian ideas and creating a strategy that would
tum
the
vision of future into reality.
MONUMENT BOARD
ACTIVTTIES
AND POLITICAL
CONTEXTS
(1923-1940)
By Rihards Petersons
The Monument Board (Pieminek/u
valde)
was a state institution su¬
pervised by the Ministry of Education of the Republic of Latvia. Its
іаьк
was to work on and develop heritage protection. It was found¬
ed, taking as a basis the law "On Monument Protection" passed on
26
January 1
923,
and functioned until the Soviet occupation in 1
940.
The structure of the Monument Board changed several times, Part
of its members was appointed by the government, part was select¬
ed according to the principle of representation from the State
Museum of History, the Latvian University and the Latvian Academy
oľArt.
Regardless of the fact that well-known public figures and rec¬
ognized professionals worked at the Monument Board, the article
demonsrates that the heritage protection during the first period of
Latvia's independence was dependant on a small group of people
and society was not involved in solutions of major issues. Politicians
used the Monument Board according
lo
their interests, especially
after
Kärlis Ulmanis
established his authoritarian regime in 1
934.
The
question of whether Monument Board members and its director, ar¬
chaeologist Francis Balodis, were eager to collaborate and serve the
regime, subjecting heritage protection issues to the political interests
of those in power, remains open.
ARTISTS' SOCIETIES IN LATVIA
(1934-1940).
LATEST
RESEARCHES OF MATERIALS FOUND IN THE LATVIAN
STATE HISTORY ARCHIVE
By
llze Konstante
Establishment of an authoritarian regime in Latvia was neither a sur¬
prise nor exception in the European context, After World War I
democracy had power and high reputation in all European countnes.
But the practice showed that democratic form of government was
too ineffective to deal with the acute problems of the post-war pe¬
riod Economical and social issues were not resolved and govern¬
ments
-
too weak. Economical decline of the
1930s
enhanced the
sense of disappointment in democracy. Movements campaigning for
authoritarian government emerged in almost all European countries,
In Latvia there was no experience of political democracy at all and
this burdened the success of this system. After Pnme Minister
Kãriis
Ulmanis (also President of the State since 11 April 1
936)
realised a
coup d'etat on
15
May
1934
and abolished the constitution, the
state was reformed to create a completely new system, founding
trade chambers. There were six chambers in total. In May
1938
the
last two chambers were established
-
the Latvian Chamber of
Writing and Art (Bakstu
un
mãkslas
kamera)
and the Chamber of
Professions
(Profesiju kamera).
They completed the process of in¬
volving each inhabitant of Latvia in the sphere of competence rep¬
resented by the chambers.
The Latvian Chamber of Writing and Art was opened in the Riga
Latvian Society hall on
15
December
1938,
According to the law,
the Chamber of Writing and Art consisted of six sections repre¬
senting literature, publishers and dealers, fine art. music, theatre and
folklore. Groups (former artists' societies) could exist as sections.
The Section of Fine Art received 1
9
posts.
Founding of the chambers was carried out together with closing
down of the former societies. On
14
November
1938
a meeting
was organised at the Independent Artists' Society {Neatkan'go
mãk-
slinieku vieniba) building and residence, bringing together boards of
former artists' societies to decide about consolidation and passing
regulations of the new society: "The aim of the society is to support
and foster realisation of the tasks set by the Latvian Chamber of
Writing and Art, to defend fine art representatives' economical and
juridical needs, to endorse their activities, initiatives and mutual help,
176
ίο
guard thy honour
offine
art
iui
їЧ-іґ
profesional
education.
id
лпй
national unity, thus pro-
caf g'owth and flourishing of their
honest work and comnenttousr
и
workers and keep it cleat
.
to r.ir
и
to strengthen their
/ove to'-
k
¡ht
moting the spmtuaf ¿nd
econom
members and the nation and state
At the time
oí
consolidation v^bt ,jn<sts
societies
were more or less
active: Independent Artists'
Sooetv
(Nçatterigo mãkstimeku
vtenba).
Latvian Fine Art Society
(Lâtwiu
tètofoio
makshneku
biedríba).
artists society Holier
(7¿¡j
yjmay Riga Graph* Mists1 Society (Kfeas
ffa%/ fcertffw). /cvnf tVort
(ЅјсоФј).
R^a Msts1 Group
<Я£и
mákslineku g,\,pa).
Muksala Artists' Society
(Múfcsafcs
mäksfaveku
biedrìba)
and Latvian Artists Society
(Utv
/υ
maMlmieku
ЫеопЪа).
At the consolidation meeting on
M
November
ι
938.
an authorised
representative of each society
agn«!
an agreement to unite debus,
credits and lists of members, creating
¿
joint LATVIAN FINE ART
SOCIETY, After the
сопъоЬдаьоп
oi
all the societies the newly
formed one included
299
member I he last meeting of the Latvian
Fine Art Society took place on
ІбМ.іу
19-Ю,
tne
discussed issue was
about regrouping amstb
acrordin^
to branches of an as it was re-
abed after World W* (I m the
t SSR
Artrets' Union
In late
1939
Latvian Chamber
oí
Writing and Art started to publish
its journal
"Wntirç
and An"
(RalLMi un
Màksla). lhe
artist Ludofs
Liberts explained the [¿sb of fine an
m
the new circumstances of
totadtanan rule, "A new. frunfuf
регкхі
has commenced
m
art. We
nad
no lack of
talenled
forcei
but our drt life lacked purposeful,
uni-
lied
guidance
d
common centre. Di^ord and individual tyranny has
pat
ал
end to quite a few good initiatives.
(.)
Consolidation o( ex-
'song artists' societies in the Latvian Fine Art Society since last Oc¬
tober is a remarkable landmark
m
the development of our art life,"
One of the tasks of the Chamber of Writing and Art was to take
over organisation of exhibitions, earlier curated by the Culture
foundation, The
firţt
large project was the Five Years Anniversary
exhibition of the Restored Latvia, taking
placo
at the Riga City Art
Huseum from
M
May to
2
July
1939.
Many artists who wished to
participate could not exhibit their works. The show indicated that
Її,"5"16
exhlbilionb wou|d be impossible if the problem of lacking
exhibition premises would not be solved.
Tne
work on the Art House initiative was started. At the section
meeting on 11 October
1939
Ц
was made known that
lhe
govern¬
ment has supported construction of the house and this issue was
passed over to committee, It proposed to build the house at the
centre
оГ
Riga
-
m
Vermanes Garden or at the comer of
Merke|a
h
Jërbatas Streets.
As there were about
200
painters in Riga, each
exhibiting three works and each work needing about 1
.5
m, the nec¬
essity space of about
1000
mi was calculated, including premises
'*"iL higher ceilings foe sculpture and applied art.
tely, the rapid course of political events crossed out these
and the problem of exhibition premises remained unsolved,
'ne
planned spnng exhibition was also not realised as well
лѕ
the
ambitious art festival
m
August
1940.
World War II had started and
¡™ USSR army entered the capita) of Latvia on 1
7
June 1
910.
On
¿I July Soviet power was declared in Latvia, on
5
August
-
the
Latvian Soviet Socialist Republic was included in the USSR,
rhe Chamber of Writing and An was abolished on
26
)une
1910
bu¡
the Latvian Pine An Society on
20
September
1940.
The
properly and functions of the I atvian Fine Art Society were taken
over by the Latvian
SSR
Fine Artists' Trade-Union. "The Trade-
Union stnved to reorganise the Academy of Art according to the
needs of Soviet Latvia although this work was sabotaged by
severa'
reactionary artists."
-
says the repot "Till
2
September
502
forms
are submitted,
316
members are admitted.
85
candidates declined.
2
1 member postponed until clarification of their bourgeois past.
62
members have not responded to the call to submit works. Until the
exhibition
23
members postponed, awaiting the USSR Art Workers
Regulations."
Considering the short penod of existence of the Chamber of
Wntmg and Art, it is hard to tell whether the consolidation of soci¬
eties "under a unified wing" would bnng the desired support for cre¬
ative individuals.
INTERPRETAT1ON OF ART IN THE CONTEXT OF
AUTHORITARIANISM
-
FACTOR OF THE YEAR
¡934
By Stella
Peläe
Political factors are surely important in regard to division into pen-
ods of Latvian thinking on art. So far the establishment of the, au-
thohtanan regime on 1
5
May 1
934
has been either demonised as
the onset of "fascism" or explained away as a logicat outcome of so¬
ciety's development supported by the people. This article, however,
is not focused on processes and events
m
the art life and related in¬
stitutions but on theoretically rnmded reflections on art.
The most obvious influence of authontananism relates to certain el¬
ements of censorship
-
after
1934
leftist writers' opinions disap¬
peared from books and penodrals, significantly reducing the spec¬
trum of art-theoretical ideas. Another
aspea
is the emphasis on
Latvian national art as a deliberate programme. Still the suggested
stylistic premises were very vague, ranging from ethnographic her¬
itage to the ideals of classical European art. One of the current top¬
ics was derived from Oswald Spengler's opposition between civilisa¬
tion and culture, conceiving of Latvian art as a part of "fresh" and
powerful culture in contrast to the civilisation of "old" European
countnes, Still it is not easy to answer to what an extent the ideas
on art's essence and functions had been modified by the political cli¬
mate change, Political engagement seems to be inversely propor¬
tional to the author's specific competence
m
the field of visual arts.
In many cases no certain change can be detected, especially if the
author's position differed from the official ideology of Latvianness.
One should note that negative attitudes towards avant-garde ex¬
periments as a means ofteftist propaganda appeared already in the
1920s, as in the sculptor
Gustavs
Skitters'
remarte
on deformation
and anarchy not being the only creative powers: "It's time to dismiss
these ghosts of revolution from our art and establish a healthy na¬
tional trend based on serious work." This tfwd of thinking on art
can be broadly named traditionalist; art was mostly conceived along
pragmatist-instrumentaüst
lines as a promoter of truth, religion,
morality but first of all
-
Latvianness. This model was closely inter¬
twined with various modifications of the ancient mimetic theory, in¬
terpreting art as
з
direct or variously "perfected" or "recreated" rep¬
resentation of nature, including typical early 20th century specula¬
tions on intuition and depths of the soul, liberated from the individ¬
ualist stance and endowed with collective national values.
Traditionalism conceived as nationalist ideology contains praise of
177
authoritarianism, for example, the actor and theatre director Fridrihs
Dombrovskis-Dumbräjs
stressed that art has first of all to
creale a
national hero and eliminate the obstacles of cosmopolitism and sub¬
servience to classes and political parties standing between the artist
and the nation. There was an opinion that, on the one hand, art
should not become too complex (meaning first of all
-
unrealistic)
for the common people; on the other, it should not photograph re¬
ality but raise the spectator above the ordinary life. Writers on art,
such as painter and critic Q|gerts Saldavs and writer Ausma
Roga,
emphasised that art should focus on historical themes, foundation of
the state and other great subjects according to 19th century tradi¬
tions of history painting. The authority of the academic training sys¬
tem stands out in the painter and teacher Roberts Stems' articles; he
stated that great art has to be studied throughout one's life and
achievements passed from one generation to another. He especial¬
ly criticised
modemisis'
interest in primitive art threatening to de¬
stroy true European traditions based on classical artistic heritage.
Publicist
Jänis Lapinä was
particularly dissatisfied with "incorrect", su¬
perficial art as a typical sign of democracy; for example, he criticised
both "blotches" of colour and "coarse, naturalistic expression", leav¬
ing the reader in confusion in what sense a colour blotch can be
conceived as naturalistic. Ethnographic interests are typical for
Jëkabs
Bine, painter and promoter of the home-made Latvian national reli¬
gion, He stated that Latvian prehistoric culture must be much supe¬
rior to that brought by Christian knights. Bine called back to ethno¬
graphic ornaments and their secret "messages" but concrete ideas
on visual art still largely harked back to the 19th century Realist and
early 20th century
Symbolist
idioms, In the late
1930s
one can find
even anecdotic instructions to make identical artworks that would
resemble one another like members of a one nation, fully dismissing
the idea of creative originality.
There is a sure conclusion that the change of political system in
1
934
marked
a tum
towards more retrospective glorification of national
style. Still traditionalist attitudes had been present before, provoking
a question whether
politicai
context, should be conceded as defin¬
ing the interpretation of art or the very evolution of thought (in
other branches of humanities as well) might have influenced the very
change of political climate. Even if various types of neo-classical re¬
vival were common throughout Europe, an important aspect of local
specificity is the minimal level of acceptance in regard to modernist
experience; if various Western modernist trends of the interwar pe¬
riod might also propose classical order and harmony, Latvian inter¬
pretation of art in the 1930s largely returned to 19th century Realist
premises and Symbolist depth of content conceived in the collec-
tivist. nationalist spirit,
GEDERTS EUASS' INTRODUCTIONS TO BOOKS "FRENCH
CONTEMPORARY PAINTING" AND 'THE 20TH ANNIVER¬
SARY OF LATVIAN
SSR
ACADEMY OF ART', PRINTED TEXT
AND LECTURER'S FORTUNE AT THE ACADEMY OF ART AT
THE CHANGE OF OCCUPATIONAL POWERS
By
janis
Kalnačs
Two publications of the so-called Year of Horror
-
Gederts Eliass'
and Kristaps Eliass' "French Contemporary Painting"
(Franču
jaun-
laiku
gteznieciba,
1940
or
1941)
and "The 20th Anniversary of
Latvian
SSR
Academy of Art
1919-1940"
(Latvijas PSR Maksias
akaděmijas
20
gadi.
¡919-1940, 1941)
aro a
significant part of
Latvian art literature that have long become bibliographical ranties.
This was conditioned by the biases of occupational powers because
Nazis withdrew these books from sate; they were completed before
Soviet occupation but contained lip-services to the Soviet power.
Without introductions by Gederts Eliass who had supported social
democratic ideas in his youth none of the books probably would
have been printed.
At the Latvian State Archive and the Latvian State History Archive
there are quite comprehensive documents on the dismissal of pro¬
fessor Gederts Eliass, the last member of the Riga Artists' Group, who
worked at the Latvian Academy of Art after the change of occupat¬
ional powers. The process of dismissal was started in September
1941
and completed in February
1942.
These documents clearly
demonstrate the mechanism how cultural and educational institu¬
tions got rid of "persons politically exposed during the Bolshevik pe¬
riod". The board of the Latvian Academy of Art participated in the
process initiated by the institutions of Nazi occupation and Latvian
self-government, Important arguments in this case were the above-
mentioned introductions by Gederts Eliass. The newly formed board
replaced the former members
-
ceramicist Rudolfs
Pelše
and graphic
artist Karlis Krauze had been deported by
tlie
Soviet power but art
historian Boriss Vipers (Boris Vipper) had moved to Moscow. The new
members
-
ceramicist Vilis
Vasarinš,
art historian
Jãnis
Siliflä
and graphic
artist
Janis
Štembergs
-
voted for dismissal of Eliass. Possibly their
vote was conditioned not only by the different situation during the
year of Soviet occupation, but by earlier conflicts on artistic matters
as well, A tetter in defence of Gederts Eliass written by students of the
academy also typified the contradictions of the period, stating that his
pedagogical work was unaffected by the political changes of the
Soviet time.
After his dismissal Gederts Eliass, unlike many Latvian artists, mostly
stayed away from public art life of the Nazi period, including the
large joint art exhibitions of
1942
and
1943
at
lhe Wga
City Art
Museum. The few exceptions were art exhibitions in Tukums
(1942)
and
Hava
(
1
943).
Both introductions by Gederts Eliass have survived. His introduction
to "French Contemporary Painting" was published without alter¬
ations but the introduction to 'The 20th Anniversary of Latvian
SSR
Academy of Ait
1919-1940"
was significantly abridged aRer nu¬
merous revisions and supplemented with the ideologically more
rigid article "Students and Graduates of the Academy of Art" by
Augusts Pupa, a professor of the Latvian
SSR
Academy of Art, Some
of Gederts Eliass' initial text was included in it.
This introduction by Gederts Eliass and four revisions is a good ma¬
terial for textual analysis, ranging from careful insertions and correc¬
tions to unsparingly crossed-out passages and wider additions. As a
result, the jubilee article of the Latvian Academy of Art turned into
a critique of its work juxtaposed to an illusory increase of quality
under the Soviet power.
The article is complemented with the publication of Eliass' introduc¬
tion in its initial, unedited version.
178
ΤΉΕ
ROLE OF POLITICAL FACTORS AND ADMINISTRATIVE
RESOLUTIONS IN SCULPTURE
By
Ruta Čaupova
Sculpture in public space has been subjected to influences
оГ
ideo¬
logical and political contexts as well as commissions from dominant
authorities and religious institutions in almost all periods of history.
Monuments realised in permanent
malcriáis
have served to declare
the might oCthc dominant political system, its ambitions and pre¬
tensions of existence.
As sculpture in public space became an instrument of propaganda,
administered territories were marked not just with works created in
valuable
matenals
but pieces
m
more modest materials as well. For
instance, during the first post-war years public space was mapped
with numerous plaster or concrete busts and
figurai
monuments of
Lenin erected at central town squares, close to institutions and
schools but highway sides, parks,
sanatoriums
and kindergartens
were decorated with kitsch/ plaster sculptures of pioneers, sports¬
men and other cliche
figurai motifs
found throughout the USSR,
These plaster figures were cast at the USSR Art Foundation work¬
shops after several
officiai!)'
acclaimed
étalons
and sometimes
locai
artists were involved in realising commissions based on accepted
patterns. According to the slogan that art should be socialist in con¬
tent but some traces of national culture can show in its form, there
were also figures in national costumes, This low-quality mass art pro¬
duction in Latvia was called "highway ghosts" or "plaster ghosts".
Artists protested against these superficial sculptures made of cheap
materials, and such objects were gradually removed.
The plaster and concrete images of Lenin started to deteriorate and
"Jin in open air but it was not allowed to dismantle them, In the
J
960s.
1970s
and
1980s
they had to be replaced by monuments in
permanent materials
-
granite and bronze
-
in almost every town of
Latvia. During this period of occupation Lenin monuments and
me¬
morial
ensembles dedicated to Soviet soldiers made up the most
part of sculpture in the public space. Although sculptors tried to
modify compositional solutions and architects attempted to find a
professionally grounded environmental planning, these works were
subjected to ideological instruction and strong administrative super¬
vision during all creative phases.
Although all issues related to monument competitions and their re¬
alisation were regulated and strictly controlled since the first years of
occupation, in
1967
the order of the USSR Ministry of Culture was
again stated at the Section of Sculptors, declaring that construction
of monuments should be necessarily centralized. Resolutions on the
building of monuments were taken by the Central Committee of the
Communist Party of the Soviet Union together with the Council of
Ministers in order to preclude any monument being set up without
previous instructions, Most of the Soviet period official monuments
are hardly possible to assess as artworks in proper sense because
their functional orientation and socio-psychological aspect
tum
them
'nto propaganda and ideological attributes.
One has to admit that severely politicised attitude towards con¬
struction of monuments appear today as well, An example is the ad¬
ministrative
resolution
to decline the monument to
Konstantins
Čakste,
leader of national resistance movement in World War II.
that had to stand in the place where Lenin's monument had been
m
Soviet times. Although sculptor G|ebs Pantelcjcvs had found an orig¬
inal, conceptually and artistically convincing solution, this fact did not
impinge on the negative resolution,
BODY, ART AND POWER
By
Maija
Kule
The article deals with the philosophical interpretation of power
m
relation to the representation of body in contemporary art. Power,
according to
Micheí Foucaulťs
philosophy, is a wide concept, mean¬
ing not political or economical dominance but a kind of relationships
where dominance and subservience are interchangeable, creating a
kind of network where the most varied processes of human fife are
involved. The body might possess power, too. Different trends of
contemporary art represent the shift from the classical period de¬
termined by the mind and will to the post-classical one when the
body and its sensations come to the foreground. The man realises
power relationships through the body. Since the 17th century the
power has developed as the control over life. It happened in two
forms: one of them was focused on the body as a mechanism, in¬
volving training, increasing skills, including in systems of economical
control. This is the politics of anatomy or discipline. The other
sphere has increased in importance since the 18th century and is fo¬
cused on the human body as a species through which biological
processes like birth, death, health, and life duration are regulated.
This is
biopower.
On the one hand, art conveys bodily passions, fi¬
nality and death, expressions of pleasure, on the other ~ speaks
about ways of how
biopower
is realised.
Edmund Husserl's phenomenology describes two senses of the body:
Leib
stresses the presence of the spirit and connection between the
body and the soul,
Körper
refers to the mortal, physiological and sensu¬
al body. The art of previous eras often strived to show the soul through
the body. This is rarely found in contemporary art where the body
appears as something
morta!,
changeable, vulnerable, cloned, something
one chooses, etc, Artists often see the body as alienated, subjected
to dominance and outer, alien power. The epoch is marked by a
power that subjects, moves and changes the body, making it yielding,
brutal, extreme and unstable. The body might
tum
into a detached
thing injured in public (Viennese Actianism,
Oleg Kulík,
Gina
Pane, Ron
Athey, etc.), details come to the foreground, back and hair are de¬
picted instead of face
(Egon Schiele,
etc), the body becomes a place
where the codes of consumerist culture are inscribed
(Jürgen
Teller,
artistic tattooing, etc.), the body is constructed technologically and
controHed by computers
(Stelare),
bodies try to merge with nature
again (installation "God and Cabbage" in
Pedvãle),
The conclusion is
that changes in philosophical reflection and
20^-21st
century cul¬
tural attitudes towards the body are perfectly represented in art.
179 |
| adam_txt |
SAT URS /CONTENT
DA1NA LÄCE. levads 7
RUTA kaminska.
Krãslavas
katolu
baznícas
un
kiostera
büwésture novada
vësturisko
likteriu kopsakaribãs
9
KRISTINE
OGLE,
llűkstes katoju baznjca Kurzemes-Zemgales hercogistes
politiskas
vestures
konteksta
24
KRISTIÁNA
Abele.
Tautieši
un
novadnìeki.
Nacionalais
jautăjums un teritorială identitate Latvijas măkslas
dzivè
19.
gs.
beigãs
un
20.
gs. sakumă
39
GUNDEGA
gailÏte.
leskats
politiskas
kankaturas
vésturě.
19.
gs. beigas-20. gs.
sãkums
64
GINTA GERHARDE-UPENIECE. Kulluras fonda aktivilătes
tëlotâjas
măkslas
nozarë
(1920 1940) 77
RIHARDS
PETERSONS.
Politiskie
konteksti
Ріетіпек|и
valdes
darbibã
(1923-1940) 93
ILZE
KONSTANTE.
Măkslinleku biedrîbas
Latvija
(1934-1940).
jaunãkie Latvijas Valsts
vestures
arhiva
materiálu
pëlîjumi
1
05
STELLA pelSe. Mäkslas
іпЇефгеЇасі]а
un
auloritãrisma
konteksts; 1934.
gada
faktors I
Ύ7
JANIS KALNACS,
Cederla Elìasa ievadì
grãmatâm
"Franču jaunlaiku gleznieciba"
un
"Latvijas PSR
Mäkslas
akadémijas
20
gadi".
(espiesta teksta ietekme uz
Mäkslas
akadèmijas pasniedzéja
likteni,
okupãcijas
varům mainoíies
1 34
GEDERTS ELIASS. Latvijas PSR Makslas
akademijas
dibinašanas
un
20
gadu
darbibas atcerei I
45
RUTA
ČAUPOVA. Politisku faktoru
un
administrativu
lëmumu
loma
têlniccíbã
156
MAIJA KÖLE.
^ermenis,
mãksla
un vara I
66
PIELIKUMI
173
Summaries of articles
AUëlu saraksts
List of illustrations
Pcrsonu
rãditã|s
/
Index of persons
Vietu
rãditajs
/
Index of locations
SUMMARIES OF
ARTICI
FS
CONSTRUCTION HISTORY OF
KRÄSLAVA
CATHOLIC
CHURCH AND MONASTERY IN THE REGIONAL HISTORICAL
CONTEXT
8y
Ruta Kaminska
Sodai,
economical and political history is
nol
always the most signi¬
ficant aspect
m
the study of architectural and artistic hentage.
Stil!
there are periods when the con-elation between these factors and
building activities acquires a special importance. Usually these are pe¬
riods of changes when new political powers manifest their ideas that
might concur with new conceptions of style and form as well as with
involvement of masters coming from
certam
schools. The fortunes
of
Krãslava
St. Louis' (Ludwik's) Church construction and artistic fin¬
ish provide a good example. They have been influenced first of all
by hisloncal collisions concerning supervision and government of
Eastern Latvia in the 18th and
f
9th
centunes:
independent princi¬
pality of Polish Livonia included
m
the Polish-Lithuanian Common¬
wealth
(1562 1772)
and the Western Province of the Russian
Empire (since 1
772).
Parallel shifts of confessional balance influenced
by re-catholisation processes happened in the region. They were re¬
lated to the activities of particular Catholic spiritual orders
m
the
18th century. A! the same time sequential shifts of historical stylistic
paradigms are evident and local modifications of late Baroque are
replaced by Neo-Classicism
m
religious architecture and art by the
end of the 18th century.
Wooden church building in
Krãslava
has been mentioned already in
the 16th century but in
1676
Jesuit
Georg Lüdmghausen-
Wolff built
a new wooden church on its place where Jesuit fathers subordinat¬
ed to the Daugavpils residence of the order have served.
Most significant changes in
Krãslava
started in 1
729
when it passed
to the Plater family. Initially Jesuits retained their positions in the
Rater family properties and. possibly influenced by Jesuits, this
German
protestant
family returned under the wing of the Catholic
church in the late 17th century. When
Konstanty Ludwik
Plater
(1722-1778}
took over the
Krãslava
manor, ambitious plans wore
earned out to build up the mam family residence. Building a new
stone church
m
Krãslava
was among these initiatives, achieving the
status of the Cathedral of Livonia. This was supported by
Sejm
in
Warsaw in
1768.
Until this the Cathedral of
Livonian
Bishopric was
located in Daugavpils; its wooden building was constructed by Jan
Andrze)
Pialer
(before
1627- 1696).
In the 18th century [hens are
°ther changes as well fathers of the Congregation of the Mission
(Lazansts) were invited to construct the building and lead the spiri¬
tual seminary. They arrived in late 1
755
but Jesuits had to leave
Kräslava,
moving to Indnca. Construction works of the stone church
'π
Krãslava
were started in 1
756
and the building was consecrated
just in 1
777.
It was erected together with the monastery that housed
the spiritual seminary. Political events significantly modified the
church construction plans after the first partition of Poland in 1
772
the status of cathedral was lost and the scale of building reduced,
Two towers were omitted from the church facade and the
monastery was left without one block that would form a closed
courtyard. Because of political reasons activities of the Roman
Catholic Churxh, including construction works, were restricted.
Krãslava
Church and seminary were even limited in spending their
actual financial resources.
In spite of these changes, the established tradition of involving pro¬
fessional, respectable masters was carried over into the 19th centu¬
ry, In the 18th century they were Italian masters: the architect of the
building comes from the
Раггссо
family; ¡ts members were active in
the region and neighbounng lands also in the 19th century, The
painter
Filippo Castaidi
(1
734-
1
8
H),
bom in central Italy (Arpmo).
worked at the church interior finish in the 1760s. In the 19th centu¬
ry when the church and monastery ensemble was complemented
with Si Donatus' chapel (consecrated in
1818),
the sculptor
Kazimieras Jelskis
(1782-1867),
known in Lithuania, worked in
Krãslava.
The
Krãslava
Catholic Church conforms with solutions typical for the
late Baroque style. The monumental basilica, having a nave and two
aisles, features a reserved and expressive use of great order forms.
The classical forms are ennched by large-scale interior paintings
(now only the fresco of the main altar has been recovered and re¬
stored), The solution of the church, particularly its facade without
towers, is denved from well-known examples of Central European,
especially Polish, Baroque architecture. But the church itself has
served as an example for several late 18th century-1 st half of the
19th century churches in Latgale and Lithuania, thus fitting in a cer¬
tain cultural area,
ILOKSTE CATHOLIC CHURCH AND THE DUCHY OF
COURLAND AND SEMIGALUA: THE CONTEXT OF
POLITICAL HISTORY
By
Kristíne
Ogle
In order to know and understand a particular work of art, it seems
important not just to study close-ups but also to consider the mon¬
ument in a wider context of cultural history. Especially in cases when
visual information is restricted for a number of reasons, groups of
secondary sources whose links with the concrete artwork seem pro¬
visional at first can provide invaluable references and explanations,
llukste Catholic Church is an excellent example of an unfairiy for¬
gotten, outstanding artistic monument that deserves to be brought
to attention, standing out with its great significance in both local and
global art-historical context The building was destroyed during
World War I; therefore the rale of different sources, including those
of political history, are very helpful in the study of this monument.
Research lias demonstrated that events of political and cultural life
have been very closely intertwined in the history of this monument,
both determining and commenting vanous processes.
Firstly, one should note that appearance of a Roman Catholic can-
Ire of such a scale in the Duchy of Courtand and Semigallia is a note¬
worthy event, resulting from political decisions. As is known, at first
the Duchy of Couriand was markedly Protestant in its orientation
and the rights of Catholics and options to practice their ntes were
severely restricted. Significant changes were brought in legislation by
the Couriand regufations of 1
617
that defended Catholics" freedom
of faith. Although legalisation of Catholicism in Couriand was a po
liticai
decision and the Polish government had a major role
m
lhe
process of re-catholisation, local landlords' initiatives were very
173
important,
supporting Catholic faith with their money and activities.
Among these families one should mention the
Schwerin
family in
Alsunga, the
Carmel
family in Skaistkalne and the
Lieven
family in
Uvběrze,
Usually Jesuit missionaries were involved as an auxiliary
force in these efforts,
The Sieberg family should be mentioned among the most important
supporters of counterreformation in the Duchy of Courland and
Semigallia. The Sieberg family fostered the development of the fron¬
tier· town
Hütete
that became a powerful and influential centre of
Catholic culture, With the support from Rome, the Sieberg family
managed to reinforce Jesuits residing in llukste, founding a mission
here, later raising its status to residence and collegium. In 1
690
an
ambitious church was erected in the place of the old, modest wood¬
en building, Arrangement and decoration works continued after its
consecration as well. After the fire of 1
748
a new stone church was
built In HCikslc in 1
754-) 769.
Historical sources give a chance to know the background of social
life against which these events took place, In the situation when in¬
cessant military conflicts, famine and plague had impoverished the
country to the utmost degree, leaving no hope for successful further
life and development, it seems that there would be no time, power
or finances for cultural values: still the people's initiatives to support
them as far as they could stand out as a surprising phenomenon.
Decisions of benevolent political figures in complex situations, rich
classes' good will as well as active and stimulating work of Jesuit mis¬
sionaries provided preconditions for llukste Catholic Church to func¬
tion. Not just by its convincing artistic qualities but also by its physi¬
cal existence the building evokes the bygone period long after the
political system has changed again.
FELLOW NATIONALS AND COMPATRIOTS: THE NATIONAL
QUESTION AND TERRITORIAL IDENTITY IN THE ART
UFE
OF LATVIA IN THE LATE I9TH AND EARLY 20TH CENTURY
By
Kristiána
Abele
"If we accept that painting has nothing to do with language and that
it can be no less international than music, then there still remains
something disputable. It is generally known that every nation tries to
develop its particularity as much as an individual tries to develop his
one." Latvian writer, art critic and painter
Janis
JaunsudrabinŠ
wrote
in the newspaper "Latvija" in January
1910,
where he commented
on the rise of the multi-national Baltic Artists' Association
(Baltischer
Künstlerbund)
and came to a strictly nationalist conclusion: "To fos¬
ter this national particularity, our artists must develop more intimate
contacts among themselves and with their nation. An organisation
that unites four or even five nations under German banner will
never have such aims that our painters would like to set for them¬
selves." JaunsudrabinS was neither absolutely wrong nor nght but like
most of his contemporaries he was deeply concerned with the na-
bonai question
-
constantly present in the art life of the future Latvia
since the late 19th century until the rise of the independent nation¬
al stale. In this emancipation period of Latvian national professional
art the local art scene was dominated by German and Latvian cul¬
tural forces whose co-existence ranged from mutual interest and in-
spinng rivalry to politicised conflicts, focusing on contact areas in the
artistic interests of those ethnic groups which inhabited the Baltic
provinces of the Russian Empire, the article explores this scene as a
field of interplay between local patriotism, nationalism and the art's
general
universalism
in a changing society that was disturbed by his¬
torical collisions. The story covers roughly two decades from the
Latvian Ethnographic Exhibition
1896
over the storms in and around
the revolution year
1905
until the eve of World War I. Events and
aspects of discussion include: the appearance of Latvian graduates of
the St. Petersburg Imperial Academy of Art on the art scene of Riga
in the late 19th century; views and activities of their non-Latvian pro¬
moters; first steps toward a set of common artistic values that are
produced in the country and appreciated by art lovers of all local na¬
tions; the opposite tendency to discern every Latvian element from
the whole production of Baltic artists
-
fellow nationals from "our
compatriots"; the collapse of the Nordic Exhibition project for the
opening ofthe new-built Riga City Art Museum as a victory of short¬
sighted patriotism; the lonely position of landscape painter
Vilhelms
Purvitis
in the context of Latvian efforts to break with German cul¬
tural patronage; Purvilis' art and public opinion in matters of lan¬
guage and fatherland; the rise of Baltic German nationalism after
1
905
and its liberal counter-force; parallel activities of the Baltic
Artists' Association and the Latvian Art Promotion Society (LatvieSu
mãkslas
v&dnăsanas
biedrìbà)
in the early 1
9
10s; the origins of a
mono-ethnic (Latvian) vision of art history in Latvia; local artists of
other nationalities as unwitting winners in Latvian-German clashes, etc.
The
artide
is its author's dedication to the marriage centenary of her
great-grandparents Latvian-based German citizen
Wilhelm
Jager
and Latvian manor servant Emma Birzgale. Confirmed on 1
0 {23)
September 1
906
at
Pëterupe
Church in Vidzeme, their lasting union
offered an unbiased romantic solution to the flaring national contro¬
versies of their country and time.
THE HISTORY OF POUTICAL CARICATURE IN THE LATE
I9TH AND EARLY 20TH CENTURY: AN INSIGHT
By Gundega
Gaiľrte
The discussed period is typified by the high point of caricature as the
most topical genre of art because very different artists participated
in decisive historical events
ofthat
time. The article gives an outline
of the major themes, differing individual styles of artists, their means
of expression, etc.
The term "caricature" is derived from Italian word
caricare,
meaning
"to heap", "to exaggerate". Its task is to unmask contradictions of so¬
cial phenomena, relationships, human conduct and character in a pe¬
culiar manner. Caricature exaggerates and distorts external features,
revealing the inner truth.
The article deals with particular examples from periodicals because
their quantity and quality significantly increased on the threshold of
the 20th century. Thanks to the development of printing industry
and spread of liberal ideas, political and satirical publications helped
to change the public opinion. As periodicals reached wide audience
and had deep influence, critical and satirical imagery served as a po¬
tent means of visual propaganda, Besides Latvian caricaturists,
German and Russian artists are stressed as well because they had
the most influence upon the local authors' formal and thematic
174
choices. The most significant source was the German periodical
"Simplicissimus"
-
a promoter of democratic opinions and world¬
wide leader of political satire dunng the early years of publication
(1896-1908/09),
In
1897
it was printed in
15 000
copies but by
1904 -
in
85 000.
The major artists to be mentioned are Thomas
Theodor
Heine, Rudolf Wilke, Bruno Paul, f-erdinand
von
Reznicek.
Erich Schilling and
Olaf
GUIbransson. By World War
I
"Simplicissi-
mus" held the opposittonai stance but then gradually transformed
into a conformist, nationalist and chauvinist voice of the official power.
Russian government prohibited the import of "Simplicissimus", still
artists had access to it and influences are easy to detect, Russian car¬
icaturists
urçed
to dethrone the Tsar and campaigned against the
centralisation or" power, pointing towards the mass of social contra¬
dictions that had lead the state into a deep crisis. Majority of people
had no political nghts, national and religious restrictions were in full
sway. The failed policy of foreign affairs also pointed towards neces¬
sary radical changes. The
protesi
of the people grew inio revolution
after which it was promised to grant civil rights, organise general
elections and form
lhe
State Duma
ihat
would become the legisla¬
tive power and put an end to the absolutist era. Millions of people
started to think about the justice of state power as well as Tsar's and
politicians' personal merits, Thanks to the so-called free press, the
number of political satire periodicals reached almost
400
having
about
Ί0
millions of copies. Not all of them were on the same artis¬
tic level but caricaturists in the most biting political journals took up
topical events
m
both foreign and domestic policies, following the
best examples of German artists. Major periodicals were Zhupet'
{Scarecrow),
iskra
(Spart),
Gudok (Whistle), Zhalo (Prickle), Leshy
(Wood-goblin),
Zhteľ (Specíaior),
Adskaya pochta (Hell Post). A
little more restrained were publications
Osa
(Wasp), Zanoza
(Splinter), Budil'nik (Alarm-clock), Oskolki (Shivers), Strekoza
(Dragon-fly), etc. Cancaturists:
Aleksandr
Yungers (pseudonym Bayan),
Nikola/ Remizov-Vasilyev (pseudonym -Re-Mi), Mstisiav Dobu-
zhinsky, Valentin Serov, Evgeny
Lansere
(Lanceray),
Boris Kustodiev,
Ivan Bilibin, Artists tned to expose all important events in the birth
of new parties and mutual fights of radicals, liberals and monarchists
in the newly elected State Duma. So caricatures give a thorough in¬
formation on the complicated transitional period
fram
the tsarist ab¬
solutism to constitutional monarchy.
The so-called New Latvians started to create modem society in the
local context, already in the newspaper
"Pěterburgas
Avises" (Sí.
Pe¬
tersburg Newspapers) trying to awake self-awareness,
critica)
judge¬
ment and aspiration to change one's life. The naive protagonists cre¬
ated by our first professional graphic artist Augusts Daugulis still dif¬
fer from the angry texts aimed against German economical and ide¬
ological dominance. Despite the harsh political and economical situ¬
ation, Latvian nation learned to laugh and caricatures helped to fos¬
ter the awakening process.
Latvian caricaturists left behind the earthbound ideological content
and provincialism during the revolution of
1905-1907.
Artists de¬
nounced the tsarist regime, the privileges of Baltic Germans and cler¬
gy, russification policy, pogroms organised by monarchists' military
groups, Drawings were made by graphic artists as well as by painters,
sculptors and amateurs. The leading Latvian journal was
"Svari"
{Scales, 1
906-
1
907)
published in St, Petersburg, Its political criticism
is inseparable from graphical and compositional skill, versatile means
of expression and witty symbols.
Caricatures were so powerful and influential because the best artists
took up this branch of art
Janis
Roberts
Tillbergs, Rihards
Zarina,
Indrikis
Zebeririá,
Alberts
Kronbergs,
Rudolfs Vilctni, KriSjanis
Ceplîtis,
etc, They contributed to journals printed in St. Petersburg, such as
"Zibens" (Lightning) and
"Rits"
(Morning), and to those published in
Riga, like "Gailis" (Cock),
"Lietuvèns"
(Nightmare),
"týirga" {Jeere'%
"Väíťotäjs"
(Charme/), etc.
The number of Latvian caricatures is more
limited but their artistic quality can be
compareó
with both Germany
and Russia with their old, established traditions of caricature. Creat¬
ive success shows in the immense popularity of satirical publications
achieved by topical themes and artistic skill. Unfortunately, after the
stormy boom a sure decline can be detected. When the tsarist cen¬
sorship tightened its grips, political satire became almost completely
paralysed. Still caricatures of the discussed period should be inter¬
preted as both attractive reflection on the cultural history and doc¬
ument of the epoch, featuring high artistic quality.
THE CULTURE FOUNDATION AND ITS ACTIVITIES DURING
THE FIRST INDEPENDENT REPUBLIC OF LATVIA
(1920-1940)
By
Ginta
Gerharde-Upeniece
Financial support is one criterion which helps to assess the true at¬
titude of the state towards cultural heritage and creative processes.
During the first period of Latvia's independence, the
Cultuœ
Foundation
(Kultums
fonds)
established at the Ministry of Education
on
18
November
[920,
played an important part in this respect.
Incoming money was spent to support science, education, cultural
workers and institutions, for premiums and stipends, educative for¬
eign
traveis
and popularisation of science and art- The article aims to
browse the main functions, guidelines and priorities with particular
regard to supporting fine arts.
During the early period cultural processes in the countryside were
in the focus of attention: community halls were arranged or built
anew, a wide net of libraries was established in numerous towns, To
foster creative processes, the Culture Foundation granted travel
stipends and supported studies abroad. Creative travels stimulated
assimilation of Western European cultural experience and develop¬
ment of Latvian art in general. Culture Foundation Premiums in dif¬
ferent branches of art
-
painting, sculpture (monumental and stand
sculpture), graphics, stage design and applied arts
-
were signs of
recognition on the national level. Such artists as
Çederts Eliass,
Ludolfs Liberts,
Janis
Kuga,
Niklävs Strunke,
Ansis Grulis, Vilhelms
Purvitis.
Jànis
Roberts Tillbergs,
Kãrlis Zále,
Eduards
Kainiti
and Teo-
dors 2a|kalns
had received these premiums two or three times.
Considering the premium winners from the distance of time, differ¬
ent kinds of art had been praised in respect to both quality and so¬
cial significance, ranging from artworks
-
signs and symbols of their
time
-
to mediocre or even poor works.
After the
coup d'état
realised by
Kãtiis
Ulmanis
on
15
May
1934,
the
role of culture changed, becoming a representative voice of the
state, During this period, administrative structures of institutions also
tended towards authoritarianism. The Ministry of Education that su¬
pervised the Culture Foundation took the lead of organising cultur¬
al life, choosing such priorities as financial support for huge buildings
and monuments. Although initial plans were not realised, the second
175
half of the 1930s saw such initiatives supported by the Culture
Foundation: building and reconstruction of the House of Unity in
Daugavpils, Writers' House in Sigulda. support for the Committees
of Brethren Cemetery and Monument of Liberty as well as for erec¬
tion of monuments in memory of liberation fights in Latvia's regions.
Prom
1935
to
1938
there were four Latvian art exhibitions organ¬
ised by the Culture Foundation purposeful manifestations of
Latvian cultural unity during which the foundation bought artworks
for decoration of various public institutions. Numerous visitors testi¬
fy to responsiveness of the public to these ambitious shows. From
1935
the Culture Foundation realised
Kãrlis
Ulmanis'
idea of the
Friendly
Call donation of books and other contributions to schools
in both Riga and regions; educational institutions received also works
of fine arts. Although this initiative fostered patronage and education,
becoming a wide-scale and greatly supported action, still from the
viewpoint of fine arts there were just large numbers of items for
decoration of premises. The Unity Festival on the 15th of May in¬
cluded a special event
-
presenting with the Fatherland Prize found¬
ed in 1
937.
It was an award for outstanding public service in science,
economics, and defence, social and political spheres. Prize winners in
fine arts and architecture were
Vilhelms Purvitis.
Kãrlis
Zale and
Eižens
Laube.
When Soviet troops invaded Latvia in
1940,
numerous institutions
'and organisations, including the Culture Foundation, were gradually
abolished. Activities during the Nazi occupation period could be
considered as a maintenance of the foundation's work; the Culture
Foundation of the World Free Latvian Association was its echo in al¬
together different circumstances, safeguarding Latvian identity in
exile,
Latvia was the first among the newly founded Baltic states where a
successful model of financing culture was established. It served as an
example for Estonia where the Culture Capital was founded in
1922,
In Lithuania such initiative was not realised; it was replaced
with alternative models of financial support for culture. The fact that
the Culture Foundation was founded quite shortly after gaining of in¬
dependence testifies that education and culture were considered
important values in the building of the new state.
Looking for parallels in the 1990s, Estonia was more dynamic, restor¬
ing the Culture Capital in
1994.
At founding the State Culture
Capital Foundation in Latvia in
1998,
Estonian experience was con¬
sidered as well. Assessment of our past is important to delineate the
pnonties of cultural policy of today, avoiding the usual "syndrome of
waiting" or Utopian ideas and creating a strategy that would
tum
the
vision of future into reality.
MONUMENT BOARD
ACTIVTTIES
AND POLITICAL
CONTEXTS
(1923-1940)
By Rihards Petersons
The Monument Board (Pieminek/u
valde)
was a state institution su¬
pervised by the Ministry of Education of the Republic of Latvia. Its
іаьк
was to work on and develop heritage protection. It was found¬
ed, taking as a basis the law "On Monument Protection" passed on
26
January 1
923,
and functioned until the Soviet occupation in 1
940.
The structure of the Monument Board changed several times, Part
of its members was appointed by the government, part was select¬
ed according to the principle of representation from the State
Museum of History, the Latvian University and the Latvian Academy
oľArt.
Regardless of the fact that well-known public figures and rec¬
ognized professionals worked at the Monument Board, the article
demonsrates that the heritage protection during the first period of
Latvia's independence was dependant on a small group of people
and society was not involved in solutions of major issues. Politicians
used the Monument Board according
lo
their interests, especially
after
Kärlis Ulmanis
established his authoritarian regime in 1
934.
The
question of whether Monument Board members and its director, ar¬
chaeologist Francis Balodis, were eager to collaborate and serve the
regime, subjecting heritage protection issues to the political interests
of those in power, remains open.
ARTISTS' SOCIETIES IN LATVIA
(1934-1940).
LATEST
RESEARCHES OF MATERIALS FOUND IN THE LATVIAN
STATE HISTORY ARCHIVE
By
llze Konstante
Establishment of an authoritarian regime in Latvia was neither a sur¬
prise nor exception in the European context, After World War I
democracy had power and high reputation in all European countnes.
But the practice showed that democratic form of government was
too ineffective to deal with the acute problems of the post-war pe¬
riod Economical and social issues were not resolved and govern¬
ments
-
too weak. Economical decline of the
1930s
enhanced the
sense of disappointment in democracy. Movements campaigning for
authoritarian government emerged in almost all European countries,
In Latvia there was no experience of political democracy at all and
this burdened the success of this system. After Pnme Minister
Kãriis
Ulmanis (also President of the State since 11 April 1
936)
realised a
coup d'etat on
15
May
1934
and abolished the constitution, the
state was reformed to create a completely new system, founding
trade chambers. There were six chambers in total. In May
1938
the
last two chambers were established
-
the Latvian Chamber of
Writing and Art (Bakstu
un
mãkslas
kamera)
and the Chamber of
Professions
(Profesiju kamera).
They completed the process of in¬
volving each inhabitant of Latvia in the sphere of competence rep¬
resented by the chambers.
The Latvian Chamber of Writing and Art was opened in the Riga
Latvian Society hall on
15
December
1938,
According to the law,
the Chamber of Writing and Art consisted of six sections repre¬
senting literature, publishers and dealers, fine art. music, theatre and
folklore. Groups (former artists' societies) could exist as sections.
The Section of Fine Art received 1
9
posts.
Founding of the chambers was carried out together with closing
down of the former societies. On
14
November
1938
a meeting
was organised at the Independent Artists' Society {Neatkan'go
mãk-
slinieku vieniba) building and residence, bringing together boards of
former artists' societies to decide about consolidation and passing
regulations of the new society: "The aim of the society is to support
and foster realisation of the tasks set by the Latvian Chamber of
Writing and Art, to defend fine art representatives' economical and
juridical needs, to endorse their activities, initiatives and mutual help,
176
ίο
guard thy honour
offine
art
iui
їЧ-іґ
profesional
education.
id
лпй
national unity, thus pro-
caf g'owth and flourishing of their
honest work and comnenttousr
и
workers and keep it cleat
.
to r.ir
и
to strengthen their
/ove to'-
k
¡ht
moting the spmtuaf ¿nd
econom
members and the nation and state
At the time
oí
consolidation v^bt ,jn<sts
societies
were more or less
active: Independent Artists'
Sooetv
(Nçatterigo mãkstimeku
vtenba).
Latvian Fine Art Society
(Lâtwiu
tètofoio
makshneku
biedríba).
artists society Holier
(7¿¡j
yjmay Riga Graph* Mists1 Society (Kfeas
ffa%/ fcertffw). /cvnf tVort
(ЅјсоФј).
R^a Msts1 Group
<Я£и
mákslineku g,\,pa).
Muksala Artists' Society
(Múfcsafcs
mäksfaveku
biedrìba)
and Latvian Artists Society
(Utv
/υ
maMlmieku
ЫеопЪа).
At the consolidation meeting on
M
November
ι
938.
an authorised
representative of each society
agn«!
an agreement to unite debus,
credits and lists of members, creating
¿
joint LATVIAN FINE ART
SOCIETY, After the
сопъоЬдаьоп
oi
all the societies the newly
formed one included
299
member I he last meeting of the Latvian
Fine Art Society took place on
ІбМ.іу
19-Ю,
tne
discussed issue was
about regrouping amstb
acrordin^
to branches of an as it was re-
abed after World W* (I m the
t SSR
Artrets' Union
In late
1939
Latvian Chamber
oí
Writing and Art started to publish
its journal
"Wntirç
and An"
(RalLMi un
Màksla). lhe
artist Ludofs
Liberts explained the [¿sb of fine an
m
the new circumstances of
totadtanan rule, "A new. frunfuf
регкхі
has commenced
m
art. We
nad
no lack of
talenled
forcei
but our drt life lacked purposeful,
uni-
lied
guidance
d
common centre. Di^ord and individual tyranny has
pat
ал
end to quite a few good initiatives.
(.)
Consolidation o( ex-
'song artists' societies in the Latvian Fine Art Society since last Oc¬
tober is a remarkable landmark
m
the development of our art life,"
One of the tasks of the Chamber of Writing and Art was to take
over organisation of exhibitions, earlier curated by the Culture
foundation, The
firţt
large project was the Five Years Anniversary
exhibition of the Restored Latvia, taking
placo
at the Riga City Art
Huseum from
M
May to
2
July
1939.
Many artists who wished to
participate could not exhibit their works. The show indicated that
Її,"5"16
exhlbilionb wou|d be impossible if the problem of lacking
exhibition premises would not be solved.
Tne
work on the Art House initiative was started. At the section
meeting on 11 October
1939
Ц
was made known that
lhe
govern¬
ment has supported construction of the house and this issue was
passed over to committee, It proposed to build the house at the
centre
оГ
Riga
-
m
Vermanes Garden or at the comer of
Merke|a
h
Jërbatas Streets.
As there were about
200
painters in Riga, each
exhibiting three works and each work needing about 1
.5
m, the nec¬
essity space of about
1000
mi was calculated, including premises
'*"iL higher ceilings foe sculpture and applied art.
tely, the rapid course of political events crossed out these
and the problem of exhibition premises remained unsolved,
'ne
planned spnng exhibition was also not realised as well
лѕ
the
ambitious art festival
m
August
1940.
World War II had started and
¡™ USSR army entered the capita) of Latvia on 1
7
June 1
910.
On
¿I July Soviet power was declared in Latvia, on
5
August
-
the
Latvian Soviet Socialist Republic was included in the USSR,
rhe Chamber of Writing and An was abolished on
26
)une
1910
bu¡
the Latvian Pine An Society on
20
September
1940.
The
properly and functions of the I atvian Fine Art Society were taken
over by the Latvian
SSR
Fine Artists' Trade-Union. "The Trade-
Union stnved to reorganise the Academy of Art according to the
needs of Soviet Latvia although this work was sabotaged by
severa'
reactionary artists."
-
says the repot "Till
2
September
502
forms
are submitted,
316
members are admitted.
85
candidates declined.
2
1 member postponed until clarification of their bourgeois past.
62
members have not responded to the call to submit works. Until the
exhibition
23
members postponed, awaiting the USSR Art Workers
Regulations."
Considering the short penod of existence of the Chamber of
Wntmg and Art, it is hard to tell whether the consolidation of soci¬
eties "under a unified wing" would bnng the desired support for cre¬
ative individuals.
INTERPRETAT1ON OF ART IN THE CONTEXT OF
AUTHORITARIANISM
-
FACTOR OF THE YEAR
¡934
By Stella
Peläe
Political factors are surely important in regard to division into pen-
ods of Latvian thinking on art. So far the establishment of the, au-
thohtanan regime on 1
5
May 1
934
has been either demonised as
the onset of "fascism" or explained away as a logicat outcome of so¬
ciety's development supported by the people. This article, however,
is not focused on processes and events
m
the art life and related in¬
stitutions but on theoretically rnmded reflections on art.
The most obvious influence of authontananism relates to certain el¬
ements of censorship
-
after
1934
leftist writers' opinions disap¬
peared from books and penodrals, significantly reducing the spec¬
trum of art-theoretical ideas. Another
aspea
is the emphasis on
Latvian national art as a deliberate programme. Still the suggested
stylistic premises were very vague, ranging from ethnographic her¬
itage to the ideals of classical European art. One of the current top¬
ics was derived from Oswald Spengler's opposition between civilisa¬
tion and culture, conceiving of Latvian art as a part of "fresh" and
powerful culture in contrast to the civilisation of "old" European
countnes, Still it is not easy to answer to what an extent the ideas
on art's essence and functions had been modified by the political cli¬
mate change, Political engagement seems to be inversely propor¬
tional to the author's specific competence
m
the field of visual arts.
In many cases no certain change can be detected, especially if the
author's position differed from the official ideology of Latvianness.
One should note that negative attitudes towards avant-garde ex¬
periments as a means ofteftist propaganda appeared already in the
1920s, as in the sculptor
Gustavs
Skitters'
remarte
on deformation
and anarchy not being the only creative powers: "It's time to dismiss
these ghosts of revolution from our art and establish a healthy na¬
tional trend based on serious work." This tfwd of thinking on art
can be broadly named traditionalist; art was mostly conceived along
pragmatist-instrumentaüst
lines as a promoter of truth, religion,
morality but first of all
-
Latvianness. This model was closely inter¬
twined with various modifications of the ancient mimetic theory, in¬
terpreting art as
з
direct or variously "perfected" or "recreated" rep¬
resentation of nature, including typical early 20th century specula¬
tions on intuition and depths of the soul, liberated from the individ¬
ualist stance and endowed with collective national values.
Traditionalism conceived as nationalist ideology contains praise of
177
authoritarianism, for example, the actor and theatre director Fridrihs
Dombrovskis-Dumbräjs
stressed that art has first of all to
creale a
national hero and eliminate the obstacles of cosmopolitism and sub¬
servience to classes and political parties standing between the artist
and the nation. There was an opinion that, on the one hand, art
should not become too complex (meaning first of all
-
unrealistic)
for the common people; on the other, it should not photograph re¬
ality but raise the spectator above the ordinary life. Writers on art,
such as painter and critic Q|gerts Saldavs and writer Ausma
Roga,
emphasised that art should focus on historical themes, foundation of
the state and other great subjects according to 19th century tradi¬
tions of history painting. The authority of the academic training sys¬
tem stands out in the painter and teacher Roberts Stems' articles; he
stated that great art has to be studied throughout one's life and
achievements passed from one generation to another. He especial¬
ly criticised
modemisis'
interest in primitive art threatening to de¬
stroy true European traditions based on classical artistic heritage.
Publicist
Jänis Lapinä was
particularly dissatisfied with "incorrect", su¬
perficial art as a typical sign of democracy; for example, he criticised
both "blotches" of colour and "coarse, naturalistic expression", leav¬
ing the reader in confusion in what sense a colour blotch can be
conceived as naturalistic. Ethnographic interests are typical for
Jëkabs
Bine, painter and promoter of the home-made Latvian national reli¬
gion, He stated that Latvian prehistoric culture must be much supe¬
rior to that brought by Christian knights. Bine called back to ethno¬
graphic ornaments and their secret "messages" but concrete ideas
on visual art still largely harked back to the 19th century Realist and
early 20th century
Symbolist
idioms, In the late
1930s
one can find
even anecdotic instructions to make identical artworks that would
resemble one another like members of a one nation, fully dismissing
the idea of creative originality.
There is a sure conclusion that the change of political system in
1
934
marked
a tum
towards more retrospective glorification of national
style. Still traditionalist attitudes had been present before, provoking
a question whether
politicai
context, should be conceded as defin¬
ing the interpretation of art or the very evolution of thought (in
other branches of humanities as well) might have influenced the very
change of political climate. Even if various types of neo-classical re¬
vival were common throughout Europe, an important aspect of local
specificity is the minimal level of acceptance in regard to modernist
experience; if various Western modernist trends of the interwar pe¬
riod might also propose classical order and harmony, Latvian inter¬
pretation of art in the 1930s largely returned to 19th century Realist
premises and Symbolist depth of content conceived in the collec-
tivist. nationalist spirit,
GEDERTS EUASS' INTRODUCTIONS TO BOOKS "FRENCH
CONTEMPORARY PAINTING" AND 'THE 20TH ANNIVER¬
SARY OF LATVIAN
SSR
ACADEMY OF ART', PRINTED TEXT
AND LECTURER'S FORTUNE AT THE ACADEMY OF ART AT
THE CHANGE OF OCCUPATIONAL POWERS
By
janis
Kalnačs
Two publications of the so-called Year of Horror
-
Gederts Eliass'
and Kristaps Eliass' "French Contemporary Painting"
(Franču
jaun-
laiku
gteznieciba,
1940
or
1941)
and "The 20th Anniversary of
Latvian
SSR
Academy of Art
1919-1940"
(Latvijas PSR Maksias
akaděmijas
20
gadi.
¡919-1940, 1941)
aro a
significant part of
Latvian art literature that have long become bibliographical ranties.
This was conditioned by the biases of occupational powers because
Nazis withdrew these books from sate; they were completed before
Soviet occupation but contained lip-services to the Soviet power.
Without introductions by Gederts Eliass who had supported social
democratic ideas in his youth none of the books probably would
have been printed.
At the Latvian State Archive and the Latvian State History Archive
there are quite comprehensive documents on the dismissal of pro¬
fessor Gederts Eliass, the last member of the Riga Artists' Group, who
worked at the Latvian Academy of Art after the change of occupat¬
ional powers. The process of dismissal was started in September
1941
and completed in February
1942.
These documents clearly
demonstrate the mechanism how cultural and educational institu¬
tions got rid of "persons politically exposed during the Bolshevik pe¬
riod". The board of the Latvian Academy of Art participated in the
process initiated by the institutions of Nazi occupation and Latvian
self-government, Important arguments in this case were the above-
mentioned introductions by Gederts Eliass. The newly formed board
replaced the former members
-
ceramicist Rudolfs
Pelše
and graphic
artist Karlis Krauze had been deported by
tlie
Soviet power but art
historian Boriss Vipers (Boris Vipper) had moved to Moscow. The new
members
-
ceramicist Vilis
Vasarinš,
art historian
Jãnis
Siliflä
and graphic
artist
Janis
Štembergs
-
voted for dismissal of Eliass. Possibly their
vote was conditioned not only by the different situation during the
year of Soviet occupation, but by earlier conflicts on artistic matters
as well, A tetter in defence of Gederts Eliass written by students of the
academy also typified the contradictions of the period, stating that his
pedagogical work was unaffected by the political changes of the
Soviet time.
After his dismissal Gederts Eliass, unlike many Latvian artists, mostly
stayed away from public art life of the Nazi period, including the
large joint art exhibitions of
1942
and
1943
at
lhe Wga
City Art
Museum. The few exceptions were art exhibitions in Tukums
(1942)
and
Hava
(
1
943).
Both introductions by Gederts Eliass have survived. His introduction
to "French Contemporary Painting" was published without alter¬
ations but the introduction to 'The 20th Anniversary of Latvian
SSR
Academy of Ait
1919-1940"
was significantly abridged aRer nu¬
merous revisions and supplemented with the ideologically more
rigid article "Students and Graduates of the Academy of Art" by
Augusts Pupa, a professor of the Latvian
SSR
Academy of Art, Some
of Gederts Eliass' initial text was included in it.
This introduction by Gederts Eliass and four revisions is a good ma¬
terial for textual analysis, ranging from careful insertions and correc¬
tions to unsparingly crossed-out passages and wider additions. As a
result, the jubilee article of the Latvian Academy of Art turned into
a critique of its work juxtaposed to an illusory increase of quality
under the Soviet power.
The article is complemented with the publication of Eliass' introduc¬
tion in its initial, unedited version.
178
ΤΉΕ
ROLE OF POLITICAL FACTORS AND ADMINISTRATIVE
RESOLUTIONS IN SCULPTURE
By
Ruta Čaupova
Sculpture in public space has been subjected to influences
оГ
ideo¬
logical and political contexts as well as commissions from dominant
authorities and religious institutions in almost all periods of history.
Monuments realised in permanent
malcriáis
have served to declare
the might oCthc dominant political system, its ambitions and pre¬
tensions of existence.
As sculpture in public space became an instrument of propaganda,
administered territories were marked not just with works created in
valuable
matenals
but pieces
m
more modest materials as well. For
instance, during the first post-war years public space was mapped
with numerous plaster or concrete busts and
figurai
monuments of
Lenin erected at central town squares, close to institutions and
schools but highway sides, parks,
sanatoriums
and kindergartens
were decorated with kitsch/ plaster sculptures of pioneers, sports¬
men and other cliche
figurai motifs
found throughout the USSR,
These plaster figures were cast at the USSR Art Foundation work¬
shops after several
officiai!)'
acclaimed
étalons
and sometimes
locai
artists were involved in realising commissions based on accepted
patterns. According to the slogan that art should be socialist in con¬
tent but some traces of national culture can show in its form, there
were also figures in national costumes, This low-quality mass art pro¬
duction in Latvia was called "highway ghosts" or "plaster ghosts".
Artists protested against these superficial sculptures made of cheap
materials, and such objects were gradually removed.
The plaster and concrete images of Lenin started to deteriorate and
"Jin in open air but it was not allowed to dismantle them, In the
J
960s.
1970s
and
1980s
they had to be replaced by monuments in
permanent materials
-
granite and bronze
-
in almost every town of
Latvia. During this period of occupation Lenin monuments and
me¬
morial
ensembles dedicated to Soviet soldiers made up the most
part of sculpture in the public space. Although sculptors tried to
modify compositional solutions and architects attempted to find a
professionally grounded environmental planning, these works were
subjected to ideological instruction and strong administrative super¬
vision during all creative phases.
Although all issues related to monument competitions and their re¬
alisation were regulated and strictly controlled since the first years of
occupation, in
1967
the order of the USSR Ministry of Culture was
again stated at the Section of Sculptors, declaring that construction
of monuments should be necessarily centralized. Resolutions on the
building of monuments were taken by the Central Committee of the
Communist Party of the Soviet Union together with the Council of
Ministers in order to preclude any monument being set up without
previous instructions, Most of the Soviet period official monuments
are hardly possible to assess as artworks in proper sense because
their functional orientation and socio-psychological aspect
tum
them
'nto propaganda and ideological attributes.
One has to admit that severely politicised attitude towards con¬
struction of monuments appear today as well, An example is the ad¬
ministrative
resolution
to decline the monument to
Konstantins
Čakste,
leader of national resistance movement in World War II.
that had to stand in the place where Lenin's monument had been
m
Soviet times. Although sculptor G|ebs Pantelcjcvs had found an orig¬
inal, conceptually and artistically convincing solution, this fact did not
impinge on the negative resolution,
BODY, ART AND POWER
By
Maija
Kule
The article deals with the philosophical interpretation of power
m
relation to the representation of body in contemporary art. Power,
according to
Micheí Foucaulťs
philosophy, is a wide concept, mean¬
ing not political or economical dominance but a kind of relationships
where dominance and subservience are interchangeable, creating a
kind of network where the most varied processes of human fife are
involved. The body might possess power, too. Different trends of
contemporary art represent the shift from the classical period de¬
termined by the mind and will to the post-classical one when the
body and its sensations come to the foreground. The man realises
power relationships through the body. Since the 17th century the
power has developed as the control over life. It happened in two
forms: one of them was focused on the body as a mechanism, in¬
volving training, increasing skills, including in systems of economical
control. This is the politics of anatomy or discipline. The other
sphere has increased in importance since the 18th century and is fo¬
cused on the human body as a species through which biological
processes like birth, death, health, and life duration are regulated.
This is
biopower.
On the one hand, art conveys bodily passions, fi¬
nality and death, expressions of pleasure, on the other ~ speaks
about ways of how
biopower
is realised.
Edmund Husserl's phenomenology describes two senses of the body:
Leib
stresses the presence of the spirit and connection between the
body and the soul,
Körper
refers to the mortal, physiological and sensu¬
al body. The art of previous eras often strived to show the soul through
the body. This is rarely found in contemporary art where the body
appears as something
morta!,
changeable, vulnerable, cloned, something
one chooses, etc, Artists often see the body as alienated, subjected
to dominance and outer, alien power. The epoch is marked by a
power that subjects, moves and changes the body, making it yielding,
brutal, extreme and unstable. The body might
tum
into a detached
thing injured in public (Viennese Actianism,
Oleg Kulík,
Gina
Pane, Ron
Athey, etc.), details come to the foreground, back and hair are de¬
picted instead of face
(Egon Schiele,
etc), the body becomes a place
where the codes of consumerist culture are inscribed
(Jürgen
Teller,
artistic tattooing, etc.), the body is constructed technologically and
controHed by computers
(Stelare),
bodies try to merge with nature
again (installation "God and Cabbage" in
Pedvãle),
The conclusion is
that changes in philosophical reflection and
20^-21st
century cul¬
tural attitudes towards the body are perfectly represented in art.
179 |
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| genre | (DE-588)1071861417 Konferenzschrift 2004 Riga gnd-content (DE-588)1071861417 Konferenzschrift 2004 Rīga gnd-content (DE-588)4173536-5 Patentschrift gnd-content |
| genre_facet | Konferenzschrift 2004 Riga Konferenzschrift 2004 Rīga Patentschrift |
| geographic | Lettland (DE-588)4074187-4 gnd Litauen (DE-588)4074266-0 gnd |
| geographic_facet | Lettland Litauen |
| id | DE-604.BV023249857 |
| illustrated | Illustrated |
| index_date | 2024-07-02T20:27:41Z |
| indexdate | 2025-01-07T13:05:05Z |
| institution | BVB |
| isbn | 9984729877 |
| language | Latvian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016435249 |
| oclc_num | 237245621 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 196 S. Ill. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | "Neputns" |
| record_format | marc |
| series2 | Materiāli Latvijas mākslas vēsturei |
| spelling | Māksla un politiskie konteksti [rakstu krājums] [sastadītāja Daina Lāce] Art and political contexts Rīga "Neputns" 2006 196 S. Ill. txt rdacontent n rdamedia nc rdacarrier Materiāli Latvijas mākslas vēsturei PT: Art and political contexts. - Zsfassungen in engl. Sprache Geschichte Kunst Politik Art and state Latvia History Art Political aspects Latvia History Politik (DE-588)4046514-7 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Geschichte (DE-588)4020517-4 gnd rswk-swf Lettland (DE-588)4074187-4 gnd rswk-swf Litauen (DE-588)4074266-0 gnd rswk-swf Litauen Kongress (DE-588)1071861417 Konferenzschrift 2004 Riga gnd-content (DE-588)1071861417 Konferenzschrift 2004 Rīga gnd-content (DE-588)4173536-5 Patentschrift gnd-content Lettland (DE-588)4074187-4 g Kunst (DE-588)4114333-4 s Politik (DE-588)4046514-7 s DE-604 Litauen (DE-588)4074266-0 g Geschichte (DE-588)4020517-4 s Lāce, Daina Sonstige oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016435249&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016435249&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Māksla un politiskie konteksti [rakstu krājums] Geschichte Kunst Politik Art and state Latvia History Art Political aspects Latvia History Politik (DE-588)4046514-7 gnd Kunst (DE-588)4114333-4 gnd Geschichte (DE-588)4020517-4 gnd |
| subject_GND | (DE-588)4046514-7 (DE-588)4114333-4 (DE-588)4020517-4 (DE-588)4074187-4 (DE-588)4074266-0 (DE-588)1071861417 (DE-588)4173536-5 |
| title | Māksla un politiskie konteksti [rakstu krājums] |
| title_alt | Art and political contexts |
| title_auth | Māksla un politiskie konteksti [rakstu krājums] |
| title_exact_search | Māksla un politiskie konteksti [rakstu krājums] |
| title_exact_search_txtP | Māksla un politiskie konteksti [rakstu krājums] |
| title_full | Māksla un politiskie konteksti [rakstu krājums] [sastadītāja Daina Lāce] |
| title_fullStr | Māksla un politiskie konteksti [rakstu krājums] [sastadītāja Daina Lāce] |
| title_full_unstemmed | Māksla un politiskie konteksti [rakstu krājums] [sastadītāja Daina Lāce] |
| title_short | Māksla un politiskie konteksti |
| title_sort | maksla un politiskie konteksti rakstu krajums |
| title_sub | [rakstu krājums] |
| topic | Geschichte Kunst Politik Art and state Latvia History Art Political aspects Latvia History Politik (DE-588)4046514-7 gnd Kunst (DE-588)4114333-4 gnd Geschichte (DE-588)4020517-4 gnd |
| topic_facet | Geschichte Kunst Politik Art and state Latvia History Art Political aspects Latvia History Lettland Litauen Konferenzschrift 2004 Riga Konferenzschrift 2004 Rīga Patentschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016435249&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016435249&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT lacedaina makslaunpolitiskiekontekstirakstukrajums AT lacedaina artandpoliticalcontexts |