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1

THE ACTIVITIES OF FRANCESCO BARTOLOMEO RASTRELLI AS REFLECTED IN LATVIAN ART HISTORY (Francesko Bartolomeo Rastrelli darbiba Latvija makslas vestures atspogulojuma)

100%
Lancmanis I.
Materiali Latvijas makslas vesturei
|
2001
|
vol. 2
47-54
EN
The Italian architect Francesco Bartolomeo Rastrelli worked both in Russia and in Latvia, but his work has never been researched in any complete way, nor has it gained international recognition. In Latvian art history, however, the reflection of Rastrelli's activities is a vivid example of the way in which ideas about art history can develop with a great proportion of mistakes in fact and interpretation and falsehood in accumulated traditions. The work which Rastrelli did in Kurzeme (Courland) appeared in the historical literature of Latvia quite early, thanks to the publication of an article about the laying of the cornerstone of the Rundale Palace in 1736. Rastrelli's work in Russia was reviewed in a general way for the first time in 1876, in an article by Andrej Petrov. Early in the 20th century, Igor Grabar, a Russian art historian, in his analysis of Rastrelli's work that was based on a fairly high level of knowledge and methodological approach, treated the Rundale and Jelgava palaces critically and in passing. It was during this period of research that mistaken information about the supposed work of the painters Pietro Rotari and Francesco Fontebasso in the palaces of the Courlandian dukes first appeared in public. Thanks to Wilhelm Neumann, these falsehoods were promoted in the artists' lexicon of Thieme-Becker. The work of the painter Friedrich Hartmann Barisien in the palaces of the dukes was misinterpreted, and the sculptor Johann Michael Graff was confused with the painter Anton Graff. Boris Vipper tried to move the analysis of Rastrelli's work in a more original direction in his ‘Latvijas maksla baroka laikmeta' (Latvian art in the Baroque period) in 1937, but he, too, produced a series of errors and unjustified conclusions. Art historian Anna Muller-Eschebach's doctoral dissertation in 1939 marked a turning point in the research of buildings which Rastrelli built in Latvia (or which were attributed to him) from the perspective of fact, stylistic analysis, and modem methodologies of the age.
2

REMBRANDT IN RUNDALE PALACE (Rembrants Rundales pili)

100%
Lancmanis I.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
13-15
EN
Rembrandt's painting 'Anna and Simeon in the Temple' is one of the most valuable artworks ever to have been in Latvia. Under the title of 'Hannah und Simeon im Tempel', it is now part of the collection of the Hamburger Kunsthalle. The painting was made between 1627 and 1628 but in 1632 it was in the collection of Netherlands Stadhoulder Frederick Hendrick in The Hague. In 1735 it was sold at the auction of Marinus de Jeude's collection in The Hague. The artwork moved to Paris, firstly to the Count de Lassay collection but in 1771 it was sold at the auction of Count de la Guiche's collection. The very same year it was sold at the auction of the collection of its new owner, Count Jean du Barry. The painting then moved from Jean Baptiste Lebrun's antique art shop to Everard Georg van Tindinghorste's collection. Peter, the Duke of Courland, bought it at the auction of the van Tindinghorste property in Amsterdam in 1777. So Rembrandt's painting has been in Latvia between 1777 and 1795 when Duke Peter abdicated and moved furnishings from six palaces in Courland to his properties in Sagan, Nahod and Berlin. After Duke Peter's death in 1800 the most of his collection of paintings remained in Sagan Palace, which had been inherited by his eldest daughter Wilhelmine. She died in 1839 and left the Sagan property to her sister Pauline. In 1800 she had married Friedrich Hermann, successor to the throne of Hohenzollern-Hechingen, but their son, Friedrich Wilhelm (Constantin), the last reigning Prince of Hohenzollern-Hechingen, sold the Sagan property in 1843 to his mother's sister, the Duchess Dorothée de Talleyrand. In 1846 the catalogue of the Sagan Palace picture gallery was compiled and included Rembrandt's work.
3

THE JELGAVA TOWN EMBLEM OVER THE CENTURIES (Jelgavas pilsetas gerbonis gadsimtu gaita)

100%
Lancmanis I.
Makslas Vesture un Teorija
|
2008
|
vol. 11
15-19
EN
In 1893 historian Leonid Arbuzov published the oldest known picture of the Jelgava town emblem found on a sealed document from 1589. In 1914 Jelgava Town Mayor Gustavs Smits published an article on the development of the emblem in the 19th century but historian Arveds Svabe was the first to provide information on the town charter received by Jelgava in 1753 and an engraving of the town seal in 1574. Duke Gotthard Kettler had granted part of his coat of arms - the elk's head of Zemgale - to be included in the Jelgava town seal. The Duke's first coat of arms was created in 1565 but on 4 August 1579 Stephen Bathory, the King of Poland, approved the changes to the Duke's coat of arms. The wolf's jaw, the symbol of the Bathory family, appeared as a sign of the King's favour alongside the monogram in the middle shield. Since the very first coats of arms, the elk's figure was not depicted consistently and often appeared as a deer. A deer instead of an elk was also found in the stone carving placed on the Town Hall façade. Stylistic features point to the period after 1686 when Jelgava Town Council purchased a building in the marketplace from Duke Friedrich Kasimir, which was to become the Town Hall. The Town Hall was located in the centre of the marketplace but was pulled down in the 1650s. Changes in the Duke's coat of arms from 1579 modified the town emblem as well; a new town seal was created - the elk carrying on its neck the middle shield of the Duke's coat of arms with the Kettlers' pot hook, the crowned monogram SA and the Bathory family wolf's jaw. Later periods brought a number of subsequent variations in the town emblem, depending on political events.
4

RUNDALE PALACE MUSEUM AND ITS COLLECTIONS (Rundales pils muzejs un ta kolekcijas)

100%
Lancmanis I.
Makslas Vesture un Teorija
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2006
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vol. 5
66-77
EN
The article introduces Rundale Palace Museum and its collections, their history, expositions and the present situation - exhibitions and new acquisitions in auctions.
5

CHRISTOPH HABERLAND AND THE RIGA CITY LIBRARY (Kristofs Haberlands un Rigas pilsetas biblioteka)

100%
Lancmanis I.
Makslas Vesture un Teorija
|
2007
|
vol. 8
54-61
EN
The article traces the construction history and related events surrounding the Riga City Library designed by the prominent architect Christoph Haberland. It is an outstanding example of Classicist interior, now a highlight of the Riga Museum of History and Navigation.
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