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The World of Erich von Campenhausen: A Creative Spirit to Mark the Opening of a New Artistic Era in Riga… and Beyond (Art Historical Lacunae: A Case Study). Part II

100%
Howard J.
Makslas Vesture un Teorija
|
2018
|
vol. 21
49-71
EN
The article continues to explore the diverse activities of the Baltic German artist Erich von Campenhausen (1872–1926), analysing his known works in the art-historical context. The second part of the article focuses on the artist's contribution to painting and graphic arts. His paintings are a peculiar synthesis of Impressionist and Expressionist approach as well as Japonism. Campehausen designed numerous covers for popular Latvian magazines and supplied illustrations; he also illustrated children's poetry and took part in the organisation of Riga's art life and exhibitions. An insight is given into his biography as well as the reception of his legacy which has been marginalised by both nationally oriented and Soviet art historians.
2

The World of Erich von Campenhausen: A Creative Spirit to Mark the Opening of a New Artistic Era in Riga… and Beyond (Art Historical Lacunae: A Case Study)

100%
Howard J.
Makslas Vesture un Teorija
|
2017
|
vol. 20
36-55
EN
The article deals with the diverse activities of the Baltic German artist Erich von Campenhausen (1872–1926) and analysis of his known works in the art-historical context. In his early period after returning to Riga from Karlsruhe where he studied engineering, the artist was more involved with applied arts while later he studied at the Karlsruhe Academy of Art (1909–1914) and took up painting and graphics to a greater extent. The so-called ‘play’ figures (Scherzfiguren) created around 1907 were ceramic sculptures of exotic animals, with their rounded forms reminding of Japanese netsuke. About the same time Campenhausen also made 18 ‘humorous art postcards’, coloured ink drawings, showing ‘joys and sufferings of a Negro boy’, according to the press of the time. Campehausen’s contribution to applied arts (design of plates and dishes, cutlery and furniture) is represented in the Baltic art yearbook ‘Bildende Kunst der Ostseeprovinzen’. In all, Campehausen’s approach was based on laconic aesthetics, envisioning beauty in simplicity that sharply differs from his younger brother Balthasar von Campenhausen’s output – rather Historicist interiors with Baroque forms and decorative weightiness of patterned, upholstered furniture and tapestries. Erich von Campenhausen also took part in the poster competition (1907–1908) organised by ‘Rigascher Kunstverein’ (Riga Art Society) to find the best solution to advertise society’s exhibitions in the recently opened Riga City Art Museum. Campenhausen’s poster features the image the sacred grove, the cradle of mystic spirituality important for National Romanticism. The poster can be perceived as a modernised interpretation of Arnold Böcklin’s work ‘Sacred Grove’ (1882) in the vein of Art Nouveau, comparable also to decorative solutions of Gustav Klimt. Fifteen years later, Campenhausen created another poster, announcing the lottery of the German Baltic Charitable Institution (1923) and depicting a fashionable young woman with a cornucopia.
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