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  1. 3 Makslas Vesture un Teorija

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  1. 3 Smite E.

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1

THE MUSEUM IN RIGA (Muzejs Riga)

100%
Smite E.
Makslas Vesture un Teorija
|
2005
|
vol. 4
53-55
EN
The article introduces the text written by the Baltic art historian Wilhelm Neumann (1849-1919) on the Riga City Art Museum (now Latvian National Museum of Art) opened in 1905. It was first published in the collected articles edition 'Museumkunde' published in Berlin 1905. The text is translated and introduced by art historian Edvarda Smite
2

ROBERT KONSTANTIN SCHWEDE - A HALF-FORGOTTEN NAME IN LATVIAN ART HISTORY (Roberts Konstantins Svede - piemirsts vards Latvijas makslas vesture)

100%
Smite E.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
65-70
EN
Painter Robert Konstantin Schwede's 200th anniversary is a good reason to present an overview of his creative career and to examine some of the problems that arise in this context. Artists with identical or similar surnames are often found in various sources of information; two painters usually appear under the name of 'Schwede' - Robert Konstantin Schwede (1806-1871) and his cousin Theodore (Fyodor Fyodorovich) Schwede (1819-?). Both are associated with the St. Petersburg Academy of Art where they obtained their artist's qualification. The same time span and links with the Academy have created a series of misunderstandings in encyclopaedic sources, publications and museum work with respect to the attribution of paintings. The situation becomes even more complicated because Theodore Schwede's brother Adelbert Schwede also took up painting. Considering the three above-mentioned artists, Robert Schwede has been most often associated with Latvia. As far as the author knows, of Robert Schwede's portraits only the 'Portrait of Maria Miln' is in Latvia (collection of the Latvian National Art Museum), but no sure facts are known about his landscapes. The majority of over 30 Robert Schwede's works are owned by the families of his progeny in Russia and Germany. These works are accessible to the author only in photographs, so any conclusions are fragmentary. Opinions on Robert Schwede start with Wilhelm Neumann's publications. Latvian art historian Janis Silins has described the artist more completely, as Karl Timoleon von Neff's contemporary and pupil but not his follower. Although Schwede adopted many techniques from Neff he did not follow him in the Raphael tradition.
3

THE BEHEADING OF CONRADIN OF HOHENSTAUFEN BY JULIUS DORING (Juliusa Deringa glezna Konradina fon Hoenstaufena sodisana ar navi)

100%
Smite E.
Makslas Vesture un Teorija
|
2007
|
vol. 9
53-63
EN
The history painting 'The Beheading of Conradin of Hohenstaufen' (Die Enthauptung Konradins von Hohenstaufen, oil on canvas, 103,1 x 150,1 cm) by Julius Doring (1818-1898) belongs to the collection of the Foreign Art Museum in Riga. It was moved there from Jelgava (Mitau) after the dissolution of the Kurzeme Province Museum (Kurlandisches Provinzialmuseum) and is now on show at the Latvian National Museum of Art to expand the visitor's knowledge of 19th century Baltic art. The work was done in Jelgava where the Dresden-born Doring settled in 1845 and remained for the rest of his long life. Nonetheless it must be seen primarily in the context of impulses he received during his studies at the Dresden Royal Academy of Art (1830-1845), especially in the class of Professor Eduard Bendemann (1811-1889). Since the early 19th century the rising national consciousness in German society and German art inspired romanticised memories of the power and grandeur of the Holy Roman Empire during the reign of the Hohenstaufen dynasty. In the 12th and 13th centuries the area of its influence extended to Southern Italy and Sicily. Conrad (called Conradin) of Hohenstaufen (Konrad or Konradin von Hohenstaufen, 1252-1268) was the last legitimate heir of the dynasty. Aged sixteen, he went to Italy to re-conquer his father's lands but was defeated and put to death. The empire disintegrated into small and weak feudal states. The lasting negative effects of this disintegration caused people in the early 19th-century to associate the Hohenstaufen
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