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1

Jēkaba Strazdiņa un viņa mākslas kolekcijas liktenis padomju Latvijā

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Kalnačs J.
Makslas Vesture un Teorija
|
2019
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vol. 22
59-75
EN
Painter and art critic Jēkabs Strazdiņš’ (1905–1958) art collection that he gathered from the last pre-war years until his arrest in 1949, included more than 370 works by Latvian artists of the 19th–20th century. The oldest pieces were prints by Oto Bērtiņš and Augusts Daugulis, drawings by Kārlis Hūns, paintings by Arturs Baumanis and Jūlijs Feders along with more works by the former students’ group Rūķis members – Ādams Alksnis, Vilhelms Purvītis, Janis Rozentāls and Johann Walter. Also included were some paintings by the Riga Artists’ Group modernists alongside a large number of paintings, sketches and graphic works by the artist’s contemporaries and even quite a few sculptures complemented by Russian, German, Italian, Dutch, Flemish, Spanish, English, Polish, Lithuanian and Estonian artists’ paintings, graphic works, applied art items and old books. Strazdiņš, a docent at the Latvian SSR Academy of Art and the University of Latvia, was arrested together with his wife in March 1949. Like many inhabitants of Latvia, he was charged with counterrevolutionary activity according to the then oft-used article 58 of the RSFSR criminal code. After Strazdiņš’ arrest, his belongings, including some 275 artworks, were confiscated and the Finance Department of the Riga City Stalin District handed them over to the State Latvian and Russian Art Museum (now Latvian National Museum of Art). About a quarter of these works were deemed to be of little value and sold. Strazdiņš’ own works ended up in the State Latvian and Russian Art Museum in a similar way. Part of his property – paintings, prints, crockery, furniture and several hundreds of books – were given to the then State Western European Art Museum (now the Art Museum Riga Bourse). After Joseph Stalin’s death, Strazdiņš’ sentence was reviewed and only in spring 1956 it was reduced to the time already served. Because of poor health, the artist returned to Riga already in 1954 and tried to rejoin artistic life but died in 1958. He managed to regain his works and the greater part of this art collection before death.
2

LVU Filoloģijas fakultātes Mākslas zinātņu nodaļa (1944–1951)

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Kalnačs J.
Makslas Vesture un Teorija
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2023
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vol. 27
36-51
EN
Art history was not taught at the higher level in the Republic of Latvia before the Second World War. A separate course of art history was offered to students of the Art Academy of Latvia as well as the future architects trained at the University of Latvia. The Art History Department was established at the State University of Latvia (SUL) in late 1944; this was the former University of Latvia renamed after the reoccupation of Riga by the USSR. According to tradition, the department was made part of the Faculty of Philology. It was tasked with the training of general as well as Latvian and Russian art history teachers alongside employees of museums and other cultural institutions. Most students at the Art History Department were girls with humanitarian interests because most of Latvia’s young men were drafted into the German army. In summer 1950, the department was rapidly nearing its end. The 2nd study year students were transferred to the Departments of Journalism, Latvian, German and English Philology as well as the Library Department. The Art History Department only saw three graduations (1949, 1950 and 1951) but the number of graduates was quite large, reaching 36. The Art History Department and Art History Division that lasted for seven years at the SUL started the academic training in art history in Latvia, of course, bearing the stamp of the Soviet ideology. The department was closed mainly due to the lack of suitable lecturers. The education obtained, although stuffed with Marxist-Leninist dogma, provided enough skills to enable graduates to lecture at the Art Academy, work in the Soviet Latvian Artists’ Union and museums, write books, compile catalogues and publish in the press. There is no reason to describe the first post-war Faculty of Philology as an island of intellectual freedom; however, students of the time had a chance to hear professionals who did not obey or failed to adapt to the simplified requirements of Soviet authorities.
3

Teodora Ūdera portreti Marburgā

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Kalnačs J.
Makslas Vesture un Teorija
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2016
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vol. 19
63-71
EN
In autumn 2015, while visiting retired professor of architecture Georg Solms in Marburg (Germany), a number of unknown or completely forgotten works by the Valmiera-based harsh symbolist Teodors Ūders (1868–1915) came to light. There were 16 works in all by this artist known as the ‘great stranger’ and ‘epic portrayer of the peasant theme in Latvian graphic art’ – twelve oval copies in pastel, three larger rectangular original pastels and one Indian ink drawing. The value of this find is increased by the fact that no previous information existed on Ūders having ever worked in this technique, which he probably learned at the Alexander Stieglitz Central School of Technical Drawing in St. Petersburg. In the portrait copies and original pastels created roughly about 1907, Ūders has captured several generations of the von Gersdorff family members of the Baltic German nobility of the 18th–20th century. These works demonstrate echoes of Rococo, Biedermeier and more romanticist moods. The von Gersdorffs owned an old von Rosen family property – Augstrozes (Hochrosen) Manor and the neighbouring small Dauguļi (Daugeln) Manor – in the Latvian part of Livland in the second half of the 19th and early 20th century. The von Gersdorffs managed the latter manor till the Agrarian Reform in Latvia in the early 1920s. Initially the portrait copies were located in the salon of the Dauguļi manor house. Alongside copies, there are original works portraying Carlos Georg Heinrich von Gersdorff (1815–1869) and his wife Angelique von Zoeckell (1827–1900); the most interesting is the portrait of Alexandrine von Gersdorff (1870–1946), the only one created during the depicted person’s lifetime. The side view of a young, reservedly elated woman in light tones, reminding us of a low relief image with accurately captured facial features, is a lyrical accomplishment untypical of Ūders. The Gersdorff family portraits were possibly commissioned because the originals or at least some of them were in bad condition due to age or other causes. It could also be that the originals were located elsewhere but the Gersdorffs of the Dauguļi Manor wished to see their ancestors on a daily basis.
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