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1

FOREIGN ART AS REFLECTED IN THE LATVIAN ART HISTORY IN THE EARLY 20TH CENTURY (Arzemju makslas dzive latviesu makslas zinatnes skatijuma 20. gs. sakuma)

100%
Kuple Z.
Materiali Latvijas makslas vesturei
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2001
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vol. 2
34-46
EN
The early 20th century was a period that witnessed increase in self-understanding of the national culture, and this encouraged Latvian art specialists to begin writing about foreign art. The authors of these publications came from a variety of professions, and most of them also were critics of Latvian art. Among them there were the artists Janis Rozentals, Janis Valters, Gustavs Skilters, Julijs Mademieks and others, the writer-artists Janis Jaunsudrabins and Viktors Eglitis, the authors Janis Akuraters, Pavils Gruzna, Janis Poruks and others, literary critic Teodors Zeiferts, and men from other professions, too - Janis Asars, Olgerds Grosvalds, Mikelis Valters and Emests Purins, for example. Latvia's art history was in its infancy, and the country's artistic scene had no real history, no direct heritage or developed professionalism. Materials about foreign art were published in many periodicals, including 'Majas Viesa Menesraksts', 'Latvija', 'Druva', 'Domas', 'Verotajs', 'Zalktis', and others. Information could be obtained from imported literature and from exhibitions of foreign art in Latvia and in neighboring countries; some authors traveled abroad to see exhibitions. The interest of Latvians in foreign art covered a fairly broad territory (all of the major European countries, as well as some countries in Asia. Particular attention, however, was focused on the art of France, Germany, Russia and the Scandinavian countries. Latvians wrote about all kinds of phenomena in foreign art, but two topics dominated - distinguished foreign artists and various stylistic phenomena and movements in foreign art. The theoretical sources from which the authors drew information were usually the same as were used by the most prominent European authors of the day. As art criticism developed in the early 20th century, Latvians engaged in their first efforts to analyze the various aspects of foreign art. Their interest was primarily Eurocentric in nature. Some authors dealt with theoretical issues. Voldemars Matvejs must particularly be mentioned in this context.
2

THE GENESIS OF THE PROFESSIONAL ILLUSTRATION OF LATVIAN CHILDREN'S BOOKS UNDER THE INFLUENCE OF EUROPEAN ART (Latviesu bernu gramatu grafikas pirmsakumi Eiropas makslas ierosmes)

100%
Kuple Z.
Materiali Latvijas makslas vesturei
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2000
|
vol. 1
104-113
EN
Graphic illustration of Latvian children's books began at the professional level only in the 20th century, as part of the active development of the national book industry and professional fine art in Latvia, beginning in the late 19th century. Also of importance were expanded opportunities to study graphic illustrations meant for children that were produced abroad. The initial efforts at producing graphics for children's books in Latvia involved differing types of books. This article looks most particularly at the first professionally illustrated children's books in the area of folklore. Among the artists who worked in this field were Rihards Zarins, Eduards Brencens, Janis Zegners, Alberts Kronenbergs and Janis Tillbergs, whose works exposed link with German Late Romanticism (illustrations by Zarins and Brencens) and with works of English artist Walther Crane and Russian artists Jekaterina Polenova and Ivan Bilibin who, on their turn, were influenced by Art Nouveau (illustrations by Zegners, Kronenbergs and Tillbergs). The first truly splendid example of an illustrated children's book was the Tillbergs-illustrated folk story 'Misinbardis', which was published in 1913 in the form of an album (notebook) - a style that was popular at the turn of the century. The illustrations were printed separately from the text, and the entire work was printed on high-quality paper. 'Misinbardis' was quite reminiscent of album-type children's books that were at the time being produced by the Russian artists association 'Mir Iskusstva' (The World of Art). From the very beginning, the work of professional Latvian artists in the area of children's books demonstrated ties to the patriarchal foundations of understanding their country and their environment. In terms of stylistics there was the use of techniques from late Romanticism and Art Nouveau. In Latvia, however, illustrations meant for children from the very start avoided over-saturation with details, idyllic beautification or open didactics - elements which were not rare in imported picture books.
3

REFLECTIONS ON BOOK DESIGN IN BORIS VIPPER'S COLLECTED ESSAYS 'MAKSLAS LIKTENI UN VERTIBAS' ('ARTS FORTUNES AND VALUES') (Gramatu grafikas skatijums Borisa Vipera eseju krajuma 'Makslas likteni un vertibas')

100%
Kuple Z.
Materiali Latvijas makslas vesturei
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2003
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vol. 3
116-127
EN
The Russian art historian Boris Vipper (Boriss Vipers, 1888-1967) lived in Latvia from 1924 to 1941 when he worked as a lecturer at the University of Latvia and the Latvian Academy of Art. He made a lasting contribution also to the study of Latvian art and continued his earlier initiatives in art theory. Most of his theoretical work, including that on book design, was written during the 1930s and published in the essay collection 'Makslas likteni un vertibas' ('Art's Fortunes and Values') in 1940. This book is distinguished by a thorough analysis, unprecedented in Latvian context, of several kinds, sub-kinds and genres of art, including the particular problems of book design. Boris Vipper wrote these essays in the maturity of his professional biography. Initially he was greatly influenced by the work of his father, the noted historian Robert Vipper. His education at the History and Philology Department of the Moscow University (1906-1911) and practical historical research in various fields of art, including graphics, was also of particular importance. He was also much interested in theoretical explanations of contemporary art and different methodological paradigms (Adolf von Hildebrandt, Alois Riegl, Heinrich Wolfflin, Vladimir Favorsky etc.).Vipper's small essay in 'Makslas likteni un vertibas' is the only significant text in Latvian art theory that deals with graphic art and its subcategory - book design. The essay displays observations of an academic art historian who highly appreciated classical values but was more reserved towards modernist trends. The substance of book design, according to Vipper, was style as an artistic form, emphasizing the correspondence between depiction's formal features and the particular printed work. The essay explores various aspects of conformity between picture and text, praising the suggestive interpretation of reality, using the symbolic tension between lines and areas. The unity of separate pages in an illustrated book is also reflected upon.
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