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1

ILUKSTE CATHOLIC CHURCH AND THE DUCHY OF COURLAND AND SEMIGALLIA: THE CONTEXT OF POLITICAL HISTORY (Ilukstes katolu baznica Kurzemes-Zemgales hercogistes politiskas vestures konteksta)

100%
Ogle K.
Materiali Latvijas makslas vesturei
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2006
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vol. 5
24-38
EN
In order to know and understand a particular work of art, it seems important not just to study close-ups but also to consider the monument in a wider context of cultural history. Especially in cases when visual information is restricted for a number of reasons, groups of secondary sources whose links with the concrete artwork seem provisional at first can provide invaluable references and explanations. IIukste Catholic Church is an excellent example of an unfairly forgotten, outstanding artistic monument that deserves to be brought to attention, standing out with its great significance in both local and global art-historical context. The building was destroyed during World War I; therefore the role of different sources, including those of political history, are very helpful in the study of this monument. Research has demonstrated that events of political and cultural life have been very closely intertwined in the history of this monument, both determining and commenting various processes. Firstly, one should note that appearance of a Roman Catholic centre of such a scale in the Duchy of Courland and Semigallia is a noteworthy event, resulting from political decisions. As is known, at first the Duchy of Courland was markedly Protestant in its orientation and the rights of Catholics and options to practice their rites were severely restricted. Significant changes were brought in legislation by the Courland regulations of 1617 that defended Catholics' freedom of faith. Although legalisation of Catholicism in Courland was a political decision and the Polish government had a major role in the process of re-catholisation, local landlords' initiatives were very important, supporting Catholic faith with their money and activities. Among these families one should mention the Schwerin family in Alsunga, the Carmel family in Skaistkalne and the Lieven family in Livberze. Usually Jesuit missionaries were involved as an auxiliary force in these efforts. The Sieberg family should be mentioned among the most important supporters of counterreformation in the Duchy of Courland and Semigallia.
2

AN EPISODE OF COUNTERREFORMATION IN VIDZEME: THE TOMB OF PATRICIUS NIDECKI AS A NEW PARADIGM IN THE ART OF LATVIA (Kontrreformacijas epizode Vidzeme: Patricija Nidecka kapene ka jauna paradigma Latvijas maksla)

100%
Ogle K.
Makslas Vesture un Teorija
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2006
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vol. 5
36-41
EN
The diocese of Livonia was founded by Stephen Batory with his decree of 4 December 1582 and the status of St. John's Church in Cesis was upgraded to serve as the Livonian bishops' cathedral. The king nominated Andreas Patricius Nidecki to be the bishop who took up the position on 20 May 1585. The episode of counterreformation has left an undoubtedly significant artwork to Vidzeme and the art of Latvia in general - the tomb of bishop Nidecki immured into the wall of the Cesis Cathedral. This type of burial was known already in Italy since the 14th century but presumably, it was not widespread in the territory of Latvia. The tomb of Patricius Nidecki reveals an attempt to create an architectonic construction where order has been used in the arrangement. The base of the monument (130 cm high) is divided by five pilasters, which uphold the profiled cornice. There is a folded quadrate niche on the large base, extended horizontally (102 x 190 cm) and adorned by order motifs. The stone plaque is placed with a figurative relief depicting the recumbent bishop with his sceptre in the left hand and an open book by his right hand. The sculptural solution is worthy of special attention apart from this particular feature. Not only the wall tomb as such, but the peculiar pose of the dead (similar to Etruscan burial examples where the deceased is no longer depicted lying horizontally, but rising a little from this position, leaning on one elbow) is also considered to be a significant novelty in the evolution of Latvia's sculpture. The first author of this type is Italian sculptor Andrea Sansovino. His idea was brought by Italian masters to Krakow during the first decade of the 16th century and the bearers of the ideas of counterreformation also brought this arrangement with them to the territory of Latvia.
3

THE URBAN STRATEGY OF THE SOCIETY OF JESUS AND ITS IMPLEMENTATION IN THE TERRITORY OF LATVIA (Jezus biedribas urbana strategija un tas istenosana Latvijas teritorija)

100%
Ogle K.
Materiali Latvijas makslas vesturei
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2007
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vol. 6
9-35
EN
In 1558, during the First General Congregation of the Society of Jesus (Societas Jesu), the question of the shape and functionality of Jesuit residential buildings was clarified. Still much more attention was paid to the location of the new buildings. Firstly, there was an aspiration to take an active part in the modern world, responding to its needs and taking into account its possibilities. This tendency largely sets the Society of Jesus apart from other Catholic groups. Ignatius Loyola's correspondence and decrees passed officially later voiced a call for members of the order to reach places as central as possible to get into a closer contact with the town inhabitants. On the one hand, these were Jesuits' aims and principles that prompted to try launching activities in the centre of each newly converted territory, on the other - factors that largely favoured realisation of their ideas and should be regarded as closely connected with political processes and attempts of the spiritual power to maximise its influence and restore the prestige of the Church. Often the missionaries of the Society were invited by the local secular ruler to come there and start their work. Secular rulers considered Jesuits' requests for priority location in the town and allotted space for their residences in strategically most important places (often near town halls, rulers' residences, important trade routes etc.). This background shows that Jesuits' arrival in the territory of Latvia together with the King Stephen Bathory who supported their activities at St. James' and St. Mary Magdalene's Churches in Riga is quite consistent. A similar tendency is found in Jelgava, capital of the Duchy of Courland, where the members of the Society were invited by the ruling persons and worked in a modest church but still located at the town centre. A church was built also in Kuldiga next to the market square, and this place perfectly suited the wish of the Jesuits to operate actively in the heart of the town. Still, like in other places, in spite of the protectorate of rulers and most convenient circumstances, Jesuits had to meet much intolerance and hate on the part of the townspeople, especially Lutherans. But members of the order kept up with their spiritual care and educational work according to their mission.
4

THE TYPOLOGY OF JESUIT BRICK-BUILT TWIN-TOWER CHURCHES IN THE TERRITORY OF SOUTHERN LATVIA (Jezuitu divtornu mura baznicu tipologija Dienvidlatvijas teritorija)

100%
Ogle K.
Makslas Vesture un Teorija
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2005
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vol. 4
5-20
EN
Many Catholic spiritual orders, the missionaries of Societas Jesu among them, have left significant imprints in the heritage of Latvia's art and enriched the region's culture with original features. The followers of this religious movement were active in the territory of Latvia since the late 16th century under the auspices of the province of Lithuania. Consequently, thanks to the advantage of the political situation and the backing of patrons, three churches of significant size and architectural qualities were built at the end of the 17th and during the 18th century: Skaistkalne (1692), Daugavpils (1737-1747), and Ilukste (1754-1769) as well as a chain of other smaller ones. Unfortunately, in the context of political history, we can see not only the birth of sacred buildings but also their tragic fate - the various wars had major and irreversible effects on this part of Latvia's cultural heritage. The common feature of all three objects is that they were inspired by one religious organization and built in a comparatively short period of time; they are also of the same architectonic type - three-aisled churches whose main facade was marked by two towers. However the churches were constructed differently - the Skaistkalne and Ilukste churches were basilicas, whereas the Daugavpils Church was a hall type of building. A detailed analysis of the plans of the buildings and careful examination of the individual features (main facade, side walls, apse, interior) as well as the decorative elements, leads to the conclusion that though all three objects are of the same architectonic type, they are completely different in their construction and arrangement. In the context of the Societas Jesu movement the question arises about a Jesuit style: does the language of architectonic forms allow us to ascertain some features characteristic of this order? In reality, the Society's architecture demonstrated a great variety of stylistic features.
5

THE LANDSCAPE PAINTING MASTER STUDIO OF THE LATVIAN ACADEMY OF ART. STRUCTURE. FACTS. STUDENTS (Latvijas Makslas akademijas Dabasskatu meistardarbnica)

100%
Ogle K.
Makslas Vesture un Teorija
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2003
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vol. 1
24-38
EN
The founder of the Latvian Academy of Art, its first rector and tutor was Vilhelms Purvitis (1872-1945), who also ranks high in Latvian art and is unquestionably its most outstanding landscape painter. Ever since the opening of the Academy (1921) Purvitis taught painting and ran the Landscape Painting Master Studio until 1944. Due to his great experience and broad outlook, Purvitis was a competent tutor. There were two main grades for Landscape Painting Studio's apprentices - those who were admitted and the entering ones, but the difference between them was not strictly determined. To be admitted meant to spend some trial period under master's supervision. For some students it could last for several years, but others (especially those who crossed over from other studios) could enter the Landscape Painting Master Studio at once. The Master Studio saw very different students in terms of number (e.g. 2 students in the first study year or 30 in 1932/33), nationality (basically Latvians, but also 2 Russians, 1 Lithuanian, 1 Osset), age (from 17 to 40). 90 people passed through Purvitis workshop at all. 49 of them graduated from the master studio by working out the diploma work. Students deeply respected him because of their master's sensitive and individual approach to each one of them. Purvitis chose the most talented young artists for his studio - the selection was carried out during the autumn shows. The most significant indicator for the aspirants of the Landscape Painting Studio seemed to be the profound sense of color - the master was sure that this was the ability, which could not be taught and depended only on student's inherited talent. The painter taught his students to strive for pure tonality, tightly constructed composition and generalisation of the image. Meticulous nature studies resulted in a deep feeling and thorough understanding for Latvia's nature. Like Arkhip Kuinji, Purvitis' teacher at the St. Petersburg Imperial Academy of Art, the master never forced his style onto his students.
6

AN INSIGHT INTO JESUIT ICONOGRAPHY. PROBLEMS OF RESEARCH REGARDING LATVIAN VISUAL ARTS HERITAGE (Ieskats Jezuitu ordena ikonografija. Latvijas telotajas makslas piemineklu izpetes probliematika)

100%
Ogle K.
Materiali Latvijas makslas vesturei
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2008
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vol. 7
59-79
EN
Members of Societas Jesu, active in the territory of Latvia from 1582 to 1820, have left significant heritage pertaining to Latvian visual arts. As their influence spread in the area of present Latvia, Jesuits have brought ideas that synchronised with European spiritual life after the Council of Trent. As commissioners and collectors of artworks, members of Societas Jesu have enriched the Latvian cultural space both artistically and ideologically; their contribution shows in the way reflection, prayer and spiritual experience is related to the image of the saint represented in artworks. So far representations of five Jesuit saints in different kinds of art (painting, sculpture and graphics) are known in Latvia. These are: Ignatius Loyola, Francis Xavier, Francis Jerome, Stanislaus Kostka and Aloysius Gonzaga. It is interesting to note that Jesuit saints are current long after the society has quitted its activities (for example, Ignatius Loyola's image painted in RogaiZi Chapel, Riga St. Francis' Catholic Church, sculptures of Ignatius Loyola and Francis Xavier in Indrica Church). This shows that Jesuit ideas had taken roots in the local milieu and acquired actual power transcending that of the narrow aims and needs of a particular organisation. Still this phenomenon (chronological shifts in the dating of work depicting Jesuit saints) causes additional problems for researchers. The artistic level of these examples is very unbalanced. The artists' professional skill and ability to navigate European artistic samples largely influence the later problems of attributing works. Surely the most helpful aid is inscriptions included in artworks that explain what is depicted. Inscriptions are found, for example, on Stanislaus Kostka's image on the procession flag in Brunava Catholic Church, Ignatius Loyola depicted in Rogaizi Chapel, etc.
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