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1

RIGA CAFE AND RESTAURANT INTERIORS IN THE EARLY 20TH CENTURY AND THE 1920S - 1930S (Rigas kafejnicu un restoranu interjeri 20. gs. sakuma un 20. - 30. gados)

100%
Banga V.
Materiali Latvijas makslas vesturei
|
2004
|
vol. 4
131-150
EN
Memory of the city is connected with legends, events and places that do not exist anymore but buildings and their interiors often leave behind 'impression of the age', living independently of us in old postcards and writers' stones. The subject of Riga cafe and restaurant interiors at the early 20th century and the 1920s - 1930s is examined for the first time in Latvian art history. Beginnings of entertainment places in medieval Riga are found in wine cellars; cellar taverns gradually became an integral part of the town, flourishing in the mid-19th century. Besides there were taverns almost at every cross-road in the countryside, but in Riga they were connected with small manors in outskirts of the town, for example, in Sampeteris and Pardaugava. Initially one could taste a cup of wine also in drugstores and small bars, but neither in taverns nor in bars there was some kind of interior designed for entertainment. Cellar taverns are more close to the subject; their walls were decorated with richly painted acanthus curls as well as mottoes and coats-of-arms. Most likely certain traditions were developed for cellar tavern paintings. Cafes in Riga grew out of confectioneries, later becoming separate leisure places with certain interior finish. Restaurants in their turn developed firstly at hotels but later also in Wohrmann's Garden where many people spent their free time. If the first restaurant in Paris opened in 1770 was intended as a place of exquisite dining, in Latvia dining places with strong drinks were initially called restaurants, sometimes also taverns. Since the late 19th century and early 20th century special, detached buildings for this purpose were constructed, for example, in Arkadija, Smerlis and Jurmala. A particular type of wooden pavilion with rich wood-carved decorations developed in Jurmala. Pavilions were intended for coffee drinking. The article examines the plastic decorative finish as well as variety of colours and materials used in entertainment places. It is important because Art Deco style, for example, featured bright colours and elegant finish materials.
2

ON THE PROBLEM OF ART DECO IN THE ARCHITECTURE OF LATVIA (Jautajuma par Art Deco Latvijas arhitektura)

100%
Caupale R.
Makslas Vesture un Teorija
|
2006
|
vol. 5
59-61
EN
The article gives an outline of Art Deco in Latvian architecture, listing some major examples in the context of the general European attributes of the style.
3

VEF radio dizains. 1932-1941

75%
Freimane B.
Makslas Vesture un Teorija
|
2012
|
vol. 15
15-25
EN
Radios produced by the State Electro-Technical Factory (VEF) during the inter-war period of independence are among the top achievements of Latvia’s industrial design. They were internationally recognised and highly appreciated making a significant contribution to Latvia’s exports. This article aims to outline the development of radio production in Latvia with an emphasis on the leading VEF company from 1932 to 1941 while also establishing the place of radios in the context of Art Deco and the history of industrial design in Latvia. With the founding of the VEF Radio Department in 1932, production of radios rapidly increased in Latvia; they conformed to the requirements of the period and attention was given to their outer appearance thus opening up new possibilities of creating the visual image of the new medium. The 1930s in radio design is first of all the period of Art Deco. This can be seen in individual decorative details of VEF radios, the structures of their geometric forms and their eclectic, elegant modernist lines. Along with neo-classicist overtones, VEF radio designs reveal avant-garde decorative solutions, such as metal flashes on the front panel. Radio casings of the 1930s synthesise not just Art Deco and functionalism but also a retrospective interest in classical art and the ethnographic heritage with the aim of constructing local, national aesthetics. Participation in international exhibitions secured recognition of VEF radios on a wider scale. They were awarded the Grand Prix for technical and visual quality at the Brussels International Exhibition in 1935. VEF products were also shown at the 1937 Exposition Internationale Arts et Technique dans la Vie Moderne in Paris. The design of VEF radio receivers conformed to the concept of contemporary industrial design early on. A study of materials owned by Latvian collectors as well as the creation of a catalogue of foreign examples would permit the discovery of new connections in radio design research.
4

THE ART DECO STYLE AND LATVIAN ART (Art Deco stils un latviesu maksla)

75%
Martinsone I.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
129-139
EN
For a movement which was as enormously popular throughout the world as it was, Art Deco has been analyzed quite little in Latvian art theory so far. The orientation of inter-war art in Latvia toward national self-affirmation has often created the erroneous impression that Latvia was isolated from the fashions of the rest of the world. Quite the contrary: the trends of the times reached Latvia, too. The work of artists at the Baltars porcelain workshop, for example, represented some of the best work that was done in the applied art in inter-war Latvia. Romans Suta and Aleksandra Belcova produced decorative compositions in which Cubism was transformed toward ornamental decoration. The works are dynamic, rhythmical and simple in form. Sigismunds Vidbergs produced paintings on porcelain that are distinguished by the lightness and delicacy that were typical of Art Deco graphics. If we look at the work that was done by graduates of the Ceramics Department of the Latvian Academy of Art, we see clearly that the fashions of the world influenced much of their work. Art Deco stylistics never became popular in metal art in Latvia, but one of the most distinguished masters of Art Deco was the metals artist Stefans Bercs, who by himself created a whole gallery of Art Deco images. A highly developed graphic culture was evidenced in posters that were produced in Latvia at that time. Working alongside artists who are well-known even today, there were many graphic artists who have unjustifiably been forgotten. Specific Art Deco elements (a rapid linear perspective, exaggerated sizes, simplification of geometric forms, color contrasts) were used by Vidbergs, Raimonds Sisko, Alfreds Svedrevics and others. The brightest star in Art Deco theatrical design was the painter Ludolfs Liberts. He produced set decorations and costume designs that were ornamental and rich in color, and these works are among the best of the master's oeuvre. Graphic art in the Art Deco style is delicate, elegant and sweetly passionate. Vidbergs produced masterly erotic illustrations that in many cases are more elaborate in form than the work of recognized masters in this genre.
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