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Pola Sezana ietekme un sezanisms Latvijas gleznieciba 20. gs. pirmaja tresdala

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Jevsejeva N.

Materiali Latvijas makslas vesturei

2012

vol. 8

125-149

Among the different modernist trends, Cezannism has its own particular place and is sufficiently widespread. Painters from almost all European countries found inspiration in Paul Cezanne’s artistic experiments. The development of Cezannism was a kind of parallel movement to the early modernist trends. They developed in France, but Latvian artists became actively interested in these Post-Impressionist and modernist trends somewhat later, by the end of the 1910s and in the early 1920s, although not all currents were accepted. Latvian painters could explore modern art in European and Russian cultural centres, either by inspecting the originals in art collections and exhibitions or indirectly, through reproductions in art publications. Latvian artists tended not to follow CEzanne’s tradition consistently but instead they developed one particular aspect according to their ideas. This shows in some works from the 1910s and 1920s by Konrads Ubans (1893-1981). Ubans used Cezanne’s typical method of landscape interpretation, depicting a fragment of nature as a static scene in an undetermined moment of the day; at the same time, Ubans in his painting ignored Cezanne’s mosaic-type brushwork that endows the French master’s landscapes with a special architectonic quality. The most consistent followers of Cezannism in Latvian art were Eduards Lindbergs (1882-1928) and Helmuts Markvarts (1894-1938). Lindbergs’ works of the early 1920s are especially revealing of Cezanne’s elements. His self-portrait against the background of a curtain is a good example. Helmuts Markvarts was one of the few Latvian artists of his generation to enter the St. Petersburg Academy of Art. Although his studies did not last long, the classic drawing technique and basics of realist painting influenced all his future work and interpretation of the Cezanne tradition. Leo Svemps (1897-1975) absorbed Cezannism via his followers, namely through the Russian artists’ group ‘The Knave of Diamonds’. They appropriated Cezanne’s method of expressing the object’s inner essence by its painterly form and colour. Gederts Eliass (1887-1975) also developed his creativity towards an individual style by using the means of modern French art. Some works testify that he had paid attention to Cezannism as well.

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1 Materiali Latvijas makslas vesturei

1 Jevsejeva N.

1 2012

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Pola Sezana ietekme un sezanisms Latvijas gleznieciba 20. gs. pirmaja tresdala