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GEDERTS ELIASS' INTRODUCTIONS TO BOOKS 'FRENCH CONTEMPORARY PAINTING' AND 'THE 20TH ANNIVERSARY OF LATVIAN SSR ACADEMY OF ART'. PRINTED TEXT AND LECTURER'S FORTUNE AT THE ACADEMY OF ART AT THE CHANGE OF OCCUPATIONAL POWERS (Gederta Eliasa ievadi gram

100%
Kalnacs J.
Materiali Latvijas makslas vesturei
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2006
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vol. 5
134-155
EN
Two publications of the so-called Year of Horror - Gederts Eliass' and Kristaps Eliass' 'French Contemporary Painting' (Francu jaunlaiku gleznieciba, 1940 or 1941) and 'The 20th Anniversary of Latvian SSR Academy of Art. 1919-1940' (Latvijas PSR Makslas akademijas 20 gadi. 1919-1940, 1941) - are a significant part of Latvian art literature that have long become bibliographical rarities. This was conditioned by the biases of occupational powers because Nazis withdrew these books from sale; they were completed before Soviet occupation but contained lip-services to the Soviet power. Without introductions by Gederts Eliass who had supported social democratic ideas in his youth none of the books probably would have been printed. At the Latvian State Archive and the Latvian State History Archive there are quite comprehensive documents on the dismissal of professor Gederts Eliass, the last member of the Riga Artists' Group, who worked at the Latvian Academy of Art after the change of occupational powers. The process of dismissal was started in September 1941 and completed in February 1942. These documents clearly demonstrate the mechanism how cultural and educational institutions got rid of 'persons politically exposed during the Bolshevik period'. The board of the Latvian Academy of Art participated in the process initiated by the institutions of Nazi occupation and Latvian self-government. Important arguments in this case were the above-mentioned introductions by Gederts Eliass.
2

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

75%
Jevsejeva N.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
125-149
EN
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.
3

HENRI MATISSE AND LATVIAN ART (Anri Matiss un latviesu maksla)

63%
Klavins E.
Makslas Vesture un Teorija
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2006
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vol. 6-7
33-43
EN
In autumn 2005 the Foreign Art Museum in Riga exhibited an excellent collection of works by Matisse from the Pushkin Museum of Fine Arts in Moscow. Apart from the purely aesthetic pleasure it raised the question of his place in the history of Latvian art. Despite the fact that in Latvia there was no stable circle of followers, Latvian artists proved to have a surprisingly enduring interest in the ouevre of the French master. Some of his works were exhibited already in 1910 in Riga and the first promoter of Modernism in Latvia, Voldemars Matvejs, presented Matisse as one of its paradigms. The first Latvian painter whose early style was unmistakably dependent on Matisse's paintings seen in Moscow in 1916-1917 was Gederts Eliass. He not only constructed bright, colourful compositions with the same iconography (lazy figures of models, ornamental dresses, fragments of interior settings) but also used the bright colour ranges representing more random and ordinary motifs derived from his surroundings. In the course of the 1930s some young artists from the so-called Tukums Group tried to revive the concept of early Modernism related to the Fauves and Matisse. As a result, Karlis Neilis developed his individual intimate style uniting brilliant colour areas with some effects of plein-air light. Later, as an emigre in Austria, he took up more abstract style but preserved his commitment to the use of decorative colourfields. During the first decade of the Soviet occupation Matisse, as well as other French modernist artists, were seen by the guardians of the official ideology as formalists and products of bourgeois decadence. In the years of the so-called thaw and later, a second 'discovery' of Matisse was possible. A devotee of the Fauves was Leonids Arins, more ambitious, monumental and full of pathos was another Latvian 'Frenchman' - Rudolfs Pinnis who lived in Paris in the 1930s.
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