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1

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
|
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.
2

CONSTRUCTION - REPRODUCTION and Film in Polish Constructivism. Graphic Arts, Photography

100%
Gizycki M.
Kwartalnik Filmowy
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2006
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issue 54-55
31-44
EN
The author deals with the problem of an interest in photography and film, shown by Polish avantgarde artists from its beginnings. According to him, photomontage, film, prints made of typographic elements, and first of all film collage were the means that were perfectly suitable for the realisation of Constructivist ideas. One of the basic aims of Constructivism - to turn towards new materials - could be put in practice through the use of finished and prefabricated elements. He traces the way in which the artworks were evolving from the 'literary quality' of the early photomontages of Mieczyslaw Szczuka, Teresa Zarnower's abstract and geometric compositions, Stefan Themerson's films, inspired by 'Constructivism Pharmacy' (1930) and 'Europa' (1932) and Jalu Kurek's ('Rhytmic Calculations', 1932) into typically collage-montage films of Janusz Maria Brzeski ('Sections', 1931; 'Concrete', 1933) or his anti-Utopian and anti-industrial series of photomontages 'The Robot is Born' (1934). The author also points out that after a period of Utopian projects by artists relishing a regained freedom, the Constructivists expressed through art their, mostly left-wing, political beliefs.
3

UGA SKULME'S DRAWING SERIES 'BIBLE FOR THE POOR' (Ugas Skulmes zimejumu cikls 'Nabagu bibele')

100%
Braslina A.
Materiali Latvijas makslas vesturei
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2003
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vol. 3
105-115
EN
Uga Skulme (1895-1963) was one of the leading painters of the Riga Artists' Group, active propagandist of modernist ideas, erudite art critic and historian whose contribution to graphic arts has been hardly explored. His graphic series 'Bible for the Poor' from the 1920s reveal him as a skilled draftsman and creative interpreter of Biblical stories. The series forms part of the interwar developments of Latvian art and well illustrates the novel qualities of the Latvian modernists' turn to the realism. The artist's individual style transforms and integrates the experience of modernist experiments and leaning towards classical tradition that coincides with the contemporary scope of classicising and realist tendencies in European art, including the New Objectivity trend. During the so-called cubist episode Skulme's works are distinguished by individual quality that is both cubist and neo-classical. It was derived from Pablo Picasso's style and became particularly evident after Skulme's trip to Paris in 1923. The series and other stylistically close drawings from the mid-1920s show further changes in the artist's style that feature also in his paintings and book illustrations. Retaining his interest in constructive composition, strong drawing, pronounced and heavy volumes, the artist recreated Picasso's impulses into an increasing artistic individuality. The 'Bible for the Poor' convincingly demonstrates Skulme's individual style in the formal context of the mid-1920s with overlapping modernist, classical and realist tendencies and his leaning towards classical treatment of form. The known works from the series, usually dated by 1925, are two versions of 'Annunciation', 'Flight to Egypt', 'Nativity' and 'Crucifixion'. Some other drawings on religious subjects ('Lamentation', c. 1923; 'Baptism', 'Resurrection', early 1920s) are thematically close. According to Skulme's own statements, his series means the Bible from the poor people's viewpoint, not the medieval biblia pauperum. The artist freely combined scenes from Christ's life with contemporary or recent events, endowing them with genre-piece overtones but not with extreme social criticism.
4

THE ROLE OF GRAPHIC ART IN THE BAROQUE CULTURE

100%
Lomnicka-Zakowska E.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
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2007
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vol. 14
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issue 1(27)
15-48
EN
In the times of the Baroque, the graphic art began to play a more important role in the European culture. It was associated with the dynamic development of graphics as artistic discipline. Outstanding painters were interested in graphic techniques and invented new means of expression. At the beginning of the 17th century Rubens founded a school in Antwerp in which many famous painters made graphic copies of his paintings. Anton van Dyck supervised graphic works for a publication of hundred portraits of well-known personages; he himself was the author of numerous drawings and eleven he engraved personally. Graphic works were of no lesser importance than paintings in the artistic creativity of Rembrandt van Rijn. Many eminent artists at the time could make an excellent use of the graver and etcher's needle. The growing importance of graphic art brought about an increasing number of engravings all over Europe, in Italy, Netherlands, France, Germany, Britain and Poland. There was also an increase in publications containing various illustrations. This resulted in a growing number of graphic artists and an improvement of graphic techniques such as copperplate and etching. The invention of the mezzotint technique allowed better reproductions of paintings. The important role of graphic art in Baroque times is attested by its numerous functions: communicative and cognitive, ethical and educational, religious and emotional, aesthetical and ludic as well as the utilitarian one. Many a time engravings fulfilled several functions. Engravings communicated versatile information, for instance the appearance of a ruler and important people (portraits), cities, towns and various buildings, they documented battles, secular and religious ceremonies, marriages and funerals, etc. They also could promote patrons of arts (including rulers) and founders of various undertakings. The events described and illustrated with engravings were documented and at the same time served as models of an order of things accepted by the authorities. Engravings also showed various entertainments available to the people on the occasion of diverse celebrations as well as great theatre and opera events in which participated representatives of court circles. In the 18th century a great importance were attached to outward manifestations of piety. In many cult centres, especially Marian one, there was performed ceremonial crownings of the cult images (most often images of the Virgin Mary), accompanied by processions, sermons and secular entertainments - all this was reflected in engravings which fulfilled the religious and emotional function. Engravings as illustrations and decoration of publications served mainly their pervasive utilitarian function. The development of collecting attested that graphic works were serving also aesthetic function, initially as beautiful reproductions of paintings, then as individual compositions of high artistic standard. Graphic arts mirrored the life of the Baroque period for which of great importance were theatreness and representation as it tended to regard life as a great stage on which successive spectacles were played one after another.
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