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THE BEHEADING OF CONRADIN OF HOHENSTAUFEN BY JULIUS DORING (Juliusa Deringa glezna Konradina fon Hoenstaufena sodisana ar navi)

100%
Smite E.
Makslas Vesture un Teorija
|
2007
|
vol. 9
53-63
EN
The history painting 'The Beheading of Conradin of Hohenstaufen' (Die Enthauptung Konradins von Hohenstaufen, oil on canvas, 103,1 x 150,1 cm) by Julius Doring (1818-1898) belongs to the collection of the Foreign Art Museum in Riga. It was moved there from Jelgava (Mitau) after the dissolution of the Kurzeme Province Museum (Kurlandisches Provinzialmuseum) and is now on show at the Latvian National Museum of Art to expand the visitor's knowledge of 19th century Baltic art. The work was done in Jelgava where the Dresden-born Doring settled in 1845 and remained for the rest of his long life. Nonetheless it must be seen primarily in the context of impulses he received during his studies at the Dresden Royal Academy of Art (1830-1845), especially in the class of Professor Eduard Bendemann (1811-1889). Since the early 19th century the rising national consciousness in German society and German art inspired romanticised memories of the power and grandeur of the Holy Roman Empire during the reign of the Hohenstaufen dynasty. In the 12th and 13th centuries the area of its influence extended to Southern Italy and Sicily. Conrad (called Conradin) of Hohenstaufen (Konrad or Konradin von Hohenstaufen, 1252-1268) was the last legitimate heir of the dynasty. Aged sixteen, he went to Italy to re-conquer his father's lands but was defeated and put to death. The empire disintegrated into small and weak feudal states. The lasting negative effects of this disintegration caused people in the early 19th-century to associate the Hohenstaufen
2

ANDOR DUDITS A DOZVUKY PRERAFFAELISTICKÝCH INŠPIRÁCIÍ NA JEHO KOŠICKEJ MAĽBE

63%
Herucová M.
ARS
|
2020
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vol. 53
|
issue 1
35 – 54
EN
Budapest painter Andor Dudits (*1866 – 1944) created a monumental wall painting in honour of Francis II Rákóczi in the Cathedral of St Elizabeth in Košice from 1914 to 1916. It belonged to one of the last adaptations of the topic of anti-Habsburg resistance in painting in the Hungarian Kingdom. It was created based on a competition organized by the State Monuments Commission. With it, Dudits continued his previous Art Nouveau works in the sacral space (Bačka Topola, 1908; Brezno, 1909). Its concept and composition can be compared to the painting The Bridge of Life by Walter Crane, which was exhibited in the form of a graphic in Budapest. The impression of a mosaic, golden background, the look of Rákóczi’s mother Jelena Zrinska, and a funeral procession point also to other Pre-Raphaelite inspirations.
3

Pirmie Latvijas senatnes un mitoloģijas attēlojumi mākslinieku darbos un to saikne ar arheoloģisko materiālu

63%
Bērziņa A.
Makslas Vesture un Teorija
|
2017
|
vol. 20
16-35
EN
In the 19th and early 20th century many artists in the Baltic, influenced by archaeological and historical sources, addressed subjects from antiquity or mythology. A passion for studies of the ancient past was stimulated by the romantic world view and the interest in archaeology. The article examines the earliest works reflecting Latvia’s prehistory and mythology, and brings together the material that could have served the artists as examples and sources of inspiration. In the mid 19th century, archaeology as a science was only just beginning to develop in present-day Latvia, and empirical knowledge was still inadequate. The motif of the ‘wild man’, known in European iconography since the Middle Ages, was still popular at this time; in works by Baltic German and Latvian artists alike, ancient Latvians are frequently shown as savages. The first of the Latvian artists from the ‘Rūķis’ generation to depict the prehistory of his people was painter Arturs Baumanis (1867–1904), who maintained the academic style in which he had been trained at the academy. A second late 19th-century artist whose depictions of prehistory stand out among those of contemporaries is Ādams Alksnis (1864–1897). The theme of antiquity is also represented in the oeuvre of the painter Janis Rozentāls (1866–1916), who employed a diverse range of styles and techniques. Themes from ancient Latvian history also appear in the oeuvre of Rihards Zariņš (1869–1939) – especially in his prints, created in a markedly conservative, national romantic style. Motifs from prehistory appear in sets and costumes by stage designer Jānis Kuga (1878–1969). The artists’ strivings for historical truth can most probably be related to the feeling among educated people of the late 19th and early 20th century that they had a duty to acquaint their compatriots with the past, so that they might take pride in episodes from their history.
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