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Tela individualizacijas un formalas strukturas attiecibas portreta: Latvijas makslas vestures piemeri

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Klavins E.

Materiali Latvijas makslas vesturei

2012

vol. 8

73-84

The article deals solely with the representation of a personality in an artwork. In order to avoid excessively sophisticated concepts of personality, the discourse is focused on the notion of the image of an individual in the portrait in concord with its common definition. The so-called likeness could not be a useful criterion for identification because in almost all cases, it is impossible to compare the sitter and his/her image; the category of fictional portraits cancels the problem of likeness altogether. The perception of an individual, the process of identification in a portrait is rather subjective and depends on the amount of information about the depicted person and the artist. The level of abstraction in Niklavs Strunke’s ‘Self-Portrait with a Doll’ (1921) is so high that only those who know his photos and biography can identify this extravagant personality in the schematic image. Another example in this respect is the cubistic ‘Portrait of Karlis Straubergs’ (1920) by Oto Skulme. The subjective construction of an individual within the given image is also problematic because individual features are almost always dialectically combined with idealisation, social representation, the artist’s expression, and autonomous formal devices. Sometimes it is difficult to differentiate ‘organic’ self-idealisation of the sitter from idealised features implemented by the artist (the case of Janis Rozentals’ ‘Portrait of Charlotte von Lieven’, 1899). The same can be said about the representative portraits of provincial farmers produced by the ‘naïve’ 19th century painter Carl Seebode. A quite different example of idealisation is Valija Jansevska’s ‘Portrait of Milkmaid M. Lazdina’ (1950) where the optimistic poster-like image was in accord with the dogma of Socialist Realism. The influence of the pictorial space on the possible reading of a portrait can be discussed by analysing Jazeps Grosvalds’ ‘Portrait of the Artists Tone, Ubans and Drevins’ (1915). Half-figures are placed close together around a small table, and, therefore, the composition can be interpreted as a sign of mental intimacy between the young painters from the ‘Green Flower’ group.

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1 Materiali Latvijas makslas vesturei

1 Klavins E.

1 2012

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Tela individualizacijas un formalas strukturas attiecibas portreta: Latvijas makslas vestures piemeri