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Kultūras mantojums un politiskā ideoloģija: Rīgas Māras baznīcas izdaiļošanas projekts. 20. gadsimta 30. gadi

100%
Grosmane E.
Makslas Vesture un Teorija
|
2014
|
vol. 17
36-45
EN
The article deals with the political and ideological conditions in the early 1930s that encouraged the eviction of the Riga Dom Cathedral’s German congregation, renaming the church as Māra’s Church and the elaboration of a project to give the building a Latvian character. The political situation after World War I and the power vacuum in the Eastern Baltic region created favourable conditions for the foundation of an independent state and shake off the dominant German and Russian influences. Initially the state institutions did not interfere in art processes. However, quite early on, an increasing tendency emerged to extol the significance of Latvian national identity as opposed to the contribution of other ethnic groups to the local culture. This attitude rapidly consolidated in the 1930s and had a negative effect on the current art, architecture and cultural heritage. Latvian national self-esteem grew incompatible with the city’s largest church belonging to a German congregation. The renaming of the church allows us to follow this process. German historians of architecture called it St. Mary’s Dom Cathedral (Der Dom zu St. Marien) while already since 1923, the Latvian press of the day began to call it after the pagan deity Māra. The next step to strengthen national self-consciousness and search for national identity was a press announcement that the interior of Māra’s Church had to be given a Latvian appearance. Information on the competition is scarce. Only one applicant is known whose submission was published in the magazine ‘Atpūta’ (Leisure) on 17 November 1933. The main author of the sketches was Professor Jānis Kuga of the Latvian Academy of Art. The artist has attempted to follow the instructions set down by the commission, synthesising religious symbols with themes from the history of Latvia. However, the ambitious plan of the Latvianised Dom turned out to be too much in discord with the status of the medieval monument and was never realised.
2

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

72%
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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