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  1. 2 Makslas Vesture un Teorija

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  1. 2 Bremsa L.

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  2. 1 2007

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THE RAINIS MEMORIAL: THE HISTORY OF AN ARTWORK AND KARLIS ZEMDEGA'S STARDOM (Raina kapa piemineklis: Viena makslas darba vesture un Karla Zemdegas 'zvaigznu laiks')

100%
Bremsa L.
Makslas Vesture un Teorija
|
2011
|
vol. 14
20-29
EN
This article examines the poet Rainis' Memorial at the Rainis Cemetery in Riga (1934) created by sculptor Karlis Zemdega (1894-1963); this is the sculptor's masterpiece and stands apart in the history of Latvian memorial sculpture. The article aims to reveal the history of the monument's creation as well as analyse its artistic qualities. The Rainis Memorial Foundation (RMF) was a non-governmental organisation founded shortly after the poet's death on 8 December 1929; it planned to organise memorial events, promote Rainis' oeuvre and raise funds for a memorial. The RMF succeeded in raising enough money to announce the competition for the Rainis Memorial in 1931. The winning proposal was submitted by sculptor Teodors Zalkalns but, as the RMF regulations allowed deviation from the competition results, the sketch by architect Peteris Arends and sculptor Karlis Zemdega was preferred. After unsuccessful searches for stone material in Latvia, it was decided to carve the monument from a single block of Finnish granite. The practical realisation of the monument was supervised by the artist himself. The Rainis Memorial came into Zemdega's life shortly after his successful debut in the Freedom Monument competition in 1930 when the sculptor received third prize. This gave him a certain popularity and the chance to realise a version of his idea in Rauna (1935) as well as the opportunity to travel. At that time he met Ina Ziedina who was still a schoolgirl, fell in love and married her, and their first child – a son named Klavs – was born. One can conclude that the period of creative activity in the first half of the 1930s resulting in the composition of the Rainis Memorial was also the time of emotional uplift in Zemdega's personal life and fulfilment of many desires.
2

THE DIARIES OF KARLIS ZEMDEGA: A RESEARCH EXPERIENCE (Karla Zemdegas dienasgramatas: petijuma pieredze)

100%
Bremsa L.
Makslas Vesture un Teorija
|
2007
|
vol. 9
27-34
EN
The article deals with the research of sculptor Karlis Zemdega's (1894-1963) diaries consisting of ten notebooks found in the Latvian State Archive and written from 1910 to 1926. Zemdega's texts are not uniform; they were not created on a regular basis and for various reasons. Not all his diaries are in the possession of the Archive. These aspects also determine how the texts can be used in the study of Zemdega's art. The early diaries contain undifferentiated accounts of events but later entries show the peasant boy's and developing artist's self-communion and emotional reflections increasing in importance. In general these texts are self-addressed records of events, impressions and experiences, sometimes a conversation with himself, sometimes with an imagined or real companion. The earlier texts reveal reflections on the beauty of nature, sensibility and emotionality, vitality and energy important for the developing artist's sense of life. Notes relating the feelings and reflections on the initial steps in drawing and painting are important. Texts provide a certain insight into Zemdega's youth experiences of relationships with brothers and sisters; he assesses the importance of his parents' farmstead and rural environment in shaping his sense of life. One should stress the emotionally sharp notes of 1911 and 1912 written in Konigsberg hospital where the young man was treated for osseous tuberculosis and had his leg amputated when he was only eighteen. This personal drama largely conditioned the development of his personality, the chosen way of life and modes of self-realisation. In general the diary texts can be interpreted as revealing subjective truth, expressions of the strained and intensive spiritual life of a romantically inclined person. The notes made during his student days expose the budding sculptor's difficult path towards his individual style. Sad loneliness and melancholic reflections are found alongside a quite active and sociable lifestyle.
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