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1

ORIGINS OF THE RIGA GROUP OF ARTISTS (Rigas makslinieku grupas sakums)

100%
Lamberga D.
Materiali Latvijas makslas vesturei
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2004
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vol. 4
122-130
EN
Both outstanding creative personalities and groups of like-minded contemporaries have had a lasting significance in art history. When in autumn 1919 the Latvian Ministry of Foreign Affairs invited creative individuals to attend a meeting about culture propaganda abroad, artists started to form several groups to defend their interests. The radically minded young generation - Gederts Eliass, Jekabs Kazaks, Oto Skulme, Romans Suta, Niklavs Strunke, Valdemars Tone and Konrads Ubans - united In the Expressionists' Group. But as these 'Expressionists' knew very little about the essence of this German movement, they renamed themselves the Riga Group of Artists in early 1920. In 1919 Riga Commandant's Office permitted artists in service to stay in Jekabs' Barracks where the Riga Art School was housed until 1915. Possibly the memorable stay in the former school premises inspired to name the group. The first exhibition of the Riga Group of Artists was opened at the Riga City Art Museum on 7 March 1920. The catalogue introduction stated that all the last years had been really tragic for art, artists having to practise great endurance and self-sacrifice to fight poverty and public's indifferent attitude. The 'Rigans' confidently declared their credo: 'It is no the objective external nature that we wish to show in our works now, but our individual nature, our spiritual essence.' The exhibition dominated by search for formal synthesis marked a radical turn in Latvian painting, attesting to redefinition of historical values. Several artists of the older generation had antagonistic attitude towards the young artists' experiments they considered incomprehensible. On 22 October 1920, Janis Roberts Tillbergs and Rihards Zarins organised a lecture at the Riga Latvian Society, aiming to slander the 'Expressionists' in the public's eyes. The intention was to show how easy it is to create collectively after the latest fashion without inner confidence and to demonstrate these works' inner vacuity and lack of value. Members of the Riga Group of Artists took this scandal to heart; it turned out fatal to Jekabs Kazaks because his tuberculosis grew worse rapidly. The early years of the Riga Group of Artists turned out unexpectedly tragic because it lost two exceptional personalities in 1920 - the Paris-based artist Jazeps Grosvalds and Jekabs Kazaks. The creative work of the Riga Group was clearly remarkable against the general background of Realism.
2

ROMANS SUTA AND ALEKSANDRA BELCOVA MUSEUM (Romana Sutas un Aleksandras Belcovas muzejs)

63%
Vanaga B.
Makslas Vesture un Teorija
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2010
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vol. 13
45-51
EN
The article presents Romans Suta and Aleksandra Belcova Museum arranged in the former apartment of these modernist artists, ranked among the leading figures of interwar period Latvian art; their daughter, art historian Tatjana Suta (1923-2004) had preserved her parents' artistic legacy through the difficult Soviet times.
3

ALEKSANDRA BELCOVA'S (1892-1981) WORKS OF HER ABSTRACT MODERNIST PERIOD (Aleksandras Belcovas (1892-1981) abstrahejosa modernisma posma darbi)

51%
Jevsejeva N.
Makslas Vesture un Teorija
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2010
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vol. 13
63-74
EN
The artist Aleksandra Belcova was born in the small Russian town of Surazh in 1892 but spent the most part of her life in Latvia. In 1919 she came to Riga to marry the Latvian artist Romans Suta and stayed in her second homeland till her death in 1981. Belcova's name is mentioned in Latvian art history not just in relation to Romans Suta but as an artist in her own right. Belcova was an outstanding representative of 1920s art along with other members of the Riga Artists Group (the name has become synonymous with Latvian modernism). After graduation from Penza Art School in 1917, Belcova set off for Petrograd to enter the Free State Art Studios headed by Natan Altman. Belcova's 'Self-Portrait in a Blue-Rimmed Hat' (canvas, oil, 43 x 44.5 cm, SBM) offers a deep insight into the inner world. The young, beautiful woman (as Belcova was at the time), is depicted as a fragile, spiritual being of an indeterminate age with a pale face and large, dark curves beneath the eyes. Belcova continued to search for solutions in composition and form in her series of decorative panels for the interior of the 'Sukubs' cafe. Suta devised this peculiar name for the eatery run by his mother (opened in summer 1919) by combining the names of the two most popular art movements - Suprematism and Cubism. Interpreting Belcova's art of the early 1920s, it is difficult to spot consistent development of picture form. 'Constructive Composition' (early 1920s, canvas, oil, 76.5 x 60 cm, SBM) is one example demonstrating the possible appropriation of some artistic means from Fernand Leger. Acquiring the methods of construction of the modern painting, Belcova oriented herself towards certain models - Juan Gris and Albert Gleizes in particular.
4

THE UNKNOWN SUTA. AN INSIGHT INTO THE WORK OF ROMANS SUTA IN APPLIED ART (Nezinamais Suta. Ieskats Romana Sutas darbiba dekorativi lietiskas makslas joma)

51%
Suste M.
Makslas Vesture un Teorija
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2010
|
vol. 13
52-62
EN
Romans Suta (1896-1944) represents Latvian Classical Modernism and was active not only in fine art but also in applied art, in what these days we might call design. This article examines Suta's activities in the decorative and applied arts - vessel forms and paintings and various types of interior and graphic design. In the 1920s and 1930s, the fascination with design and aesthetic improvement of the surrounding environment was widespread in Europe and many artists also turned to the applied arts. In Latvia there was no education available in the field of design in the contemporary sense and artists who tried to widen their scope of activity and introduce up-to-date trends in applied arts were largely self-taught. Suta was influenced by the ideas of Le Corbusier and Amedee Ozenfant for a new, international art style. An example was on view in the pavilion of the Purists' magazine 'L'Esprit Nouveau' at the Exposition Internationale des Arts Decoratifs et Industriels Modernes from April to October 1925. It inspired Suta to create a national version of the constructive style, envisaging a unified, modern Latvian environment and bringing together Constructivism and forms of Latvian ethnographic architecture and ornament. The example of Russian propaganda porcelain with the aim of influencing people, inspired Suta to found the 'Baltars' Porcelain Painting Studio in 1924. From the mid-1920s on, Suta was employed as a visiting stage designer at various theatres throughout Latvia. Stage design provided good opportunities to express his talent and wish to impress wide audiences with this kind of work. Stage design and interior decoration was closely intertwined in Suta's art and it is often hard to tell the difference between sketches intended for the stage and those for a living environment.
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