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THE HISTORY OF POLITICAL CARICATURE IN THE LATE 19TH AND EARLY 20TH CENTURY: AN INSIGHT (Ieskats politiskas karikaturas vesture. 19. gs. beigas - 20. gs. sakums)

100%

Gailite G.

Materiali Latvijas makslas vesturei

2006

vol. 5

64-76

The discussed period is typified by the high point of caricature as the most topical genre of art because very different artists participated in decisive historical events of that time. The article gives an outline of the major themes, differing individual styles of artists, their means of expression, etc. The term 'caricature' is derived from Italian word caricare, meaning 'to heap', 'to exaggerate'. Its task is to unmask contradictions of social phenomena, relationships, human conduct and character in a peculiar manner. Caricature exaggerates and distorts external features, revealing the inner truth. The article deals with particular examples from periodicals because their quantity and quality significantly increased on the threshold of the 20th century. Thanks to the development of printing industry and spread of liberal ideas, political and satirical publications helped to change the public opinion. As periodicals reached wide audience and had deep influence, critical and satirical imagery served as a potent means of visual propaganda. Besides Latvian caricaturists, German and Russian artists are stressed as well because they had the most influence upon the local authors' formal and thematic choices. The most significant source was the German periodical 'Simplicissimus' - a promoter of democratic opinions and worldwide leader of political satire during the early years of publication (1896-1908/09). In 1897 it was printed in 15 000 copies but by 1904 - in 85 000. The major artists to be mentioned are Thomas Theodor Heine, Rudolf Wilke, Bruno Paul, Ferdinand von Reznicek, Erich Schilling and Olaf Gullbransson. By World War I 'Simplicissimus' held the oppositional stance but then gradually transformed into a conformist, nationalist and chauvinist voice of the official power. Russian government prohibited the import of 'Simplicissimus', still artists had access to it and influences are easy to detect.

ACCOMPLISHMENT OF ART NOUVEAU AESTHETIC PRINCIPLES IN THE JOURNAL 'VEROTAJS' ('OBSERVER') (Jugendstila estetisko principu istenojums zurnala 'Verotajs')

100%

Pujate I.

Materiali Latvijas makslas vesturei

2003

vol. 3

The Latvian literary journal 'Verotajs' ('Observer') that brought about qualitative changes in the graphic design of periodicals was published from 1903 till 1905. 'Verotajs' introduced the Art Nouveau style that developed to the full extent in the almanac 'Zalktis' ('Grass-Snake') some years later. At the same time the new journal announced the outset of national style in the design of local periodicals. Latvian artists started to draw original vignettes for each particular journal to replace standardized, imported ones. The journal's design shows Art Nouveau aesthetic principles: creation of a unified artistic whole, predomination of nature motifs and curved, fluent linear rhythms, correspondence between the emotional moods of the miniature work and the literary text. The artist Janis Rozentals had an important role in this development. He made vignettes for each chapter, thus creating a certain systematic arrangement that helped readers to orient themselves. It is likely that the routine arrangement of text and illustrations was changed after Rozentals' suggestion. The new page layout contained one column that was more distanced from margins and the space between lines was increased. The artist Julijs Madernieks made the greatest number of vignettes. He was mostly inspired by nature and ornament interpreted according to Art Nouveau patterns. Some landscape-like vignettes were made by the artist Vilhelms Purvitis. They feature Art Nouveau decorative stylisation and Symbolist mood. Eduards Brencens followed Purvitis' ascetic trend, but his works show more emphasis on white surface. There are also vignettes by Rihards Zarins and Oskars Steinbergs in the journal. Some of vignette designers for 'Verotajs' are still unknown. It is possible to suppose that ten works signed 'MP' were created by the cabinet-maker Martins Pagasts who was popular in Riga at the turn of the 20th century. One vignette was possibly drawn by Indrikis Zeberins.

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2 Materiali Latvijas makslas vesturei

1 Gailite G.

1 Pujate I.

1 2006

1 2003

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THE HISTORY OF POLITICAL CARICATURE IN THE LATE 19TH AND EARLY 20TH CENTURY: AN INSIGHT (Ieskats politiskas karikaturas vesture. 19. gs. beigas - 20. gs. sakums)

ACCOMPLISHMENT OF ART NOUVEAU AESTHETIC PRINCIPLES IN THE JOURNAL 'VEROTAJS' ('OBSERVER') (Jugendstila estetisko principu istenojums zurnala 'Verotajs')