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1

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.
3

INTERNATIONAL CONTACTS IN LATVIAN SCULPTURE IN VARIOUS PHASES OF THE 20TH CENTURY (Starpnacionalie sakari latviesu telnieciba dazados 20. gadsimta celienos)

100%
Caupova R.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
140-154
EN
In sculpture, as in other forms of art, there are radical differences between the type of cultural contacts that existed in the first half of the 20th century and the strictly regimented system of contacts that prevailed after the war. At the beginning of the century, when professional experience was being accumulated by Gustavs Skilters, Teodors Zalkalns and Burkards Dzenis, they could not find proper conditions for their work in their fatherland, so they lived and worked outside of Latvia. With the help of scholarships from the Stieglitz school, they first traveled to Paris, where they encountered the artistic principles of Rodin. Representatives of the next generation - Karlis Zale, Emils Melderis and Marta Skulme - obtained their professional training in Russia, and during a time of social transformations, they encountered radically avant-garde ideas, traveling to the cultural centers of Europe and seeking to expand their links to the various directions of modem art. In the late 1920s and in the 1930s, some sculptors who produced monuments and who received money from the Latvian Cultural Fund also went on extended trips, e.g., to Egypt. Sculptors were still enchanted with France, Italy and Greece, better contacts were developed with the Scandinavian countries. During this period there was expanded cooperation with foreign partners in the purchase of materials and in dealing with various technical issues. In the post-war period, there was no longer any freedom of choice in studying the cultural experience of other countries and in cooperating with foreigners. There were, however, certain ties to the closest neighboring republics of Lithuania and Estonia. A Baltic sculptural exhibition was staged in Riga in 1958. After the early 1970s, there were slightly broader opportunities for international contacts. Beginning in 1972, there were regular sculpture quadrennials in Riga, which became an important center for sculpture. After 1979 the expansion of international contacts was facilitated by annual sculpture symposia that were held in Dzintari.
4

KARLIS ZALE. MEMORIES (Karlis Zale. Atminas)

100%
Grosmane E.
Makslas Vesture un Teorija
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2008
|
vol. 10
60-63
EN
The article introduced by Elita Grosmane presents the memories of Latvian artist and pedagogue Rudolfs Priede (1890-1949) about the prominent Latvian sculptor Karlis Zale (1888-1942), author of the Freedom Monument and Brethren Cemetery - most outstanding examples of monumental sculpture in the inter-war Latvia. The publication of Priede's memories, dedicated to Zale's 120th anniversary, touch upon several aspects of the artist's personality, his education, early years, interests and influences.
5

TEODORS ZALKALNS' MOTHER IMAGES. SOME ASPECTS OF FORM AND ARCHETYPAL ORIGINS (Teodora Zalkalna 'maminas'. Dazi formrades un arhetipisko saknojumu aspekti)

100%
Caupova R.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
86-95
EN
The 'Standing Mother' (1915), a small-scaled, carefully polished dark diorite sculpture, and the 'Seated Mother' (modeled in 1916, carved in grey granite in 1923) are classic works by the Latvian sculptor Teodors Zalkalns (1876-1972). These polyvalent images compound universal experience with realist features rooted in national environment and spirit of the age. Zalkalns said: 'While creating 'mothers' I intentionally looked for a clear, crystalline, synthesized, whole form. I created them like buildings with certain planes and lines, giving up all insignificant details.' Analysing the peculiar type of architectonic approach in these stone sculptures, we can discern an intuitive treatment of proportions close to peasant buildings as well as a direct constructive link with tectonic relations of the peasant women's clothes - kerchief, woolen shawl and long skirt. Art historian Boris Vipper also has noted this peculiar tectonic principle in relation to types of Latvian peasant buildings. The 'Standing Mother', the 'Seated Mother' and the small porcelain 'Mother' all feature pyramidal form in their compositional structure. It is a tectonic matrix with semantic links to archetypal ideas of form creation. Pyramidal consolidation of forms reminds of stability and permanence, creating a clear focusing of attention and energetic effect. Zalkalns has always stressed the legacy of Ancient Egypt in respect to stone as a sculptural material but achievements of other ancient civilizations had not been mentioned. Still the formal features of the 'Standing Mother', for example, expose certain similarity to some of Mesopotamian stone sculptures. The Louvre exposition of Mesopotamian art includes small (about 35-100 cm) standing figures, carved from diorite, that surprise with their well-balanced proportions and spiritual enlightenment. The energetic effect of these images is close to Zalkalns' skill to achieve monumentality in small-scale sculptures.
6

SCULPTURE IN SUBURBAN AREA (Telnieciba piepilsetas vide)

100%
Caupova R.
Materiali Latvijas makslas vesturei
|
2007
|
vol. 6
211-222
EN
Unfortunately, sculptural works in suburban areas are often mismanaged by monument supervision services and subjected to neglectful circumstances. This fate has befallen the sculptor Janis Karlovs' monument 'Archer' (1981, copper forging) set up in the surroundings of the Riga Thermal Power Station TEC-2, in two kilometres from the Riga city borderline. About the late 1960s and early 1970s when Riga grew rapidly there were calls in both the press and experts' circles to place sculptures in the new districts, including industrial zones. This tendency was fostered by Riga sculpture quadrennials taking place since 1972, and debates at these conferences. Sculptor Janis Karlovs' composition 'Archer' was commissioned by the Riga Thermal Power Station TEC-2 that was part of the All-Union Energy and Electrification Department and was completed in the 1970s. The sculpture was included in the organisation project of services and facilities of the surroundings. The planning of the area envisaged by this project (architect Aivars Berzins) was not realised. The figural image was set up in front of the industrial complex in an open space. Now the monument is severely damaged with several copper sheets torn off. It turns out that this important, artistically compelling work has no owner. It is neither included in the balance of the company TEC-2 nor listed as a monument by the Salaspils Regional Council. So it is impossible to seek financial support for its restoration. One should note that the monumental composition 'Archer' was created in the stagnant period of Soviet occupation when part of society already started to offer resistance. The style of the archer expressed irreconcilability and spiritual tension. It manifested a wide scope of associations and semantic layers. We can recall that the image of the archer, known as the symbol of fire in the zodiac, becomes the indication of vitality and power in modern sculpture. The motif of archer is found in French sculptor Antoine Bourdelle's (1861-1929) and Latvian monument sculptor Karlis Zale's (1888-1942) heritage.
7

Memoriālais ansamblis un karagūstekņu piemineklis Salaspilī

88%
Bremša L.
Makslas Vesture un Teorija
|
2018
|
vol. 21
72-87
EN
The memorial ensemble on the site of the former Salaspils concentration camp (1967) and the nearby monument to Red Army prisoners of war (1968) are among the most significant Second World War memorials in Latvia’s Soviet-period art. After half a century since the opening of these monuments, the Soviet regime is gone and they no longer represent the official ideology. These monuments of artistic worth can now be reinterpreted and we can add new information to the history of their creation using the latest sources. The memorial competition was announced in 1960, receiving 24 proposals that earned two second prizes, one third prize and four promotional prizes. Initially, the authors of awarded designs formed the creative team; the group proved to be too large with sculptors and architects of different ages, life experiences, creative styles and ideas about the relationship between architecture and sculpture within an ensemble. The team’s final version was approved only shortly before the ensemble’s opening in 1967. The design process of the ensemble was full of both personal and conceptual discord. Modernist architects wanted a more expressive, emotionally powerful sculpture while sculptors adhered to Latvian sculptural traditions, aiming to bring the topical “Severe Style” tendency or geometricised Socialist Modernism into the ensemble. The memorial’s composition and relationships of architecture and sculpture aimed at marking the main elements of the former camp’s planning, making the visitor feel the spaces of suffering and annihilation. The ensemble’s most successful element is an asymmetrically constructed, massive geometric volume signifying the boundary between the spaces of “life” and “death”. It is built of monolithic concrete, retaining the mould impressions on the wall planes. The material and forms used were aimed at expressing harsh truth; one can say that Salaspils is the most consistent example of Brutalism in Latvia’ s conditions. On 7 February 2018, a museum exposition was opened in Salaspils, the ensemble was renovated and turned into an informative, up-to-date memorial.
8

CONCEPTS AND RECORDS OF PERFORMANCE GROUPS AT THE PEDVALE OPEN AIR ART MUSEUM (1991-2009) (Performancu grupu koncepcijas un hronika Pedvales Brivdabas makslas muzeja (1991-2009)

88%
Jankovska Z.
Makslas Vesture un Teorija
|
2011
|
vol. 14
37-50
EN
In the Latvian art-historical context, Pedvale Open Air Art Museum (POAM) is regarded as a continuation of the sculpture park near Bierini in Riga that began life in the 1980s. Sculptor Ojars Feldbergs set about realising his idea of an open-air art park in 1991. Processes in the Museum are regulated by a concept that envisages the integration of the natural landscape, agricultural landscape, cultural heritage and art in a unified environment; the aim is to create a place where the creative idea could both mature and be embodied in harmony with the landscaped environment and finally become part of that environment. POAM for Feldbergs is part of his creative work in which he envisages something and directs its further realisation, performing in the process as an artist or actor. Thus each artefact created in the Museum is not to be detached from the sculptor's personality and assessment of the artwork, functioning as the main criterion of selection and subjective critique of contemporary processes. Feldbergs' performances can be divided into three categories: 1. Performance as an element complementing the event; 2. Performance ending up in the form of an installation; 3. Performance that is created using a previously prepared sculptural work. Performances at POAM can be classified in four categories: 1. Ritual-type performances close to the Baltic traditions and forms of festivities; 2. Artworks based on modern dance; 3. Artworks synthesised with the open-air objects, installations or sculptures on view at the permanent exposition, thus interacting with the form and location of the artwork; 4. Performance as a pure form of visual art in which the human body plays the leading role.
9

PERCEPTION OF MONUMENTS AND THE CITY ENVIRONMENT: CHANGEABILITY OF TRENDS AND SEMANTIC ASPECTS (Pilsetvides un piemineklu uztvere: iespeju un semantikas planu mainigums)

63%
Caupova R.
Makslas Vesture un Teorija
|
2009
|
vol. 12
27-37
EN
We know that while creating powerful images, the builders of ancient temples and sanctuaries also believed in their beneficial effect and potential to secure a channel of interaction between people and the divine energies of nature and the universe. Unfortunately, over the centuries monumental sculpture, in turning to the much more pragmatic tasks of serving various ideologies, lost both this transcendental orientation and the belief in the immortality of skillfully executed sculptures. More sensitive viewers took a dislike to the didactic, obtrusive, official tone of such monuments. However, it cannot be denied that at least the partial democratisation of public relations and commission practice enabled the erection of monuments not just to statesmen but also to creators of cultural values and contributors to some humane undertaking. Although these might feature repeated the standard busts and figures, attitudes towards the commemoration of popular cultural figures could be responsive and even warm-hearted. The true reputation of the cultural representatives, their output being rooted in the collective consciousness of the nation, adds to the perception in these cases. A typical example is the granite monument to the Latvian writer Rudofs Blaumanis by Teodors Zalkalns set up in the Riga canal parkland in 1929. From foreign examples one could name, for instance, the bronze monument to the world-famous Irish writer James Joyce, represented as a seemingly simple image in a distracted posture standing by the street in Dublin; there is also the Swedish poet Carl Michael Bellman's monument in Stockholm and several other intimately treated representatives of the creative professions in various cities all over the world.
10

SOME ASPECTS OF ARTIST PERSONALITY IN CONTEMPORARY SCULPTURE (Dazi makslinieka personibas izpausmju veidi musdienu telnieciba)

63%
Caupova R.
Makslas Vesture un Teorija
|
2007
|
vol. 8
34-45
EN
Ideas on the role of the artist's personality and potential in the processes of emerging artistic paradigms involve complex, often hard to define qualities of perception, choice and stimulation on various psychic levels. In the 20th century sculpture, especially in the second half of the century, there have been especially radical changes of practice, psychological involvement and perceptual concepts. A typical example is the personality of Serbian artist Marina Abramovic (1946). Realising often dangerous performances with snakes, insects, and stones, and undergoing physical pain, suffering or meditation, the artist has shown both courage and the ability to coordinate the streams of pulsating energy, subjecting herself to deeply open, intuitive perception. In Latvia the mid-1980s saw a wider use of installations and various actions and performances. Taking up the connection between psychophysical and mental spheres is revealed in the multimedia projects of Latvian artist Solveiga Vasiljeva. Using drawings of material structures, photographs and digital prints (including her own medical examination results), the artist invites the viewer to inspect unusual conditions of her body and psyche. In Latvia several sculptors, such as Ojars Feldbergs (1947), Ojars Bregis (1942), Andris Varpa (1950), Vilnis Titans (1944-2006), Pauls Jaunzems (1951) and Igors Dobicins (1958), have maintained the traditional national attitude towards stone as an ancient cultural symbol, perfecting the means of working stone and searching for a new context for their ideas.
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