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1

FACES FROM THE PAST. SOME THOUGHTS ON ANTHROPOMORPHIC AND ZOOMORPHIC FIGURINES AND IMAGES IN THE NEOLITHIC PERIOD

100%
Beljak Pažinová N.
Studia Historica Nitriensia
|
2018
|
vol. 22
|
issue 1
3 – 26
EN
The aim of this article is to present some thoughts on a specific type of archaeological sources within a diverse collection of art depicting humans and animals in the Neolithic (New Stone Age). From the aspect of artistic representation, these artifacts reach their climax in the time when first agricultural cultures appear. Besides taking their different cultural and chronological character into consideration, the goal of this work is to present them in the light of the latest discoveries and information.
2

JEWISH TOMBSTONES IN KURZEME: SYMBOLICS AND EXEMPLA (Die Judischen Grabdenkmale in Kurzeme (Kurland): Symbolik und Exempla)

86%
Leitane I.
Makslas Vesture un Teorija
|
2006
|
vol. 5
15-30
EN
The article explores motifs and symbols of Jewish tombstones found in Kurzeme, Western part of Latvia.
3

KURZEME DOWRY-CHESTS: CONSTRUCTION, METALWORK AND PAINTING (Kurzemes puralazu uzbuve, apkalumi un otejumi)

86%
Kundzina I.
Makslas Vesture un Teorija
|
2011
|
vol. 14
10-19
EN
The article deals with the painted dowry-chests of Kurzeme in Western Latvia (their forms, metalwork and painting) recorded in drawings, descriptions and photographs by the Monument Board from the 1920s to the early 1940s. There are drawings, descriptions and occasionally photographs of 213 dowry-chests, 119 of them with painted decorations. The assumption that dowry-chests are the subject of ethnographers has created a situation where their artistic qualities have not been thoroughly analysed and assessed. The origins of dowry-chests can be traced back to the cassone developed in Italy from the 14th to the late 16th century, meaning 'chest' in Italian. In Kurzeme there is a wide variety of dowry-chests (they have been spotted unevenly in Kurzeme), yet there are general regularities concerning types, tones and artistic solutions. Forms of chests: 80 % are rectangular structures joined at the corners with straight lids (chest); 18 % are rectangular structures joined at the corners with curved lids (coffer). Chest colours: 45 % are brown, 37 % are green, and 12 % are blue and 5% blue-green. Chests are painted evenly in one tone on top of which there are groups of painted decoration. Painted decoration is created as a free-had drawing to achieve a magnificent result. The richest decoration is found on the front plane or façade of the chest. There is an opinion that Jewish-painted chests are more plastic and painterly but Latvians have created more graphic-style decorations. The uniqueness of dowry-chests found in Latvia consists in the compositional fusion of metalwork and painting, with their predominant vertical symmetry.
4

MOTIFS IN THE DECOR OF ART NOUVEAU ARCHITECTURE IN RIGA AND THEIR ORIGINS (Rigas jugendstila perioda arhitekturas dekora motivi un to izcelsme)

58%
Grosa S.
Makslas Vesture un Teorija
|
2009
|
vol. 12
5-21
EN
As soon as Art Nouveau began to appear in the architectural decor of Riga at the turn of the 19th and 20th centuries, depictions of nature became increasingly popular. Of course, there was not just the main and specific Art Nouveau approach, which Robert Schmutzler cleverly described as 'Biological Romanticism', there were also other ways of approaching the natural world. Paul Greenhalg has described this as 'symbolic conventionalization', pantheism, metamorphosis and evolutionism. Pantheism became the main strategy for interior design at the turn of the 19th and 20th centuries in Riga, particularly insofar as vestibules are concerned. By contrast, façades manifested ideas of conventional Symbolism or of metamorphosis and evolutionism. Stylisation of natural motifs was one of the most popular techniques in designing wallpaper and stenciled decor on walls. Specialist publications had a major influence when it came to selecting the range of colours and ornamentation and since the mid 19th century their number had increased very rapidly. In Riga, as in several other provincial centres in the Russian Empire, Historicism played a particularly important role in architectural décor. When architects and designers began to move toward Art Nouveau it was often in the context of a reinterpretation of motifs that were popular in various neo-styles. New meaning was also attached to motifs and subjects that had been tested in the decorative arts and remained well known in the latter half of the 19th century and whose sources were to be found in various popular publications such as the ornamental handbook by Franz Sales Meyer, the edition 'Alegorien un Embleme' issued by Martin Gerlach, etc.
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