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1

FILIPPO CASTALDI AND HIS HERITAGE (Filipo Kastaldi un vina mantojums)

100%
Kaminska R.
Makslas Vesture un Teorija
|
2004
|
vol. 2
20-28
EN
The Baroque and Neo-Classicism periods have left significant monuments in Latvia but the names of their creators are often unknown. This is especially important in the case of Latgale or the former Polish Livonia where architecture and artworks of high quality are often difficult to attribute. Before WW II Polish art historians were interested in the work of Italian-born painter Filippo Castaldi (1734-1814) in various regions of the country, including Latgale. But a more comprehensive insight into this master's work became possible only after the publication of Professor Andrzej Ryszkiewicz's article in 1965. It should be noted that Latvian art historians in the late 1980s could only benefit from this article. Restoration works at the Kraslava St. Louis Catholic Church have again drawn attention to this name in the context of 18th century Latvian art history. In 2003 when the high altarpiece was put to restoration, a niche with a well-preserved Castaldi mural was discovered. Information on the life of Filippo Castaldi (Gastoldi, Gustelding) remains to be fragmentary. The painter was born in 1734 in Arpino, in the Frosinone region of Italy, but nothing is known about his childhood and studies. About 1760 he arrived in Poland, perhaps invited by the Bishop Zaluski; he is known to have found an employer in Polish Livonia close to that time. This was the Kraslava landlord Konstanty Ludwik Plater who had started the ambitious construction of his main residence - the Kraslava town complex and palace ensemble. 19th century sources referring to archive documents attest that this master has painted a number of altarpieces in the Kraslava St. Louis Catholic Church. These were retable compositions painted on a wall that illusively depicted both plastic formations and figural compositions of altarpieces. Part of the attic of the high altar retable that was repainted later has survived. The composition 'St. Louis Departs for the Crusade' painted on the wall in the altar niche on view now is as it was since the restoration of around 1820.
2

NEO-CLASSICISM IN THE DECORATIVE SCULPTURE OF ART NOUVEAU IN RIGA (Velreiz par neoklasicismu Rigas 20. gadsimta sakuma arhitekturas dekorativaja telnieciba)

100%
Grosa S.
Materiali Latvijas makslas vesturei
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2000
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vol. 1
74-83
EN
In analyzing the architecture of turn-of-the-century Riga, it is important to evaluate the style of decorative sculpture that was used in the construction process. This is a subject that has received scant attention from specialists so far. Some of the materials can be classified as belonging to Neo-Classicism. The fact that we can find elements of Neo-Classicism in the decorative sculpture of early-20th century architecture in Riga, moreover, allows us to expand the chronological frontiers which apply to this particular movement in Latvia. As the result of a comparative analysis, we have found several specific aspects of decorative sculpture in early-20th century Rigensian decorative sculpture that can be attributed to Neo-Classicism. These are found in clear efforts to imbue the style with regional motivation, taking a fairly free approach to the classic inheritance of the movement, as well as in close links and reciprocal effect with late Art Nouveau and National Romanticism. International influences were important, too. The trends toward Classicism expanded the range of expressive opportunities that were available to sculptors, letting them search for new forms of plastic expression. There were also changes in the range of decorative and iconographic motifs, promoting the development of allegorical and story-telling compositions in the external decorations of buildings. Riga's Neo-C1assicist decorative sculpture tended to be quite concrete in terms of iconographic expressiveness, and the trend was toward sculpture which really told a story. Sometimes a certain craftsmanship in execution of a sculpture could diminish the academic seriousness and attribute more liveliness to the depiction. At the same time, however, we also find professionally valuable interpretations of classical themes - ones in which the link to the conventional traditions of Classicism was unimportant in the shaping of subjective allusions to mythological themes.
3

REFLECTION OF SOCIAL PRESTIGE IDEA IN RIGA EARLY ART NOUVEAU ARCHITECTURAL DÉCOR (Sociala prestiza ideju atspogulojums Rigas agra jugensdtila arhitekturas dekora)

75%
Grosa S.
Materiali Latvijas makslas vesturei
|
2007
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vol. 6
137-166
EN
As a result of economic boom, Riga had become a metropolis in the second half of the 19th century, featuring industrialisation accompanied by wide-scale construction of multi-storeyed stone buildings, widening of respectable areas, urbanisation and workers' districts appearing in suburbs. Huge social inequality and strong contrasts characterise Riga as a typical Western city of the period, still at least two aspects were specific to Riga: firstly, being part of the Russian Empire and a zone of special interest as one of the few cities with a developed industry; secondly, the complicated national issue resulting from German minority's traditional privileges. In this situation early Art Nouveau décor acquired a very pronounced dimension of social prestige, becoming not just a self-advertisement of the rapidly growing bourgeoisie but also a symbol of an imagined aristocracy and the proprietor's prestige: at the beginning of the period the richest sculptural décor is found on buildings in Old Riga and the so-called Boulevard District where comparatively rich decorative sculpture was created since the 2nd half of the 19th century as well as in the former suburban districts that were gradually added to the respectable area after city's building regulations were modified. The visually most attractive embodiment of the ideas of social prestige in building décor appear in widely-spread cartouches and shields with the proprietors' monograms as well as with symbolic representation of professional attributes or elements derived from heraldry or emblematics. These elements, taken over from the 19th century, were endowed with a new meaning at the turn of the 20th century. Popularity of the ideas of social prestige created preconditions for persistent neo-style solutions of façades: Art Nouveau with its asymmetry, biomorphic décor and self-sufficient aesthetics of linear rhythms was ill-adapted to the traditional idea of respectability. So late-19th-century and early-20th-century façades feature a certain dualism; typical Art Nouveau motifs coexist with attempts to glorify ancient cultures, reflections of interests in theosophy, freemasonry etc.
4

JESENSKÝ BÁSNIK: OD ROMANTIZMU KU KLASICIZMU

75%
Mikula V.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
|
issue 6
457 – 468
EN
Jesenský as a poet (as well as a prose writer) cannot be interpreted only through his works of art. They form a part of the whole of his personality as a sign. Jesenský strictly distinguishes between the public and the private spheres. The public sphere, which includes his prose as well as poetry, is dominated by conventions, the „surface“, while the area of his privacy hides real contents – and those are characterized by „classical“ qualities such as sincerity, kindness, honour, moderateness, non-ostentatiousness, nobility. This inner aristocracy is outwardly made light of, which is done in two ways: it is either minimized (downplayed) or wildly exaggerated. If socializing involves light chit-chat, Jesenský develops it to perfection. He also highlights the conventions of poetry, both the folk or Romantic ones as well as the Modernist-Decadent ones. The perfected style is his mode of existence, which he only gives up at genuine existential moments: when he experiences a deep love and writes about it in his letters, when he deserts to join the Russian army (which involved a risk of death) during the First World War, when he engages in Anti-Fascist movement as a poet. The fundamental life situations make him overlook the convention, and follow his deepest principles, which are not far from the Enlightenment ideal of man (he was also a member of Freemasonry). In all other situations, he follows conventions, which he does in a suspiciously light-hearted manner. The suspicion, however, does not change Jesenský, it changes the conventions.
5

Ziemeļu nacionālais romantisms mūra īres namu arhitektūrā Rīgā. Arhitekts Aleksandrs Vanags

63%
Libere A.
Makslas Vesture un Teorija
|
2016
|
vol. 19
32-47
EN
The aim of this article is to introduce the reader to the residential houses designed by Aleksandrs Vanags (1873–1919) in the style of Nordic National Romanticism, looking at not just the textbook examples but also at less well known buildings. Vanags has left a considerable legacy in the architecture of Latvia. Some one hundred buildings were constructed after his designs during the peak of his activity from 1906 to 1914. These were mainly multi-storey apartment houses in Riga and around forty private and public buildings outside Riga. The buildings examined in the article illustrate the flourishing and decline of Nordic National Romanticism that prevailed in Vanags’ work until this trend was progressively supplanted by Neo-Classicism. The layout of premises and organisation of amenities in Vanags’ projects were realised in line with the requirements of the time by providing maximum sunlight in the rooms and a window in every household premise in the large many-room apartments. As the layout of premises is conditioned by the commissioner’s means as well as the form and position of the building plot, Vanags’ apartment houses feature both typical and very original solutions for the period. Bays and risalits were used to diversify the building layout in the city centre, often creating a different layout for each storey of the house. During the period of Nordic National Romanticism, building façades show a laconic approach to ornamentation, largely applying a flat décor, often complemented with contrasting materials and types of finish. In some cases geometric ornament plastered on the façades is enriched with individual glazed tiles or mosaic. Looking at the building volumes of masonry apartment houses, some especially popular construction elements stand out, such as circular corner bays with dome-shaped roofing or open balcony, the use of chamfered and diverse triangular gables and massive closed balconies.
6

WALLPAPER FROM THE TURN OF THE 20TH CENTURY IN THE COLLECTION OF THE ARCHITECTURAL INVESTIGATION GROUP (19. - 20. gs. mijas tapetes SIA 'Arhitektoniskas izpetes grupa' kolekcija)

63%
Luse L.
Makslas Vesture un Teorija
|
2008
|
vol. 11
20-33
EN
This article analyses wallpaper design from a rather narrow period - the turn of the centuries (from 1890s to 1914) and uses original materials found in the archives of Architectural Investigation Group (AIG). The AIG archives host one of the largest historical wallpaper collections in Latvia. It is predominantly comprised of wallpaper samples from the turn of the 20th century (360 units in total). This is a particularly prominent period in Latvian art history with its pluralism of stylistic schools, new tendencies in visual arts and quests for unified interior ensembles characteristic of Art Nouveau, all of which is well reflected in wallpaper design. The collection's samples can be classified according to their material as well as stylistic tendencies in ornament design. Depending on the characteristics of the material, two main groups can be distinguished: smooth wallpaper (339 samples in total) and relief wallpaper (21 sample). Smooth wallpaper is made of paper - the most popular material. Most of the collection consists of the so-called natural wallpaper, whereby one of the motif colours or background colour is supplied by the actual paper mass (approximately 210 samples). Usually this type of wallpaper is printed using glue-based paint with 2 to 6 tones. The second type of smooth wallpaper is manufactured by printing the ornament separately on an already coloured surface (121 samples). The third type of wallpaper imitates the texture of velvet fabric and is also classed as smooth wallpaper (8 samples). Relief wallpaper was manufactured from paper mass as well as other materials. Lincrust wallpaper was among one of the best and long-lasting types of such wallpaper.
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