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Agrīno modes ilustrāciju grāmata Rīgas dāmām. Modes izdevumu aizsākums un tendences 19. gadsimta pirmajā ceturksnī

100%
Hermanovska S.
Makslas Vesture un Teorija
|
2024
|
vol. 28
45-56
EN
Most studies of fashion history are devoted to the fashion tendencies and the illustrated fashion magazines of European countries, especially France. In the context of European fashion history, fashion images evolved from drawings and oil paintings to graphic prints, which gradually gained dominance and became the most important sources of visual representation of fashion, printed separately or included in books and periodicals. Research on the fashion history in Latvia is mostly devoted to fashion in the twentieth century, when a new phase of fashion illustrations began, along with the reproduction of images and the active use of photographs. The period between the time of drawings and photographs, when fashion plates were executed in graphic printing techniques, is unexplored, therefore it is important to determine the distribution and content of illustrated fashion printed matter in the territory of nineteenth century Latvia. This article is dedicated to one of Riga’s early prints – Winterblüten: Ein Neuiahrs-Geschenk Riga’s Damen gewidmet von A. H. F. Oldekop; J. F. Krestlingk (hereinafter Winterblüten) – stored in the Rare Books and Manuscripts Collection of the National Library of Latvia. The publication of this book, supplemented with fashion plates, can be considered as a significant milestone in 1825, which marks the beginning of early illustrated fashion publications in the territory of Latvia. The aim of the article is to provide an overview of the content of the book Winterblüten, to examine the common and different features in the fashion plates and descriptions of Winterblüten and fashion magazines published in other European countries, to analyse the dresses of the Winterblüten fashion plates, providing a description of the fashion tendencies of the relevant time (styles of dresses and accessories, silhouettes, shapes, fabrics and materials, colours).
2

Nikolausa Mollīna dzimtās pilsētas Antverpenes liecības Rīgas pilsētas tipogrāfijas iespieddarbos 16.-18. gadsimtā

86%
Orlova-Rotgalve B.
Makslas Vesture un Teorija
|
2024
|
vol. 28
34-44
EN
In 2023, the National Library of Latvia presented a guest exhibition about Riga’s first printer, Niclaes Mollijns (c. 1550–1625), at the Museum Plantin-Moretus in his native city of Antwerp. For the first time, the works of Mollijns created during periods of his work in Antwerp and Riga were exhibited together as a whole, allowing a close analysis of similarities between practices of book production and design undertaken in the print shops run by Niclaes Mollijns in both cities. Based on the research in preparation for the exhibition, the article examines the use of printers’ ornaments, vignettes and decorative initials in Mollijns’ print shops in Antwerp and Riga, revealing the transfer of skills and material culture between both cities in the late 16th century through the activities of an individual working in both regions. During his time in Antwerp, Mollijns learned the craft of printing from his father, printer and woodcutter Jan Mollijns I (? – c. 1575/1576), and by working at the esteemed print shop of Christophe Plantin (c. 1520–1589). Niclaes inherited his father’s print shop in 1576, which he continued to operate for the following decade. During this time, he developed a distinctive signature style and a core set of decorative elements which he used for the design of his books. This would later form the basis of the inventory of the Riga printers’ office established by Mollijns in 1588. Mollijns left Antwerp around 1586, presumably along with thousands of other Protestant emigrants who left the city after its fall to Spanish Catholic forces in 1585. Soon after, he set up shop in Riga, becoming the first printer in the entire region of Livonia.
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