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1

THE NORTHERN PORTAL OF RIGA DOME CATHEDRAL (Rigas Doma ziemelu portals)

100%
Bergholde A.
Makslas Vesture un Teorija
|
2008
|
vol. 11
5-14
EN
The article examines the northern portal of Riga Dome Cathedral, a significant monument of late Romanesque sculpture in the Baltic region. Medieval plastic decor is found in the interior, former monastery complex, cloister and chapter house. There are about 300 decorated capitals and consoles, large part dating back to 13th century, including the northern portal. Art historians have taken up medieval plastic decorations of Riga Dome Cathedral since the late 19th century, but no separate research of the northern portal has been carried out. The article discusses several stylistic analogies, such as St. Mary's Church in Visby, St. John's Church in Haapsalu, Dome Church in Lubeck, Dome Church in Limburg, etc.
2

ART NOUVEAU IN THE SACRED AND PUBLIC ARCHITECTURE OF RIGA (Rigas jugendstila perioda sakralo un sabiedrisko eku dekors)

100%
Grosa S.
Materiali Latvijas makslas vesturei
|
2008
|
vol. 7
147-154
EN
Sacred architecture has been especially important in the development of each epoch's most important innovations and as a reflection of the main stylistic tendencies. Although over the last years interest in the heritage of sacred architecture in Latvia has resulted in several extensive publications, the subject still features the blind spot of the Art Nouveau influences upon the sacred architecture and décor in Latvia at the turn of the 20th century. Active construction of churches went on in this period, revealing stylistic pluralism in wide-range reconstruction and renovation of churches as well. The aim of this publication is to specify particular aspects of stylistic estimation related to Riga architecture in the late 19th and early 20th century. The influence of Art Nouveau upon Riga architecture was not homogenous; it did not appear an all-embracing style that is especially evident in public buildings, including industrial objects, educational and commercial institutions and their decorative handling. In a similar vein, church construction reflected a wide scope of historical styles - Art Nouveau has not left a considerable impact on churches of various confessions (12 in total) built in Riga and its surroundings around the turn of the 20th century. Still new spatial tasks had to be solved; in other cases Art Nouveau has inspired particular decorative elements.
3

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

67%
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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