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1

Parīzes epizode latviešu porcelāna mākslas vēsturē

100%

Ļaviņa D.

Makslas Vesture un Teorija

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2019

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vol. 23

43-55

EN

The porcelain painting studio Baltars (1924–1931) as the first internationally recognised accomplishment of Latvian interwar-period art has been actively studied in recent years; however, there are still various problematic aspects and information that needs to be concretised. The studio is mainly associated with the creative group consisting of its initiator, artist Romans Suta (1896–1944) as well as Aleksandra Beļcova (1892–1981) and Sigismunds Vidbergs (1890–1970). Less is known about the creative achievements of some other Latvian artists related to Baltars. One of the main catalysts in the establishment of Baltars was the invitation from France to participate in the International Exposition of Modern Decorative and Industrial Arts in Paris in 1925. It was the first international exhibition organised after the First World War and artists were eager to show the results of their creative work to a wider audience as well as to prove their right to join Europe’s “old” cultural nations. Studying and analysing artworks from the Paris exhibition catalogue’s ceramic and porcelain chapters, it becomes evident that the porcelain of Baltars stands out among the rest of the exhibits. Only the Soviet Union’s exposition of agit porcelain and the artist Jean Luce’s works bear some similarity to Baltars ware. It was probably their different and innovatory approach that earned these porcelain artists success at the significant 1925 International Exposition of Modern Decorative and Industrial Arts in Paris

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ROMANS SUTA AND ALEKSANDRA BELCOVA MUSEUM (Romana Sutas un Aleksandras Belcovas muzejs)

84%

Vanaga B.

Makslas Vesture un Teorija

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2010

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vol. 13

45-51

EN

The article presents Romans Suta and Aleksandra Belcova Museum arranged in the former apartment of these modernist artists, ranked among the leading figures of interwar period Latvian art; their daughter, art historian Tatjana Suta (1923-2004) had preserved her parents' artistic legacy through the difficult Soviet times.

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THE UNKNOWN SUTA. AN INSIGHT INTO THE WORK OF ROMANS SUTA IN APPLIED ART (Nezinamais Suta. Ieskats Romana Sutas darbiba dekorativi lietiskas makslas joma)

67%

Suste M.

Makslas Vesture un Teorija

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2010

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vol. 13

52-62

EN

Romans Suta (1896-1944) represents Latvian Classical Modernism and was active not only in fine art but also in applied art, in what these days we might call design. This article examines Suta's activities in the decorative and applied arts - vessel forms and paintings and various types of interior and graphic design. In the 1920s and 1930s, the fascination with design and aesthetic improvement of the surrounding environment was widespread in Europe and many artists also turned to the applied arts. In Latvia there was no education available in the field of design in the contemporary sense and artists who tried to widen their scope of activity and introduce up-to-date trends in applied arts were largely self-taught. Suta was influenced by the ideas of Le Corbusier and Amedee Ozenfant for a new, international art style. An example was on view in the pavilion of the Purists' magazine 'L'Esprit Nouveau' at the Exposition Internationale des Arts Decoratifs et Industriels Modernes from April to October 1925. It inspired Suta to create a national version of the constructive style, envisaging a unified, modern Latvian environment and bringing together Constructivism and forms of Latvian ethnographic architecture and ornament. The example of Russian propaganda porcelain with the aim of influencing people, inspired Suta to found the 'Baltars' Porcelain Painting Studio in 1924. From the mid-1920s on, Suta was employed as a visiting stage designer at various theatres throughout Latvia. Stage design provided good opportunities to express his talent and wish to impress wide audiences with this kind of work. Stage design and interior decoration was closely intertwined in Suta's art and it is often hard to tell the difference between sketches intended for the stage and those for a living environment.

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3 Makslas Vesture un Teorija

1 Suste M.

1 Vanaga B.

1 Ļaviņa D.

1 2019

2 2010

Parīzes epizode latviešu porcelāna mākslas vēsturē

ROMANS SUTA AND ALEKSANDRA BELCOVA MUSEUM (Romana Sutas un Aleksandras Belcovas muzejs)

THE UNKNOWN SUTA. AN INSIGHT INTO THE WORK OF ROMANS SUTA IN APPLIED ART (Nezinamais Suta. Ieskats Romana Sutas darbiba dekorativi lietiskas makslas joma)