Search results

1

Makslas muzejs ‘Rigas birza’

100%

Upeniece D.

Makslas Vesture un Teorija

|

2012

|

vol. 15

34-39

EN

The lavishly illustrated article introduces the newly restored building of the former Riga Bourse, transformed into a museum of foreign art and opened in August 2011. Collections of the Art Museum ‘Riga Bourse’ are based on the private gatherings of several 19th century art collectors, and their display in the magnificent Venetian-style building is mapped in the publication. Expositions include Italian, Flemish, Dutch, German and French painting, several pieces of sculpture, a rich collection of porcelain, silver items, artefacts from China, Japan, India and Egypt.

2

Podział świata sztuki i jego zniesienie

84%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

|

2019

|

vol. 27(27)

68-87

PL

A starting point is the division of the world of art onto Western and East- ern, and the question whether this division is still relevant after 1989? The Western world of art was equated with the market, the Eastern with ideol- ogy. Does the Eastern art have to join the Western world of art? Will the term avant-garde of third generation allow to better describe the transi- tion of art in real socialism countries? Does avant-garde in the times of post-modernist’s pluralism exist?

3

ENTRAPPED BY CONVICTION: KRISTAPS ELIASS' CONTRIBUTION TO LATVIAN ART HISTORY (Parliecibas slazda: Kristapa Eliasa ieguldijums latviesu makslas vesture)

67%

Pelse S.

Makslas Vesture un Teorija

|

2006

|

vol. 6-7

71-76

EN

The contribution of Latvian authors not only to the study of the local artistic heritage but also in raising the general cultural level of society is an important aspect of history of this branch. Art historian Kristaps Eliass' (1886-1963) publications are mostly dedicated to the popularization of the most renowned phenomena of 18th - 20th century Western European art and French art in particular. The main sources of Eliass' theoretical principles came from the then influential but today less known writers on art (Julius Meier-Graefe, Richard Muther, Werner Weisbach, Ludwig Coellen etc.); this allows us to define Eliass' approach as scientifically grounded, especially when compared to the local setting of the social sciences. (Karl Marx's ideas, although found in many quotes, could hardly provide him with a consistent example of writing on art). Since becoming a follower of the ideas of social democracy in his early youth, Eliass' leftist stance placed him in almost perpetual opposition to the ruling state system. These ideas were hated in tsarist Russia as well as during the local nationalist authoritarian regime after 1934 and equally under Stalin's rule after the Soviet occupation. After the end of the Soviet era his leftist phraseology also seems outdated. Nevertheless, his books 'French Contemporary Painting' (written together with his brother, painter Gederts Eliass, 1940), 'Dutch Old Masters' (1957) and 'Honoré Daumier and His Time' (1960) belong to the few comprehensive sources on Western European art published in Latvian during the 20th century. Their informative and educational role, unlike scattered articles in periodicals, reaches far beyond the audience of contemporaries.

Refine search results

2 Makslas Vesture un Teorija

1 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

1 Dziamski G.

1 Pelse S.

1 Upeniece D.

1 2019

1 2012

1 2006

Makslas muzejs ‘Rigas birza’

Podział świata sztuki i jego zniesienie

ENTRAPPED BY CONVICTION: KRISTAPS ELIASS' CONTRIBUTION TO LATVIAN ART HISTORY (Parliecibas slazda: Kristapa Eliasa ieguldijums latviesu makslas vesture)