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1

Mauzoleji Rīgas, Jelgavas un Liepājas pilsētas kapsētās

100%
Grosmane E.
Makslas Vesture un Teorija
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2014
|
vol. 17
52-59
EN
The article by the Baltic German architect Paul Campe (1885–1960), originally titled ‘Mausoleumsbauten auf den Stadtfriedhöfen in Riga, Mitau und Libau’, was translated into Latvian and commented by Elita Grosmane. It documents the now largely lost constructions of memorial architecture once found the cemeteries of Latvia’s major cities, outlining their features.
2

Atdzimusais Rigas doma ziemelu priekshalles viduslaiku gleznojums

100%
Grosmane E.
Makslas Vesture un Teorija
|
2012
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vol. 15
5-14
EN
Very few people knew and could believe that an excellent medieval painting might be hidden beneath the dark stain above the north portal of the Riga Dom Cathedral. The ancient painting, discovered in 1891, was copied, published and then allowed to turn black again, and eventually restored in summer 2009; no photographs have come down to us. Thanks to current technological advances, it has not only been rediscovered but also complemented with previously neglected details. Although there are significant losses (the left-side composition has been washed off by rain and the right hand side had been destroyed long before 1891), the emergence of such an old artefact in Riga is a major event in Latvian art history that cannot boast of much medieval painting. The aim of this article is to focus on this important cultural fact, to test and specify the previous assumptions on the origins of the painting and single out contextual factors that have until now been disregarded. Medieval murals are a very intricate and enigmatic subject to explore, even taking into account the latest discoveries of restorers and art historians’ conclusions. The case of the Dom Cathedral painting is not an exception as medieval frescoes elsewhere in Europe have become scarce over centuries; they have faded, been destroyed, painted over, dated only approximately and little explored from the stylistic viewpoint. Over twenty years have passed since the last publications on the antechamber painting and the latest restoration has revealed important details that enable us to come to new and useful conclusions. The single surviving central scene ‘Coronation of Mary in Heaven’ is most appropriate for a detailed analysis. Decorative ornamental motifs found in lunettes are analysed too. The latest conclusions of iconography, palaeography and the history of ornament, as well as historical context, indicate that the mural had been most likely created in the 1360s-1380s.
3

Kurzemes hercoga galma galdnieka Tobiasa Heinca lasampults: Makslinieka pasapzinas veidosanas atspogulojums Latvijas maksla

100%
Grosmane E.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
45-54
EN
This article attempts to analyse the self-portrait found on the lectern of Jelgava Holy Trinity Church, produced by Tobias Heintz (1589-1653), court carpenter to the Duke of Courland. Recently interest has grown in this slightly forgotten phenomenon, unique in Latvian and Estonian art history. The lectern donated by Tobias Heintz in 1617 was located in the choir of the Holy Trinity Church till the Jelgava Cultural-Historical Exhibition in 1886. After the exhibition it was relocated in the Courland Province Museum (Kurländisches Provinzialmuseum) but during World War II moved to Posen (now Poznań) when it ended up in the collection of the Baltic German cultural heritage. In 1945 the lectern was included in the collection of the Museum of Wielkopolska and exhibited in the Applied Art Department of the National Museum in Poznan. Now it is being returned to Latvia to be exhibited in the reconstructed Holy Trinity Church tower in Jelgava. The article analyses the Jelgava carpenter’s self-portrait in the context of general art history and the art history of Latvia in particular. On the European scale, this work coincides with the spread of Baroque tendencies as well as with the rise of the portrait and self-portrait genres. Considering Heintz’s image in the context of inlay technique, only one self-portrait has been found so far, that of the woodcarver and inlay master Antonio Barili (1502) at work set into the choir bench of Siena Cathedral Baptistery. Ideas of a different epoch predominate in this work, expressing the self-esteem and seriousness of a Renaissance artist with the air of the classical art heritage present. Tobias Heintz’s version had emerged a hundred years later; it is more pretentious with the young master emphasising his youth, health and future success, creating an image of a self-confident individual whose best time is yet to come. In conclusion, one can state that, from the art-historical viewpoint, Tobias Heintz’s self-portrait on the Jelgava Holy Trinity Church lectern is not just an autobiographical document, a message to contemporaries and future generations but also the oldest identified self-image in Latvian art history.
4

Kultūras mantojums un politiskā ideoloģija: Rīgas Māras baznīcas izdaiļošanas projekts. 20. gadsimta 30. gadi

100%
Grosmane E.
Makslas Vesture un Teorija
|
2014
|
vol. 17
36-45
EN
The article deals with the political and ideological conditions in the early 1930s that encouraged the eviction of the Riga Dom Cathedral’s German congregation, renaming the church as Māra’s Church and the elaboration of a project to give the building a Latvian character. The political situation after World War I and the power vacuum in the Eastern Baltic region created favourable conditions for the foundation of an independent state and shake off the dominant German and Russian influences. Initially the state institutions did not interfere in art processes. However, quite early on, an increasing tendency emerged to extol the significance of Latvian national identity as opposed to the contribution of other ethnic groups to the local culture. This attitude rapidly consolidated in the 1930s and had a negative effect on the current art, architecture and cultural heritage. Latvian national self-esteem grew incompatible with the city’s largest church belonging to a German congregation. The renaming of the church allows us to follow this process. German historians of architecture called it St. Mary’s Dom Cathedral (Der Dom zu St. Marien) while already since 1923, the Latvian press of the day began to call it after the pagan deity Māra. The next step to strengthen national self-consciousness and search for national identity was a press announcement that the interior of Māra’s Church had to be given a Latvian appearance. Information on the competition is scarce. Only one applicant is known whose submission was published in the magazine ‘Atpūta’ (Leisure) on 17 November 1933. The main author of the sketches was Professor Jānis Kuga of the Latvian Academy of Art. The artist has attempted to follow the instructions set down by the commission, synthesising religious symbols with themes from the history of Latvia. However, the ambitious plan of the Latvianised Dom turned out to be too much in discord with the status of the medieval monument and was never realised.
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