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"Dubultā koda" pazīmes ortodoksālā socreālisma posma tēlotājā mākslā Latvijā

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Kļaviņš E.

Makslas Vesture un Teorija

2022

vol. 26

52-65

The phases of orthodox Socialist Realism art in Latvia (1940–1941, 1945–1956) are already researched and interpreted in many publications of Latvian art historians. They reveal the robust suppression of local art life by the totalitarian regime during the Soviet occupation, the force of the ideological pressure on artists and describe the considerable body of artworks named Socialist Realism. The prescribed themes for art production were given together with the dogma of Socialist Realism and examples to be followed. For all that, in the course of the first post-war years artists managed to escape in the realm of politically neutral genres and images; landscapes dominated exhibitions, the legitimate and desirable compositions with images of the so-called working people (labourers, farmers) were made according to the tradition of the 1930s without unquestionable features of Soviet life (paintings of Eduards Kalniņš, Ārijs Skride, Jānis Liepiņš, Ģederts Eliass). The youngest generation (students of the Art Academy) acquired another double-coded concept. Painters, who composed conventional scenes with farmers’ work or with happy children, had to create the obligatory optimistic mood not only by postures and facial expressions but also by sunlight effects. Therefore, volumes were modelled using colours dependent on the light of plein air. The role of brushwork increased. Sometimes elementary narratives were reduced to the simple fixation of depicted figures and their dynamics. This development towards Impressionism resulted in a mutation of Socialist Realism and could be called “Socialist Impressionism”. Historical Impressionism was rejected by the authorities of the orthodox Socialist Realism, nevertheless, its elements were integrated into some individual versions of the style, including the achievements of some leading Soviet representatives of it (Yuri Pimenov, Arkady Plastov, Tatyana Yablonskaya). In Latvia two graduation works of Art Academy students Bruno Celmiņš and Zigurds Kampars are good examples of “Socialist Impressionism” (both 1954, LNMA), the best was an urban plein air scene “At a Book Table” (1955, Latvian Art Academy) by Gunārs Cīlītis. The trend continued in the next years (notable were the paintings of Edgars Iltners, Rita Valnere, et al.) during the so-called political “thaw” and led to further mutations of local Socialist Realism.

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1 Makslas Vesture un Teorija

1 Kļaviņš E.

1 2022

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"Dubultā koda" pazīmes ortodoksālā socreālisma posma tēlotājā mākslā Latvijā