Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  APPLIED ARTS
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

UNDER THE YOKE OF STALINIST IDEOLOGY (1944-1953) (Staliniskas ideologijas juga (1944-1953))

100%
Sturme B.
Makslas Vesture un Teorija
|
2004
|
vol. 2
49-59
EN
World War II had not yet ended when in 1944 Soviet institutions in occupied Riga ordered schools to begin teaching again, although the necessary conditions were absent. The former Riga State School of Applied Art also started working, renamed as the Riga Secondary School of Applied Art, with a five-year training course. The new director, graphic artist Karlis Buss, had spent some time in Riga Central Prison for his political activities during the 1930s. He tried to balance the secondary school curriculum, including the USSR Constitution and Russian language with training in crafts, composition and other specialized art subjects. As reconstruction work of the Soviet state was resumed, the Riga Secondary School of Applied Art had to prepare artists for practical work in branches of light industry as well as teachers for practical training and drawing classes. In autumn 1945 the school had six departments of applied art - needlework, textile art, ceramics, metal art, woodworking, leatherworking and bookbinding. A year later the department of glass working was added. The staff consisted of pedagogues and artists educated during the first Republic of Latvia who were skilled professionals, but found it hard to accept the dictates of the new government. Socialist Realism ruled and the school curricula also had to be adapted o its dogmas. The most difficult requirement was that applied art compositions should be contemporary and should comply with the method of Socialist Realism - 'national in form and socialist in content'. How to do this without losing the artistic qualities of the work? There was no clear answer to this but to question the method's requirements meant losing one's job. The most popular contemporary elements of compositions were Soviet symbols such as the hammer and sickle, five-pointed star, flags, state emblems and leaders' portraits, framed by decorations of ethnographic elements and coloring. Works from the period of Stalin's personality cult featured pompous splendor and affectation.
2

THE ART DECO STYLE AND LATVIAN ART (Art Deco stils un latviesu maksla)

75%
Martinsone I.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
129-139
EN
For a movement which was as enormously popular throughout the world as it was, Art Deco has been analyzed quite little in Latvian art theory so far. The orientation of inter-war art in Latvia toward national self-affirmation has often created the erroneous impression that Latvia was isolated from the fashions of the rest of the world. Quite the contrary: the trends of the times reached Latvia, too. The work of artists at the Baltars porcelain workshop, for example, represented some of the best work that was done in the applied art in inter-war Latvia. Romans Suta and Aleksandra Belcova produced decorative compositions in which Cubism was transformed toward ornamental decoration. The works are dynamic, rhythmical and simple in form. Sigismunds Vidbergs produced paintings on porcelain that are distinguished by the lightness and delicacy that were typical of Art Deco graphics. If we look at the work that was done by graduates of the Ceramics Department of the Latvian Academy of Art, we see clearly that the fashions of the world influenced much of their work. Art Deco stylistics never became popular in metal art in Latvia, but one of the most distinguished masters of Art Deco was the metals artist Stefans Bercs, who by himself created a whole gallery of Art Deco images. A highly developed graphic culture was evidenced in posters that were produced in Latvia at that time. Working alongside artists who are well-known even today, there were many graphic artists who have unjustifiably been forgotten. Specific Art Deco elements (a rapid linear perspective, exaggerated sizes, simplification of geometric forms, color contrasts) were used by Vidbergs, Raimonds Sisko, Alfreds Svedrevics and others. The brightest star in Art Deco theatrical design was the painter Ludolfs Liberts. He produced set decorations and costume designs that were ornamental and rich in color, and these works are among the best of the master's oeuvre. Graphic art in the Art Deco style is delicate, elegant and sweetly passionate. Vidbergs produced masterly erotic illustrations that in many cases are more elaborate in form than the work of recognized masters in this genre.
3

Stikla lustre no Asares baznīcas kā viens no angļu stikla lustru tipa piemēriem Latvijā

75%
Budže K.
Makslas Vesture un Teorija
|
2021
|
vol. 25
19-28
EN
The glass chandelier from Asare Evangelical Lutheran Church is one of the few examples of English-style glass chandeliers that have come down to us in Latvia. The chandelier was probably made in Bohemia in the early 19th century. It is a single-level chandelier with a framework supporting glass arms with twelve candles. The upper part of the chandelier is enhanced by a glass canopy with small strings of glass beads. A peculiar element of the chandelier’s composition is a basket formed by rings filled with quadrangular glass beads and hung in glass bead strings. Today the chandelier is located in Rundāle Palace Museum. It received this object from the elder of the Asare Evangelical Lutheran Church in 1975. The museum’s restorer Maija Baņķiere (1938–2021) carried out the restoration works. The chandelier is now exhibited in the First Study of the Duke in Rundāle Palace. English-style chandeliers were also crafted in Bohemia. They were exported not only to different European countries but to England as well. Bohemian-made chandeliers were cheaper and conquered the market quickly. The so-called Northern German lands, including the present-day Latvia, were among the most favourite customers of Bohemian glass items since ancient times. The glass chandelier from Asare Evangelical Lutheran Church is a Bohemian-made English-style piece as well. Its composition and decorative cut of glass details is typical of English glass chandeliers. Particularly English in style are the upper canopy-shaped details and the vase-like, richly cut details strung on the stem of the chandelier. However, the quality of glasswork and the material itself is lower in comparison with chandeliers made in England. Also, the arm plate from which the glass light-bearing arms branch out is made of wood in line with the Bohemian tradition. The English-style glass chandelier probably did not end up in Asare Church because someone deliberately and purposefully followed English late 18th to early 19th century traditions of decorative art. However, it is an example of 18th century English-style chandeliers in a small rural church and evidence of the European-wide fascination with English culture and its decorative arts, purchased and imitated elsewhere too.
4

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

51%
Suste M.
Makslas Vesture un Teorija
|
2010
|
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.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.