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The World of Erich von Campenhausen: A Creative Spirit to Mark the Opening of a New Artistic Era in Riga… and Beyond (Art Historical Lacunae: A Case Study)

100%

Howard J.

Makslas Vesture un Teorija

2017

vol. 20

36-55

The article deals with the diverse activities of the Baltic German artist Erich von Campenhausen (1872–1926) and analysis of his known works in the art-historical context. In his early period after returning to Riga from Karlsruhe where he studied engineering, the artist was more involved with applied arts while later he studied at the Karlsruhe Academy of Art (1909–1914) and took up painting and graphics to a greater extent. The so-called ‘play’ figures (Scherzfiguren) created around 1907 were ceramic sculptures of exotic animals, with their rounded forms reminding of Japanese netsuke. About the same time Campenhausen also made 18 ‘humorous art postcards’, coloured ink drawings, showing ‘joys and sufferings of a Negro boy’, according to the press of the time. Campehausen’s contribution to applied arts (design of plates and dishes, cutlery and furniture) is represented in the Baltic art yearbook ‘Bildende Kunst der Ostseeprovinzen’. In all, Campehausen’s approach was based on laconic aesthetics, envisioning beauty in simplicity that sharply differs from his younger brother Balthasar von Campenhausen’s output – rather Historicist interiors with Baroque forms and decorative weightiness of patterned, upholstered furniture and tapestries. Erich von Campenhausen also took part in the poster competition (1907–1908) organised by ‘Rigascher Kunstverein’ (Riga Art Society) to find the best solution to advertise society’s exhibitions in the recently opened Riga City Art Museum. Campenhausen’s poster features the image the sacred grove, the cradle of mystic spirituality important for National Romanticism. The poster can be perceived as a modernised interpretation of Arnold Böcklin’s work ‘Sacred Grove’ (1882) in the vein of Art Nouveau, comparable also to decorative solutions of Gustav Klimt. Fifteen years later, Campenhausen created another poster, announcing the lottery of the German Baltic Charitable Institution (1923) and depicting a fashionable young woman with a cornucopia.

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

2010

vol. 13

52-62

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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2 Makslas Vesture un Teorija

1 Howard J.

1 Suste M.

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1 2010

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The World of Erich von Campenhausen: A Creative Spirit to Mark the Opening of a New Artistic Era in Riga… and Beyond (Art Historical Lacunae: A Case Study)

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