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1

ŽÁNROVÉ GRAFIKY ZO ZBIERKY RODU OSTROLÚCKYCH

100%

Herucová M.

ARS

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2016

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vol. 49

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issue 2

113 – 131

EN

The noble Ostrolúcky family owned a large collection of engravings until the end of the World War II. Part of it is nowadays in the Museum of Forestry and Wood Technology in Zvolen. Most of the engravings are portraits and vedute, the least are genres, on which focuses this study. They are presented and interpreted for the first time, together with brief biographies of the authors, cultural and artistic contexts.

2

GRAPHIC OEUVRE OF REMBRANDT VAN RIJN. NEW RESERARCH PERSPECTIVES OF GRAPHIC WORK (Tworczosc graficzna Rembrandta van Rijn. Nowe perspektywy badawcze dziela graficznego)

88%

Talbierska J.

Rocznik Historii Sztuki

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2008

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vol. 33

65-127

EN

The activity of Rembrandt as a printmaker spans generally the period from 1626 to 1661. His ouvre amounts roughly to 320 works, including self-portraits, portraits or tronies, nudes, sketches, studies, landscapes, Bible and genre scenes, usually autonomous to his paintings and drawings. Rembrandt was a self-taught printmaker, all the way developing his technique, exploring the abilities of printmaking and customizing graphic art. In late 30s. and 40s. he began to create sophisticated works that combined etching with a drypoint and sometimes burin, while a rather soft type of etching ground. After 1650 there was a drastic change, however, and diagonally drawn lines became rough, crude and dry; a drypoint was used as rich enhancement of etching or on its own. Rembrandt's graphic ouvre represented a synthesis of the previous achievements, a creative experiment, testimony to the innovative technical and stylistic quests. The recent years have brought a significant development in the research into the printmaking of Rembrandt that perfectly reveals the complexity of his method as well as a new required standard of examination of the graphic works in general. In practice it means the well-known model: description, analysis, and interpretation, while the last one is additionally enhanced by new research perspectives. The fundamental elements remained the same, but all stages and descriptions are expanded due to the developed method and research apparatus, while ones of the most important became technical issues and the paper analyses related to the states of impressions and editions. A decade preceding the jubilee year of Rembrandt with its publications and exhibitions has not put the end to the research into Rembrandt's graphic ouvre. The issue here is not only to continue various perspectives of research, but first and foremost to conclude the basic research, including a compilation of a new descriptive catalogue of his prints.

3

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

75%

Martinsone I.

Materiali Latvijas makslas vesturei

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2000

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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.

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ŽÁNROVÉ GRAFIKY ZO ZBIERKY RODU OSTROLÚCKYCH

GRAPHIC OEUVRE OF REMBRANDT VAN RIJN. NEW RESERARCH PERSPECTIVES OF GRAPHIC WORK (Tworczosc graficzna Rembrandta van Rijn. Nowe perspektywy badawcze dziela graficznego)

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