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1

SOME FEATURES OF THE LATVIAN LANGUAGE OF ADVERTISING

100%

Locmele G.

Humanities and Social Sciences: Latvia

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2010

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vol. 18

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issue 1

33-57

EN

The paper examines the formation of Latvian advertising today. The paper deals with phenomena such as compression of information in Latvian advertising, personalization, inclusion, elements of graphic design in written texts and expressive language means. Different types of advertising use language devices somewhat differently; however, the trend to develop the use of language in advertising is common to all types. The use of language in advertising is determined by various factors – time, space, and an understanding of culture and language in general by people who create advertisements. Badly written advertising texts that often are hidden translations from English do not foster the interest of consumers. However, a positive multicultural impact benefits the development of the Latvian advertising language.

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ACCOMPLISHMENT OF ART NOUVEAU AESTHETIC PRINCIPLES IN THE JOURNAL 'VEROTAJS' ('OBSERVER') (Jugendstila estetisko principu istenojums zurnala 'Verotajs')

84%

Pujate I.

Materiali Latvijas makslas vesturei

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2003

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vol. 3

EN

The Latvian literary journal 'Verotajs' ('Observer') that brought about qualitative changes in the graphic design of periodicals was published from 1903 till 1905. 'Verotajs' introduced the Art Nouveau style that developed to the full extent in the almanac 'Zalktis' ('Grass-Snake') some years later. At the same time the new journal announced the outset of national style in the design of local periodicals. Latvian artists started to draw original vignettes for each particular journal to replace standardized, imported ones. The journal's design shows Art Nouveau aesthetic principles: creation of a unified artistic whole, predomination of nature motifs and curved, fluent linear rhythms, correspondence between the emotional moods of the miniature work and the literary text. The artist Janis Rozentals had an important role in this development. He made vignettes for each chapter, thus creating a certain systematic arrangement that helped readers to orient themselves. It is likely that the routine arrangement of text and illustrations was changed after Rozentals' suggestion. The new page layout contained one column that was more distanced from margins and the space between lines was increased. The artist Julijs Madernieks made the greatest number of vignettes. He was mostly inspired by nature and ornament interpreted according to Art Nouveau patterns. Some landscape-like vignettes were made by the artist Vilhelms Purvitis. They feature Art Nouveau decorative stylisation and Symbolist mood. Eduards Brencens followed Purvitis' ascetic trend, but his works show more emphasis on white surface. There are also vignettes by Rihards Zarins and Oskars Steinbergs in the journal. Some of vignette designers for 'Verotajs' are still unknown. It is possible to suppose that ten works signed 'MP' were created by the cabinet-maker Martins Pagasts who was popular in Riga at the turn of the 20th century. One vignette was possibly drawn by Indrikis Zeberins.

3

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

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2010

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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.

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1 Humanities and Social Sciences: Latvia

1 Makslas Vesture un Teorija

1 Materiali Latvijas makslas vesturei

2 2010

1 2003

1 Locmele G.

1 Pujate I.

1 Suste M.

SOME FEATURES OF THE LATVIAN LANGUAGE OF ADVERTISING

ACCOMPLISHMENT OF ART NOUVEAU AESTHETIC PRINCIPLES IN THE JOURNAL 'VEROTAJS' ('OBSERVER') (Jugendstila estetisko principu istenojums zurnala 'Verotajs')

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