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NIKLAVS STRUNKE (Niklavs Strunke)

100%

Silins J.

Materiali Latvijas makslas vesturei

2001

vol. 2

142-171

Both the subject of this article, the artist Niklavs Strunke (1894-1966), and the author of the piece, art historian Janis Silins (1896-1991), are of importance in the history of Latvian art. Silins was one of the most active authors in the field of art criticism in the 1920s and 1930s. After World War II he lived in the United States and wrote a several volume treatise, 'Latvian Art', which was published in Stockholm in the 1980s. This previously unpublished article about Niklavs Strunke was written by Silins in 1942 on the basis of a commission from artist Ludolfs Liberts, who at that time was working as the director of the National Securities Printing Bureau. Because of the war, the paper was never published. In this version Silins' text has been preserved exactly as written, although, judging from the handwriting on the manuscript, his wife Elza Silina did some corrections on the work. In the first part of the article the author reviews Niklavs Strunke's biography, looking at the lives of his parents, his childhood and his education. The story ends at the time when the article was written - the early 1 940s. Silins reports various humorous incidents from Strunke's career, as well as facts about the artist's life which had not been known publicly before then. Silins has said that he had planned to end the article with just this first part, but Liberts insisted that a second part be written so that Silins could review Strunke as an artist. In the second section, which is subtitled 'The Shapes of Art', Silins points to Strunke's special, 'non-academic' place in Latvian art, discussing the artist's emphasis on stylization, symbolism and archaic elements. The author points out Strunke's 'motor-like perception' and 'rhythmic, mimicking composition' as peculiar features of the artist's work The article also discusses Strunke's great love for Italian art, but because it does not, of course, cover the artist's life after the war, readers of this piece alone will not know that Strunke emigrated to Sweden, but continued to consider Italy as his 'second motherland'. After his death in 1966, he was buried in Rome.

ENCOUNTERS OF LATVIAN MODERNISTS WITH SECONDO FUTURISMO IN THE 1920S (Latviesu modernistu saskare ar secondo futurismo 20.gs. 20. gados)

84%

Braslina A.

Makslas Vesture un Teorija

2008

vol. 10

32-45

Research of this seemingly marginal topic in Latvian art history has revealed new information that significantly enriches the knowledge of local modernists' international contacts. Relations with Futurism have not been examined as a distinct theme before with only a few testimonies found during the fragmentary research on the late 1910s. But some moments of real contact emerge in the later period of the 1920s with the so-called episode of the Berlin Futurists and Niklavs Strunke's (1894-1966) activities in Italy. These are outstanding pages in the history of Latvian modernism characterised by the artists' direct contacts, participation in the art life of Germany and Italy, creative impulses, concrete artworks and publications. In the manifesto of 1924 Le futurisme mondial. Manifeste a Paris, Filippo Tommaso Marinetti also included the Latvian artists who belonged to the Berlin Futurists group (Ivan Puni, Ksenia Boguslavskaya, Rudolf Belling, etc.), such as Karlis Zale (1888-1942), Arnolds Dzirkals (1896-1944?), Romans Suta (1896-1944), Aleksandra Belcova (1892-1981) and Niklavs Strunke. In his Berlin period (1921-1923), sculptor Karlis Zale joined the international circle of the avant-garde, establishing contacts with the Der Sturm gallery, Novembergruppe, Russian émigré intellectuals and Ivan Puni as well as the Italian futurists Enrico Prampolini, leader of the futurist movement in Berlin, and Ruggiero Vasari, publisher of the journal Der Futurismus.

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NIKLAVS STRUNKE (Niklavs Strunke)

ENCOUNTERS OF LATVIAN MODERNISTS WITH SECONDO FUTURISMO IN THE 1920S (Latviesu modernistu saskare ar secondo futurismo 20.gs. 20. gados)