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Jinde. Francouzská tvorba Věry Linhartové

100%
Košnarová V.
Česká literatura (Czech Literature)
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2009
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vol. 57
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issue 5
623-651
EN
This article is concerned with the prose works of Věra Linhartová (b. 1938) written in French in the 1970s and 1980s. Using the first of these works, TWOR (1974), the author of the article seeks to demonstrate the shift in Linhartová’s style and her search for expression in a language other than her mother tongue. Characteristic features in these works are heterogeneity, disunity, and the permanently variable nature of the narrative voice and the text. In the next part of the article, the author occupies herself with the lyrical texts later compiled in the collection Mes oubliettes (1996). Her attention is mainly on the forms of narrator of these texts and on some themes and images (like landscape, habitat, and language). The author demonstrates Linhartová’s increasing interest in Eastern thinking and art (non-selfhood, minimalist expression, and the emptying of language and the persona). This orientation is confirmed in the subsequent collection, Portraits carnivores (1982), comprising three narrative texts, which the author here calls ‘pure narration’, pointing to the transformation, among other things, of Linhartová’s narrative compared to her early prose fiction works, which were written in Czech. The last part of the article is devoted to the inspiration of Japan and a collection of three works of would-be travel literature under the title Les Cascades – Kaskády (2002). The author here finds confirmation that travel in Linhartova’s writing has a primarily metaphorical, spiritual meaning, that it is the expression of spiritual growth and advancement. Travelling is therefore a certain ontological position of the persona, a way of being.
2

,PORTRAITS‘ OF GIRLS ON CORINTHIAN AND IONIAN VASES

100%
BOUZEK J.
Eirene. Studia Graeca et Latina
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2012
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vol. 48
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issue 1-2
21-29
EN
The article discusses female heads with portrait features on the Corinthian and Wild Goat pottery. It is argued that already Archaic Greek painters had some interest in particular individual features of their models.
3

ROBERT KONSTANTIN SCHWEDE - A HALF-FORGOTTEN NAME IN LATVIAN ART HISTORY (Roberts Konstantins Svede - piemirsts vards Latvijas makslas vesture)

88%
Smite E.
Makslas Vesture un Teorija
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2006
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vol. 6-7
65-70
EN
Painter Robert Konstantin Schwede's 200th anniversary is a good reason to present an overview of his creative career and to examine some of the problems that arise in this context. Artists with identical or similar surnames are often found in various sources of information; two painters usually appear under the name of 'Schwede' - Robert Konstantin Schwede (1806-1871) and his cousin Theodore (Fyodor Fyodorovich) Schwede (1819-?). Both are associated with the St. Petersburg Academy of Art where they obtained their artist's qualification. The same time span and links with the Academy have created a series of misunderstandings in encyclopaedic sources, publications and museum work with respect to the attribution of paintings. The situation becomes even more complicated because Theodore Schwede's brother Adelbert Schwede also took up painting. Considering the three above-mentioned artists, Robert Schwede has been most often associated with Latvia. As far as the author knows, of Robert Schwede's portraits only the 'Portrait of Maria Miln' is in Latvia (collection of the Latvian National Art Museum), but no sure facts are known about his landscapes. The majority of over 30 Robert Schwede's works are owned by the families of his progeny in Russia and Germany. These works are accessible to the author only in photographs, so any conclusions are fragmentary. Opinions on Robert Schwede start with Wilhelm Neumann's publications. Latvian art historian Janis Silins has described the artist more completely, as Karl Timoleon von Neff's contemporary and pupil but not his follower. Although Schwede adopted many techniques from Neff he did not follow him in the Raphael tradition.
4

Roberts Johansons un mākslas fotogrāfija

88%
Teivāne-Korpa K.
Makslas Vesture un Teorija
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2014
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vol. 17
16-26
EN
Roberts Johansons (1877–1959) represents the generation of Latvian photographers active in the first half of the 20th century. His legacy mostly concerns the period up to World War II. The largest collection of materials is held by the Riga Museum of History and Navigation (RMHN). Using the term “art photography” in relation to Johansons, one should specify that in this case these are prints or their preparations made for exhibitions. Johansons was born into a peasant family in Aizkraukle. He studied the photographic craft with the German photographer Anton von Bylinski in Riga from 1896 to 1899. Having received the professional certificate, Johansons set off to perfect his knowledge in St. Petersburg. From 1901 to 1902 and also later, from 1903 to 1904, Johansons worked at a prominent St. Petersburg photo studio Rentz & Schrader. In 1910 Johansons opened his first photo studio in Riga. When World War I broke out, photographer was forced to seek refuge in Moscow together with his family. After returning to Riga in 1924, Johansons worked in his photo salon and also opened a photo studio in the late 1930s. Johansons’ and his contemporaries’ professional growth began in the period when the trend of Pictorialism was popular in both Europe and USA, making the picture to look like a drawing or a graphic work. Johansons had mentioned independent studies of art many times – visiting museums to study painters’ works, reading art literature as well as attending lectures organised by photographers’ societies. Art photographs made before the 1920s are largely created in gum print or carbon print techniques. Also among works of the 1920s and 1930s there are either black and white or tinted brom-silver prints. Johansons’ works include landscapes, portraits, thematic pictures and nudes endowed with lyrical moods. These photographs are mostly typified by emotional imagery, balanced composition, well-staged or captured poses, suited lighting and tones appropriate for the intended mood.
5

ALEKSANDRA BELCOVA'S (1892-1981) WORKS OF HER ABSTRACT MODERNIST PERIOD (Aleksandras Belcovas (1892-1981) abstrahejosa modernisma posma darbi)

51%
Jevsejeva N.
Makslas Vesture un Teorija
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2010
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vol. 13
63-74
EN
The artist Aleksandra Belcova was born in the small Russian town of Surazh in 1892 but spent the most part of her life in Latvia. In 1919 she came to Riga to marry the Latvian artist Romans Suta and stayed in her second homeland till her death in 1981. Belcova's name is mentioned in Latvian art history not just in relation to Romans Suta but as an artist in her own right. Belcova was an outstanding representative of 1920s art along with other members of the Riga Artists Group (the name has become synonymous with Latvian modernism). After graduation from Penza Art School in 1917, Belcova set off for Petrograd to enter the Free State Art Studios headed by Natan Altman. Belcova's 'Self-Portrait in a Blue-Rimmed Hat' (canvas, oil, 43 x 44.5 cm, SBM) offers a deep insight into the inner world. The young, beautiful woman (as Belcova was at the time), is depicted as a fragile, spiritual being of an indeterminate age with a pale face and large, dark curves beneath the eyes. Belcova continued to search for solutions in composition and form in her series of decorative panels for the interior of the 'Sukubs' cafe. Suta devised this peculiar name for the eatery run by his mother (opened in summer 1919) by combining the names of the two most popular art movements - Suprematism and Cubism. Interpreting Belcova's art of the early 1920s, it is difficult to spot consistent development of picture form. 'Constructive Composition' (early 1920s, canvas, oil, 76.5 x 60 cm, SBM) is one example demonstrating the possible appropriation of some artistic means from Fernand Leger. Acquiring the methods of construction of the modern painting, Belcova oriented herself towards certain models - Juan Gris and Albert Gleizes in particular.
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