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Between Rodin and Przybyszewski. Edward Wittig's Dionysian Classicism

100%
Podniesinska K.
Modus. Prace z historii sztuki
|
2006
|
vol. 7
159-217
EN
The paper outlines the Parisian period (1900-1914) in the activity of Edward Wittig, a well-known sculptor of the period between the two world wars. At that time a decisive influence on the young artist's imagination and sculptural language was exerted by the work of Auguste Rodin (assimilated in the workshop of Rodin's pupil Marguerite Jouvray and Lucien Schnegg's atelier) in conjunction with the impulses coming from the circle of Stanislaw Przybyszewski. It was to Rodin that Wittig owed a symbolic, freely moulded form as well as a tremendous intensity of expressiveness achieved by modelling the entire figure, by showing the tension and contraction of each muscle. This characteristic mode of depicting the emotional expression of a sculpture through the play of the body appeared in, among other works, his 'Burden' (1902/1903) and 'Nostalgia' (1903). The psychological air was 'supplemented' in an equally suggestive manner by the stooped figures of 'Destiny' (1903), 'Despair', and 'Mourner'. Likewise, 'Anxiety' (c. 1904) remained within the range of Rodin's direct influence as one more interpretation of the French sculptor's 'Danaides' theme (1885). The female nude of a supple, slender figure and the face covered with her hair, who is clinging to the ground, brings to mind yet another sculpture by Wittig - 'Youth' (1907). His 'Woman in a Pensive Mood' reveals the same source of inspiration; it takes up Rodin's famous 'non finito' motif, a figure emerging from the rough block of marble in which fragments of the sculpture are still buried. In some of Wittig's sculptures we can find obvious echoes of the philosophies of Stanislaw Przybyszewski and Otto Weininger, while other works betray his fascination with Nietzsche. Inextricably involved in their epoch, they excellently reflect the overlapping of diverse relations. Nevertheless, Wittig succeeded in giving his sculptures the stamp of individuality. His symbolism based on the popular leitmotivs of the epoch was accompanied in the formal aspect by moderation and an intellectual command of media. This can be very well seen even in the works which evidently had their origins in the Young Poland movement, such as 'Destiny', 'Sphinx', 'Challenge' or 'Idol', which despite their small sizes evoke the impression of monumental enclosed compositional spaces. The turn of 1907 and 1908 witnessed the artist's growing tendency to replace his characteristic flowing, free line by the moulding of a sculpture on the basis of precise, mathematical calculations. In 1908 Wittig sculptured 'Awakening', a work which in terms of stylistic changes constituted a kind of turning point in his oeuvre, closing the period of Rodin's inspiring influence.
2

A PIETA AT THE 'GERMANISCHES NATIONALMUSEUM' - IMPORTATION OR A WORK OF LOCAL PRODUCTION?

80%
Kvapilova L.
Umění (Art)
|
2007
|
vol. 55
|
issue 6
442-458
EN
There is a wooden Pieta at the 'Germanisches Nationalmuseum' in Nuremberg labelled 'Salzburg, circa 1390'. This is how Heinz Stafski characterised it in the museum catalogue of 1956. In the museum yearbook of 1941 it was described with the words 'Prague, circa 1400' and at an exhibition titled 'Kunst und Kultur in Böhmen, Mahren und Schlesien' as '(Southern) Bohemia'. This article aims to reassess these controversial arthistorical determinations regarding the work in question. Whereas we find no direct analogues either in Bohemia or in the Salzburg region for the Nuremberg Pieta, two wooden Pietas closely akin to the Nuremberg sculpture in style and motif have survived in the Mittelfranken region: one Pieta in the All Saints Church in Allersberg and another in the St George parish church in Dinkelsbuhl. The monumental Allersberg Pieta (circa 1400-1410) foreshadows the expressive insistence and the effort to approach the real developments that followed the Beautiful style. By contrast, the composition, a square outline and the body of Christ in horizontal position, alludes to Bohemian-style horizontal Pietas. It is not impossible that the sculptor already knew this work, which was thirty years older, or had perhaps studied Pietas imported into Bavaria from Bohemia. Despite the differences in composition, the Allersberg and Nuremberg Pietas share such similarities which suggest the possibility of common origins in a single workshop. The Dinkelsbuhl Pieta closely resembles the sculptures at the Allersberg and Nuremberg museums in the physiognomy of Mary's face and hair. The arthistorical assessment that the sculpture at the Museum is from 'Salzburg' or 'Prague' thus appears to be unsuitable. It seems instead that the Pieta may be considered a domestic product from a Franconian workshop working within the framework of the International style and under the influence of the contact between the two Central European artistic centres of Prague and Nuremberg.
3

SANDSTONE PIETA FROM THE RIGA ST. JAMES' CHURCH. ORIGINS, ICONOGRAPHY AND STYLE (Smilsakmens Pieta no Rigas Sv. Jekaba baznicas. Izcelsme, ikonografija un stils)

80%
Grosmane E.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
19-27
EN
It is a surprising and unbelievable fact that the sandstone Pieta of so high artistic value that might feature in the permanent exposition of any museum of the world so far has gone unnoticed by both Latvian and foreign art historians. The sadly beautiful Virgin holding her son in her lap demonstrates God's final farewell to the earthly life. It is a common subject of medieval art that is distinguished by the unique quality of artistic execution. It stands out in comparison with the mean scope of medieval sculpture in the Eastern Baltic region and Latvia in particular; it is also the only stone example in the sculpture collection of the Latvian History Museum. Looking for origins of the figural group one has to stop at the Mater Dolorosa Church in Riga. A prospect drawn by Johann Christoph Brotze in 1791 depicts the choir apse of the church still oriented towards the Castle Square. There was a big open niche at the very centre of the apse where the brightly coloured Virgin, surrounded by a heavy falling cloth, was standing on a high pedestal with Christ in her lap. Outlines of the sculptural group clearly point to the Pieta from the Latvian History Museum. Following J. C. Brotze's suggestion one has to continue the search in the Riga St. James' Church. The heightened religious feelings favoured building of a chapel in this church in 1404. The sandstone Pieta is dated by the same period. The artwork itself is not mentioned in written sources, so to detect the place of its origin which is the aim of this paper, one has to take up stylistic analysis. A detailed analysis proves that the Riga St. James' Church was decorated with a very subtle and emotionally charged work of art. Some concluding remarks: the origins of the sandstone Pieta are to be found not in the Mater Dolorosa Church but in the medieval St. James' Church. This work is an imported one because there are no similar pieces in the Eastern Baltic region, the group is quite small and a cavity at its back side might ease transportation. The work belongs to the Schoner Stil horizontal versions of Pieta that flourished in Central Europe around 1400 when several centres of origin coexisted in different areas.
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FROM THE RELIGIOUS OBJECT TO THE PART OF DECORATION. CONTEMPORARY CONTEXT OF CARVED CRUCIFIXES IN KURPIE REGION (Od przedmiotu religijnego do elementu dekoracji. Wspólczesny kontekst rzezbionych krucyfiksów na Kurpiowszczyznie)

80%
Madej T.
Etnografia Polska
|
2009
|
vol. 53
|
issue 1-2
199-211
EN
This articles focuses on carved crucifixes, works of travelling folk artists, which have survived throughout the years until the modern times in the privacy of Kurpie homes. This subject of figurative sculpture in the Kurpie region was very popular in the early twentieth century. In many houses families kept two crosses in the main room. One was small and metal while the other one large, wooden, usually made by the local artist, was set in the corner of the room. Jacek Oledzki wrote about a 'special adoration' with which crucifix was venerated. It was a testimony of establishing a house, family cross or memento of their ancestors. Nowadays this wooden sculpture is preserved only by a few families. The author focuses his attention on describing the contemporary context in which they operate and the their importance for the owners. Above all, he is interested in the role and the place of a crucifix in contemporary reality of Kurpie region. The work consists of materials 'collected' during research conducted in the framework of Ethnographic Laboratory 'Contemporary Religion: from ritual to performance' at Warsaw University in 2006 and 2007.
5
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LUDOWA RZEŹBA DREWNIANA W WYPOSAŻENIU WARMIŃSKICH KAPLICZEK I KRZYŻY DAWNIEJ I DZIŚ

80%
KUPRJANIUK S.
|
2014
|
vol. 16
|
issue 2
183-202
EN
In the past, the wayside shrines and crosses in Warmia were commonly equipped with wooden rustic sculptures. For their better exposure, various architectural forms of the shrine constructions were used. However due to numerous factors, the sculptures of the Saints have not survived in their natural place. Such conclusion is springing to mind after full area and archives research. Having confronted the shrines' present state with the past, substantial loss in resources have been acknowledged. Out of 1370 wayside shrines only 69 contained a sculpture. As a result, only these sculptures, which were earlier documented and still in existence in situ, represent the only source of knowledge regarding the Warmia history, its community and culture. The origin of the sculptures is owed to frequently anonymous, local artists, who fulfilled particular social and personal orders. They used specific iconography models. One can distinguish iconography motives regarding the Christ, Holy Mary and the Saints in wooden, rustic sculptures. The most frequent motive of the sculptures regards, however, Holy Mary, with a very characteristic for Warmia – Pietà.
6

Erasing identity: Harriet von Rathlef-Keilmann

80%
Stonge C.
Makslas Vesture un Teorija
|
2013
|
vol. 16
49-57
EN
Born in Riga, Harriet von Rathlef-Keilmann was a Jewish artist and author. Virtually unknown today, she was one of the most successful woman sculptors in Germany who produced religious art in the early twentieth century. Today, all but a few of her works have vanished, erased from art history. Raised and educated in an affluent Latvian family, she benefitted from private art lessons. She had studied with the sculptor August Volz in Riga prior to studying art in Berlin and Munich in 1906-08. Upon returning to Latvia she married a Christian, Harald von Rathlef, a botanist, and they produced four children between 1909 and 1914. Despite domestic and childrearing responsibilities, she continued drawing and sculpting. Up until the first war, the Rathlefs lived in the Latvian countryside, where she made small-scale sculpture, both modelled and carved, and also participated in two exhibitions in Riga. Influenced by Medieval art, Russian icons, and folk art, she focused on creating simplified religious imagery. Rathlef-Keilmann's sculptures fit in with German Expressionist tendencies. Her works were mainly carved, and occasionally modelled in plaster and terracotta. In 1918 she fled Latvia and immigrated to Germany, where her turbulent life became intertwined with the complexities of women's emancipation during the Weimar Republic and the rise of Nazism. After relocating to Germany, the Rathlefs settled in Weimar. Despite severe financial difficulties, Harriet enrolled at the Weimar Academy of Fine Art, where she studied with the German-Jewish artist/teacher Richard Engelmann, and later briefly at the Bauhaus in Weimar. Between 1921 and 1933 her works were featured in several exhibitions throughout Germany. In 1923 von Rathlef moved to Berlin, where her reputation as a sculptor became increasingly visible. Her sculptures were featured in several exhibitions as well as German art and religious journals. Highly regarded and on the brink of success, von Rathlef planned to leave Germany in 1933 to escape Nazi persecution. Unfortunately, she was thwarted by a Nazi sympathizer, her landlord, who barred medical access to von Rathlef and she died from medical complications while she lay bedridden and helpless.
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Sedm kráčejících mužů a pohyb hmoty sochy

70%
Holý P.
Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)
|
2010
|
vol. 1
|
issue 1
23-40
EN
The study deals with a walk as a characteristic movement of sculpture. It interprets a walk as a synthesis of gestures. It does so through the centuries from Antiquity - Apollo from Piraeus - through the Middle Ages, Baroque period and 19th century towards a modern art, using the method of formal analysis and finding semantic results within wider art historical contexts.
8

SCULPTURE IN URBAN SPACE: SOME ASPECTS OF RELATIONSHIPS (Dazi telniecibas un pilsetvides attiecibu aspekti)

70%
Caupova R.
Materiali Latvijas makslas vesturei
|
2004
|
vol. 4
163-185
EN
Sculptural works of different kinds and sizes always have had their place and role in the context of wide-ranging functions and spatial structures of urban space. In comparison with buildings and other architectural objects monuments and various sculptural creations are more directly used to promote certain ideology or express the taste typical of the particular period. Political and socio-psychological factors influence their creation and assessment. Even popular sculptural works when placed in the open air are sometimes perceived as anonymous makings. They become legendary. Both organised and spontaneous ritual activities take place near monuments and different spatial objects. It is often hard to predict how sculptural works will look in the urban space and what semantic layers will be created around them. The increasing sculptural boom characteristic of many European cities around the turn of the 20th century and later was not so typical of Riga. The few monuments set up in Riga represented the ideology of the Russian Imperial power. No sculptural images expressing Latvian national self-consciousness could be created and exhibited at that time. Still one has to admit that Riga monuments and decorative sculptures from this period, mainly by German sculptors, show well-considered choices of scale and placement. One has to emphasise the German-born sculptor August Franz Leberecht Volz's (1851-1926) important role in securing the professional level of sculptural forms created in Riga urban space. This representative of the German school who settled in Riga and founded his own company has realised many commissions in both decorative sculpture and plastic decor. After an independent state was established, urban space development and especially erection of monuments became an officially supervised task. During the Soviet period monument construction was subjected to a strongly centralised administrative supervision. A little more liberal attitude towards sculptural works in public space emerged in the 1970s
9

THE MESSAGE OF STATUES OF CIRCA 1737 IN THE COURTYARD OF HOŘOVICE CHÂTEAU

70%
BAŽANT J.
Eirene. Studia Graeca et Latina
|
2012
|
vol. 48
|
issue 1-2
175-196
EN
Around the year 1737, nine sandstone sculptures inspired by classical pictorial and literary traditions were created in the workshop of Mathias Bernard Braun to crown the pillars of the cour d’honneur in front of Hořovice Château, West Bohemia. We find here (from South to North): Mercury, Herse, Caecina Paetus and Arria the Older, Hercules and the Lion of Nemea, Hercules and Hydra, Thrassea Paetus and Arria the Younger, Minerva, Mars. It is to be noted that altogether seven pillars of the gate of the cour d’honneur at Hořovice were decorated by stock statues or statuary groups from Braun’s workshop. The existence of the sculptural group of Arria the Younger, which we do not find in Braun’s workshop production or anywhere else, seems to indicate that, in this case, the patron intervened. The statues for Hořovice were ordered by Countess Maria Aloisia Stephanie, née Kinský (1707–1786), who married Count Norbert Franz of Wrbno and Freudenthal (1682–1729). After her husband’s death, she administered the Hořovice domain as the guardian of her under-age son, Eugen Wenceslas (1728–1789), who formally inherited it in 1734.The Hořovice statues might be read as a message of a mother to her son, in a manner of speaking, a letter to be opened when he grew up. It is probably not accidental that the original contribution to the gate of the Hořovice cour d’honneur was a pair of heroic women, who had not hesitated to sacrifice their lives for the sake of their family.
10

THE RIGHT OF ART, THE PRINCIPLE OF THE ARTIST, THE IMPERATIVE OF THE SCHOLAR. THE EXAMPLE OF A ROMANESQUE SCULPTOR’S WORKSHOP IN THE CONTEXT OF THE LAW OF THE FRAME

70%
Waszak P.
ARS
|
2022
|
vol. 55
|
issue 2
98 - 108
EN
The article addresses the topic of the significance of the law of the frame in academic discussion, the classification of artworks, and the pursuit to understand the formal aspects of artistic objects. It has been demonstrated how frequently and to what extent the law of the frame is included in cross-sectional publications on the history of art. The analysis has confirmed considerable importance of the said law in the teaching of the history of Romanesque art. Consequently, the basis of the considerations contained herein is a wide selection of, mostly, academic and popular academic syntheses, in which – inspired by the idea of the law of the frame and function – original observations were made already in the 1930s and in which the law of the frame was discussed to define and describe the form of artworks. The law of the frame has remained significant until today.
11

TEXTY A SKULPTÚRY/MONUMENTY (K BÁSNI Š. STRÁŽAYA MESTO A K JEJ ASOCIAČNÉMU POZADIU)

61%
Matejov F.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 4
292 – 302
EN
The text is an act of reading the poem The City from the collection The Interier (1992) by Štefan Strážay. The motif of covered sculptures is a poem set at the turn of the years 1989 – 1990. The article tracks the motifs of bad signs, spectres and revenants. It relates them to the theme of history and problematic future. The associated background to the reading is provided by the poems by L. Novomeský, M. Válek and I. Kupec written in the 1960s featuring sculptures, i.e. funeral monuments – as the witnesses, opponents, objects of historical changes. The interconnections between sculptures and lyric texts occurring in the article were inspired the works of R. Jakobson and Z. Mathauser. The article takes notice of the 1960s reflections on sculpture by D. Tatarka and J. Patočka. It confronts sculptures and city as such in Strážay´s work with the poem by F. Halas written in the troubled late 1930s. The Strážay´s ascetic, minimalist poem is situated amongst other lyric texts giving historical accounts of the late 1980s (I. Laučík, I. Kupec) and on the distant horizon of the emphatic possibilities of poetry opened up in the 1960s (M. Válek, J. Ondruš).
12

STOSS, CALLIMACHUS AND FLORENCE

61%
Ciulisová I.
ARS
|
2009
|
vol. 42
|
issue 1
34-46
EN
The article concerns Veit Stoss' works associated with Italy. His possible relationships with Italians in Krakow - Stoss came to Krakow in 1477 - are discussed here and suggestions are offered for the broader context within such contacts might have taken place. Like the figure of St Roche in SS. Annunziata and the Crucifix in Ognissanti, the sepulchral plaque of the Italian humanist Filippo Buonaccorsi, cast by the Vischers, offers additional evidence of Stoss's artistic associations with Italy. It is suggested that it might have been this exiled Tuscan scholar, diplomat, and secretary of two Polish kings, Filippo Buonaccorsi, known by his classical name Callimachus Experiens, who facilitated Stoss's possible contacts with Italy.
13

ICONOGRAPHIC STUDIES OF THE BAS-RELIEFS AND IVORIES BY PAUL EGELL

61%
Leibetseder S.
ARS
|
2013
|
vol. 46
|
issue 1
43 -50
EN
The Palatine court sculptor Paul Egell (1691 – 1752) was one of the outstanding artists of Southern German Rococo. Due to his fine carvings and use of precious materials, such as ivory or gilded lime wood, especially his small size bas-reliefs have always been highly estimated. Scholars as Adolf Feulner or Theodor Demmler first commented on the aesthetic values of these in the 1920s and 1930s and much research has been done since. Yet, it is a critique of style that is prevailing within the discussion of this works. Along with other questions it has not been mentioned that the iconography of his bas-reliefs is rooted within the tradition of the late medieval passion images. Therefore this essay sets its focus on Egell’s reception and development of new iconographic patterns based on medieval passion images.
14

Wiecznie w drodze. Dziennik namalowany

61%
Kramm A.
Sensus Historiae. Studia interdyscyplinarne
|
2011
|
issue 2(3)
167-181
EN
This excerpt comes from the paper Lapili. Stepping beyond the threshold of artistic innovation in the dialog between tradition and novelty. It’s a kind of study that takes on different forms, just like a picture, sculpture or any other form in fine arts is a space for artistic expression of its creator. This space contains ambiguous references to culture and history. It’s become a rule that journey is used as a metaphor for human life and traveling is about being on the move, learning, seeing, getting closer. And it’s not numerous destinations but curiosity that drives us to the end of our journey while the source of this powerful curiosity lies in motivation. It should be noted that the instinct of curiosity, of searching for novelty, and the fascination with the unknown make for the lifestyle that implies a certain worldview or philosophy. It implies that the world we live in and that we experience is worth something. I have opened myself up to the idea of remaining forever on the road, of journeying, learning about the world, getting to know myself better, growing up and changing who I am, while the knowledge and experience of the world gained through traveling have changed the way I view the world. This is the title I’ve given to the first part, which is a painted diary. It’s an attempt to describe that which has already been organized in my memory. An artist travels unlike a tourist. Travelling is for him a journey in search of an inspiration and intellectual stimulation. Travelling can be seen as a way of learning. Knowledge stems from observation, which is studying, and being on the move becomes a method of scientific moving about in the world, the world in which observation is a paradigm of learning, for which it is necessary to ‘be there’. My journey has one aim — to discover and see a new, to make new associations and memorize: ‘[…] hope that something amazing will happen there… otherwise we only shelve our ambitions because we know very well what we’d like to discover and be enchanted by’. Travelling, searching for new places, learning about the world in the process and taming new territories facilitate creative perception and give inspiration; however our memory remains enclosed in our private and subjective experience of the world. From the perspective of journey, learning is a structure of my paintings.
15

EINE ANDERE MODERNE IM PARIS DER DRITTEN REPUBLIK. DIE „FONTAINES WALLACE“ UND JULES COUTANS „PORTEUSE DE PAIN“ ALS AVANTGARDE-KUNST

61%
Körner H.
ARS
|
2021
|
vol. 54
|
issue 1
3 – 32
EN
The first study, which deal with works of the ‘other modernity’ of the French 19th century, deals with objects that, as multiply producible and stylistically eclectic objects, fell through the Modernist grid, although they correspond exactly to a definition of the avant-garde as formulated in the succession of Saint-Simon. The second study asks whether the iconography of “modern life”, in the sense of Charles Baudelaire’s “Le peintre de la vie moderne”, should not be added to the definition of modernity - against a limited formalist definition of modernity.
16

TALE OF TWO CHURCHES: COURT AND PARISH PROJECTS AT ST. STEPHEN’S IN VIENNA

61%
Juckes T.
ARS
|
2020
|
vol. 53
|
issue 2
112 – 137
EN
The article explores St. Stephen’s in Vienna as an ensemble of visual media that responded to the devotional and commemorative needs of its late medieval congregants. A holistic approach to aspects of the church’s architecture and integral sculpture is used to refine the prevailing view of the church as an emblem of Habsburg patronage. On the basis of the wide-ranging plan changes that were adopted in the period after Rudolf IV’s death, it is argued that the parish’s patrician elite came to play a pivotal role in shaping one of Central Europe’s most important city churches.
17
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AGEING, AURA, AND VANITAS IN ART: GREEK LAUGHTER AND DEATH

61%
Babich B.
ESPES
|
2023
|
vol. 12
|
issue 1
56 – 86
EN
Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne.
18

O SOCHÁRSTVE, PRÍRODE A DOTYKU – Z FENOMENOLOGICKEJ PERSPEKTÍVY

61%
Vydrová J.
ARS
|
2023
|
vol. 56
|
issue 1
57-62
EN
The text aims to present the possibilities of a phenomenological interpretation of a work of art, leading to a significant thematization of corporeality, sensual perception, and man’s in the world and nature. Tracing these motifs is based on examples from the work of Maria Bartuszová and Juraj Gavula and on analyses by Jan Patočka and Petr Rezek on sculpture and haptic resonance. The first part of the text concerns the context of creation and the penetrating to the basic form, its constitution, and Jakob von Uexküll’s notion of umwelt comes into play here. The second part concerns the phenomenological analysis of corporeality, touch and movement concerning the formation of the transition from inside to the exterior. Finally, we propose two possibilities into which this thinking can lead, which we present at the end of the text – one is a way to care for oneself, others and the world through a revival of the original relationship to corporeality in handmade art, the other is to trace the possibilities of a haptic resonance of the artwork that reveals the authentic experience of the standing of the world.
19

THE SIGISMUND CHAPEL (1515-1533). MAUSOLEUM OF KING SIGISMUND WITHIN THE CIRCLE OF HUMANIST IDEAS OF THE JAGIELLONS' COURT IN CRACOW

51%
Mossakowski S.
ARS
|
2009
|
vol. 42
|
issue 1
153-167
EN
The article deals with a sumptuous mausoleum in the Italian all'antica style - the Sigismund Chapel (1515-1533) - initiated by King Sigismund I (1467- 1548), who was educated within the circle of Cracow humanists (e.g. Filippo Buonaccorsi, called Callimacho Esperiente). It offers information on the process of raising and decorating the edifice adjacent to the Cracow's Cathedral, description of external and internal architectural and decorative elements and the analysis of stylistic forms and iconographic programs of the sculptural decor.
20

THE ROLE OF POLITICAL FACTORS AND ADMINISTRATIVE RESOLUTIONS IN SCULPTURE (Politisku faktoru un administrtivu lemumu loma telnieciba)

51%
Caupova R.
Materiali Latvijas makslas vesturei
|
2006
|
vol. 5
156-165
EN
Sculpture in public space has been subjected to influences of ideological and political contexts as well as commissions from dominant authorities and religious institutions in almost all periods of history. Monuments realized in permanent materials have served to declare the might of the dominant political system, its ambitions and pretensions of existence. As sculpture in public space became an instrument of propaganda, administered territories were marked not just with works created in valuable materials but pieces in more modest materials as well. For instance, during the first post-war years public space was mapped with numerous plaster or concrete busts and figural monuments of Lenin erected at central town squares, close to institutions and schools but highway sides, parks, sanatoriums and kindergartens were decorated with kitschy plaster sculptures of pioneers, sportsmen and other cliche figural motifs found throughout the USSR. These plaster figures were cast at the USSR Art Foundation workshops after several officially acclaimed etalons and sometimes local artists were involved in realizing commissions based on accepted patterns. According to the slogan that art should be socialist in content but some traces of national culture can show in its form, there were also figures in national costumes. This low-quality mass art production in Latvia was called 'highway ghosts' or 'plaster ghosts'. Artists protested against these superficial sculptures made of cheap materials, and such objects were gradually removed. The plaster and concrete images of Lenin started to deteriorate and ruin in open air but it was not allowed to dismantle them. In the 1960s, 1970s and 1980s they had to be replaced by monuments in permanent materials - granite and bronze - in almost every town of Latvia. During this period of occupation Lenin monuments and memorial ensembles dedicated to Soviet soldiers made up the most part of sculpture in the public space.
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