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1

Autoru meklejumos: Baltijas un Peterburgas vacu makslas kritiki 19.-20. gs. mija un vinu ieguldijums latviesu makslas popularizesana

100%
Abele K.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
98-124
EN
The reader is invited to follow the researcher on her way from the abbreviated signature marks to obvious or hidden clues for eventual attribution of their owners and further on to often extraordinary biographies. The venture results in bringing together a colourful society of personalities interested in art who were born between the late 1840s and mid 1880s and who represented partly incompatible aesthetic platforms and basically moved within the area between St. Petersburg and German cities, the most distant sites of activity being located in the USA. Among these people, architect and art historian Wilhelm Neumann (1849-1919) is one of the very few who already hold a place of prominence in our cultural history, but his regular reviews for ‘Rigaer Tageblatt’, signed with -n, N., N-n, -nn or W. N-n, still is an almost obscure fragment in the work of this versatile intellectual. Other dramatis personae elucidated in the narrative are: Woldemar Baron von Mengden (1867-1939, sign. W. B. M.) - secretary of the Riga Art Society (Riga(sch)er Kunstverein); Friedrich Moritz (1866-1947, sign. -tz) - painter and art critic of ‘Düna-Zeitung’ in Riga until his emigration to Berlin in 1906; Ernst von Blumenthal (1872-?, sign. -en-, -um-) - section editor of ‘Duna-Zeitung’ and afterwards ‘Rigasche Zeitung’; Alfred Blumenthal (1876-after 1939, sign. Alfred Bl., A. Bl., B-l (?)) - art-interested freelance contributor to ‘Düna-Zeitung’, Wilhelm Neumann’s godson but most likely no close relative of the editor; Dr. Alfred Ruetz (1876-1955, sign. A. R.) - co-publisher and editor of ‘Rigasche Rundschau’, next to his father Richard Ruetz; Gerhard von Rosen (1856-1927, sign. G. v. R.) - painter and contributor to ‘Rigasche Rundschau’; Wilhelm Sawitzky (1879-1947, sign. W. S., S-y) - culture journalist in Tallinn (‘Revalsche Zeitung’) and Riga (‘Rigasche Rundschau’, ‘Rigasche Neueste Nachrichten’, ‘Baltische Post’) until 1911 when he left the Baltics for the USA to become a prominent researcher of early American painting in his later life; and many others.
2

K FENOMENOLÓGII UMELECKEJ KRITIKY

100%
Lipták M.
Filozofia (Philosophy)
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2017
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vol. 72
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issue 10
813 – 824
EN
Husserlian phenomenology can analyse the art criticism in two ways: first, it can analyse its very transcendental possibilities; second, it can analyse it as a particular cultural institution. The former approach places art criticism within analyses of pure consciousness at the “crossroad” between aesthetic and natural attitude while arguing for primacy of the aesthetic experience in artistic value judgment. This analysis comes with a particular normative prescription for the art criticism. However, such prescription does not sufficiently address the multifaceted tasks the living art criticism takes upon itself. Therefore, the article investigates and outlines the latter approach, too, that is, the ways in which Husserlian phenomenology can engage with the art criticism as a cultural institution. Leads are offered by Husserl’s treatment of the ethical dimension of vocation, which could be fruitful for the art criticism as well.
3

Latvijas Makslas akademijas Ainavu glezniecibas meistardarbnica pirmas brivvalsts makslas kritikas vertejuma

100%
Ogle K.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
150-164
EN
From 1924 until 1942 the Landscape Painting Master Class of the Latvian Academy of Art presented the work of its pupils at 16 Academy exhibitions. Examining the reviews of these shows published in the inter-war periodicals, it seems important to note that the artist’s individuality comes to the foreground since the first exhibition. This is especially the case with regard to the Landscape Master Class headed by Vilhelms Purvitis (1872-1945) whose students are initially blamed for imitating the master’s style. Over time, art critics gradually notice in the budding landscapists’ works not just the influence of Purvitis but of other Latvian artists, too. Authorities representing other genres have also been mentioned such as Valdemars Tone, Janis Liepins, Gederts Eliass and Oto Skulme. Apart from local artists, foreign masters such as Maurice de Vlaminck, Nicholas Roerich, Konstantin Bogayevsky or even entire national schools, for example, the popular Belgian painting, also played their role. Thanks to the Belgian impulses, Purvitis’ students enhanced their experiments in painterly qualities, taking advantage of strong colours, pronounced brushwork and formal finish in a wider sense. However, ‘bright Western European impulses’ were often an invitation to hide imperfect drawing behind a virtuoso brushwork which was usually noticed and criticised by keen observers of art life. It is well known that Purvitis considered thorough studies of nature to be the primary task of landscape painting in both his individual creativity and pedagogical practice. Still, attaining the ideal balance between plain natural forms and the most suitable expressive means, typical of Purvitis’ own art, was often hard for his students. However, this process gradually developed the individual style of each future landscapist. Firstly, art critics detect growing autonomy in the landscapists’ attempts to develop individual expressive traits such as the tonal approach or contrasting colours, the search for a unique type of brushwork or compositional schemes closest to their vision. Secondly, the future landscape painters, stimulated by the Head of the Master Class, try to define their favourite scope of subjects, thus revealing a very wide spectrum of Latvian landscapes. Thirdly, observers especially praise the young landscapists’ ability to include figural motifs in their canvases as well.
4
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OD DEFINICE KE KRITICE

100%
Skalický D.
ESPES
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2019
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vol. 8
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issue 1
20 – 26
EN
What is the sense of the question “What is art?” It may seem that the only adequate answer will be the effort to define the notion of art, that is, the exclusive purpose of this question is the classification of art and encompassing all artefacts regarded as works of art and distinguishing them from those do not belong to art. The study points to the connection between our classification of artefacts and our evaluation and understanding of them. It also recalls reflections on the subject “What is Art?”, which does not even attempt to define it. Their aim is different: to change our understanding, evaluation or explication of art.
5

SOCIALIST REALISM IN THE PERIODICAL 'LITERATURE AND ART'. THEORETICAL BASIS OF ART CRITICISM IN THE SOVIET TIME (Socialistiskais realisms laikraksta 'Literatura un Maksla'. Padomju perioda makslas kritikas teoretiskie pamati)

100%
Pelse S.
Makslas Vesture un Teorija
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2003
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vol. 1
16-22
EN
This article aims to elucidate the evolution of Socialist Realism, the central art-theoretical term of the period 1945-1980, as it appears in the weekly periodical 'Literatura un Maksla' ('Literature and Art', 1945-1990). The doctrine of Socialist Realism was proclaimed as the only permitted one during the All-Soviet Union Writers' Congress in 1934 and inculcated in the newly occupied territories, including Latvia, after 1945. It can be partly interpreted as a continuation of the old European traditions in art theory. 19th-century Realism was one of the central building-blocks of this doctrine but one should note also the very idea of art as a theoretically grounded activity that has to represent reality. As the ancient theory of art as representation did never mean precise copying but a kind of idealisation that became heavily dependant on classical models studied in European art academies, the doctrine of Socialist Realism inherited this basic idea of academic theory that art can be taught and artists' professional skill is essential. The most paradoxical conclusion to be drawn from this study - critics had no other criteria, except their intuition and feeling, to decide whether an artwork is 'right' or 'wrong' from the viewpoint of Socialist Realism. Nobody, of course, has been able to explain, when and how exactly an innovative feature that might enrich Socialist Realism turns into contestable deviation from its supposedly 'objective', 'professional', 'ideologically true' course. It is possible to assume that the ongoing extension of the notion of Socialist Realism was a simple reaction to the evolution of artistic practice. At the same time, it is not provable that situation in art forced to expand the notion's boundaries against the authors' true conviction. The term of Socialist Realism can be surely metaphorically compared to an empty shell whose ever-changing content deserves to be studied in the wider context of Western art-theoretical thought.
6

INTERPRETATIONS OF JAZEPS GROSVALDS' WORK AS A MIRROR OF THE LATVIAN ART CRITICISM AND ART HISTORY (Jazeps Grosvalds Latvijas makslas kritikas un makslas vestures spoguli)

100%
Klavins E.
Materiali Latvijas makslas vesturei
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2001
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vol. 2
130-141
EN
The work of artist Jazeps Grosvalds has been periodically interpreted throughout the 20th century in Latvian art criticism and art history. Evolution of conclusions about Grosvalds' work combined with texts dedicated to other themes allows to develop a very concentrated look at the way in which historiography of Latvian art developed. At the beginning of the century Grosvalds soon became known as an innovator in the context of the important polemic between Modernists and Traditionalists. After Grosvalds' premature death in 1920, his art began to be seen from a historical perspective. Initial interpretations contained more in the way of Modernist accents (Romans Suta, Olgerds Grosvalds, Edvards Virza), but as time went by, increasing emphasis was placed on the 'Latvianness' of Grosvalds' work, with observers (Janis Silins, Uga Skulme) seeking to link his art to ancient local traditions. In the 1930s Grosvalds was posited as the establisher of the 'national style' and the 'national epos' (Boris Vipper), fully in line with the official cultural policies of the day. During the first year of the Soviet occupation articles continued to appear on Grosvalds' anniversary - largely through inertia. During the first decade of the second Soviet occupation, Grosvalds' name all but disappeared from publications in Latvia, only to be brought back into consideration later. Grosvalds' work, however, continued to be interpreted in accordance with the Soviet era's insistence on dogma of sociologically motivated art history, though at the same time legitimizing the artist's undeniable significance by the broadened concept of Realism (Skaidrite Cielava). In Latvian literature that was published in the West, traditions that had been established during the inter-war period continued to be applied. A significant change in attitudes toward Grosvalds has appeared in the last decade, even though the scattered excursions into his art and his life can still be seen as analogies to the fragmentary nature of depoliticized and free art history of contemporary Latvia.
7

Socreālisma klasiskā modeļa adaptācijas Latvijā pirmajā padomju varas gadā (1940–1941)

75%
Pelše S.
Makslas Vesture un Teorija
|
2021
|
vol. 25
55-69
EN
The article focuses on the short Soviet episode between the independence period and the subsequent German occupation, introducing Socialist Realism as a new paradigm for Latvian art theory and criticism. The doctrine had emerged in the USSR during the 1930s and was codified at the First Congress of Soviet Writers (1934) by Stalin’s propagandist Andrei Zhdanov in his famous speech. He proclaimed writers to be “engineers of human souls”. They were urged to represent reality in its “revolutionary development”, educate the working people in the spirit of socialism as well as to use the best achievements of all previous epochs for these purposes. Reflections of the regime’s officials as well as artists, art historians and critics on Socialist Realism appeared in Latvian periodicals by mid-1940. One of the most theoretical articles was published in the newly founded literature monthly Karogs by the renowned Russian-born art historian Boris Vipper (1888–1967) who came to Latvia in 1924 and returned to Moscow in 1941. He saw Socialist Realism in a quite Hegelian mode. Socialist Realism was popularised in articles praising Russian and Soviet art, for instance, on the Realist trend of the Peredvizhniki (Wanderers). More general surveys emerged too, mainly extolling the flourishing present in particular kinds of arts. Most of these surveys appeared soon after the occupation, likely aiming to quickly educate the public in the newly conquered territories. Some positive reviews on the USSR cultural scene even predated the occupation for example, in the magazine Atpūta whose editors had been involved with the Society for the Cultural Rapprochement with the USSR, functioning as a de facto recruiting agency for the future puppet government. A different tendency was to speculate on local precursors of Socialist Realism or at least some similar phenomena. Most of these pieces emerged in late 1940 and 1941, suggesting some time was needed in the attempt to inscribe the local heritage into the new paradigm. The first Soviet year reveals both continuities and interruptions in regard to the previous period. On the one hand, authors still promoted the traditional neo-realist approach and critique of avant-garde extremes; on the other, they sometimes radically shifted their opinions in favour of Russian art. Most seemingly attempted to somehow “tame” the new doctrine, associating it with established artistic values; these, however, could be exonerated only after Stalin’s death (1953) that started the modernisation and actual disintegration of Socialist Realism.
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