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1

NEO-CLASSICISM IN THE DECORATIVE SCULPTURE OF ART NOUVEAU IN RIGA (Velreiz par neoklasicismu Rigas 20. gadsimta sakuma arhitekturas dekorativaja telnieciba)

100%
Grosa S.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
74-83
EN
In analyzing the architecture of turn-of-the-century Riga, it is important to evaluate the style of decorative sculpture that was used in the construction process. This is a subject that has received scant attention from specialists so far. Some of the materials can be classified as belonging to Neo-Classicism. The fact that we can find elements of Neo-Classicism in the decorative sculpture of early-20th century architecture in Riga, moreover, allows us to expand the chronological frontiers which apply to this particular movement in Latvia. As the result of a comparative analysis, we have found several specific aspects of decorative sculpture in early-20th century Rigensian decorative sculpture that can be attributed to Neo-Classicism. These are found in clear efforts to imbue the style with regional motivation, taking a fairly free approach to the classic inheritance of the movement, as well as in close links and reciprocal effect with late Art Nouveau and National Romanticism. International influences were important, too. The trends toward Classicism expanded the range of expressive opportunities that were available to sculptors, letting them search for new forms of plastic expression. There were also changes in the range of decorative and iconographic motifs, promoting the development of allegorical and story-telling compositions in the external decorations of buildings. Riga's Neo-C1assicist decorative sculpture tended to be quite concrete in terms of iconographic expressiveness, and the trend was toward sculpture which really told a story. Sometimes a certain craftsmanship in execution of a sculpture could diminish the academic seriousness and attribute more liveliness to the depiction. At the same time, however, we also find professionally valuable interpretations of classical themes - ones in which the link to the conventional traditions of Classicism was unimportant in the shaping of subjective allusions to mythological themes.
2

THE OTTO & WASSIL DECORATIVE SCULPTURE WORKSHOP IN RIGA AT THE TURN OF THE 20TH CENTURY (Dekorativas telniecibas darbnica Otto & Wassil Riga 19. - 20. gs. mija)

88%
Grosa S.
Materiali Latvijas makslas vesturei
|
2004
|
vol. 4
95-104
EN
Authorship questions of decorative finish of 19th and 20th century architecture in Riga are still largely unexplored because documentary evidence found in construction histories of buildings does not reveal the executors of decoration works. Information can be sorted out from advertisements, address books or daily press but it is superficial and incomplete. Between 1899 and 1914 there were about twenty workshops of decorative sculpture in Riga; most of their masters were new-comers and workshops functioned for short periods of time. They specialised in different kinds of commissions, and since 1876 the largest and most stable firm of decorative sculpture in Riga belonged to the sculptor August Volz who came from Berlin. Volz is the only Riga sculptor of this branch whose career has been examined in a greater detail. Unlike Volz's company, the role of other workshops is less clearly definable, still Otto & Wassil (after 1903 Wassil & Co) can be considered as one of the most influential workshops of decorative sculpture from 1900 to 1906. The sculptors Zygmunt Otto and Oswald Wassil were founders of this workshop. Data on Wassil is scarce, but quite detailed information on Zygmunt Otto's life and work has been found in Poland. Otto was born in Lvov, 1874, and died In Warsaw, 1944. He studied at the Krakow Academy of Art and specialised in decorative sculpture, although he worked in other branches as well. Otto has elaborated the decorative finish of many buildings in Warsaw, but his Riga period, although short and quite contradictory, gives an idea of his early career. Otto & Wassil received the golden medal for the design of an allegorical decorative fountain at the exhibition of Industry and crafts dedicated to Riga 700th anniversary (1901), but the work was never realised. It is known that the firm produced decorative finish of buildings, and the author of this paper has attempted to expand the list of their achievements by attributing a number of particular examples. Activities of Otto & Wassil in the decoration of Riga buildings promoted influences coming from Berlin and Vienna. This workshop made an important contribution to the plastic decor of several rent houses and shop buildings of the early Art Nouveau period in Riga.
3

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

88%
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
4

Ekes konventa epitāfija laikmeta dekoratīvās tēlniecības kontekstā

63%
Ancāne A.
Makslas Vesture un Teorija
|
2019
|
vol. 22
6-22
EN
Ecke’s Convent epitaph is among the most renowned monuments of decorative architectural sculpture in Riga’s early modern-period art history. This article aims to draw attention to the chronological problem of the epitaph’s sculptural part and ornamental frame, the iconographic content of the composition and printed samples as well as the formal analysis and stylistic influences. In 1589, Burgomaster, Burgrave and one of Riga’s best educated and influential patricians of the time, Nicolaus von Ecke, founded a home for the widows of the Small Guild poor craftsmen in a 15th century travellers’ shelter, undertaking the renovation of the house. Reconstruction of the main building took place in 1594–1596. In 1618, a stone epitaph was installed in the central part of the convent building; it became the compositional and thematic accent of the façade. The frame of the epitaph is shaped as an ornamental cartouche, using Mannerist expressive means – scrollwork, strapwork and floral motifs. The central part of the relief features a sculptural group illustrating the New Testament subject of Christ and the Woman Taken in Adultery. The artist has represented the human figure in both low and high relief, in places approximating sculpture in the round. Background figures are made in the technique of rilievo schiacciato, achieving a painterly, vanishing effect. The figures have slender proportions and small, classically shaped heads with finely elaborated details. The high artistic level indicates the significance of some active European centre. The latest inspection (2018) has shown that the material used is most likely limestone. Since the 1930s, there had been a deep-seated assumption that different artists authored the epitaph’s frame and relief, the frame being made in Riga while the relief – imported from abroad. However, the inspection proved that the sculptural relief and the decorative frame are made of the same material. This allows us to hypothesise that both parts belonged to a unified compositional structure from the start, subjected to certain principles of proportioning. Initially the surface of Ecke’s Convent epitaph was probably polychrome, painted over many times later.
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