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1

ALWAYS FORWARD! EDUARDS KALNINS' CREATIVE DEVELOPMENT AND ROME SCHOLARSHIP (Vienmer tikai uz prieksu! Eduarda Kalnina veidosanas periods un Romas stipendija)

100%
Konstante I.
Makslas Vesture un Teorija
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2004
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vol. 3
29-39
EN
The article deals with the creative career of the famous Latvian painter Eduards Kalnins (1904-1988), focusing on the inter-war period and studies in Italy. Kalnins, born and grown up in Riga, could simply and elegantly speak with highly educated people and fishermen, peasants and simple vagrants. He had enough diplomatic wisdom to avoid repressions regardless of the state power. His human capacities, infallible sense of superior power and its entrapments, and keeping silent when necessary were obviously decisive. Kalnins' single hired position was closely connected with painting - it was instructor's work at the Latvian Academy of Art. In 1945 he became instructor at the Academy's Painting Department and all the rest of his life was involved in pedagogical work, training almost all students at the Easel Painting Studio in the 1950s -1970s. During the last eight years he was academician of the USSR Academy of Art, holding his master studio in Riga where several talented painters have perfected their skills. During the early period of his career his wide interests included almost all genres of painting - portrait, figure scenes, still lifes, landscapes, seascapes. Still he was first of all disciple of the Professor Vilhelms Purvitis' Landscape Painting Studio, and profound image of nature was an equivalent, characterising component of his figural paintings. Already at the Academy Kalnins was noted by his subtle grey colouring complemented with brighter accents. Alongside smooth paintings with some loosened spots, he used thick brushwork, a little nervous and imbalanced painting. In 1934 the so-called Rome Foundation Scholarship competition was established, activating the young generation of artists. Kalnins submitted the competition work 'Raftsmen' and gained a victory over 23 candidates. 'Raftsmen' concluded an entire epoch in his career. The national subject may have been derived from the elaborated Dutch traditions and corresponded to Latvian mentality and national patriotism of the late 1930s. In August 1935 Eduards Kalnins went for one year of studies to Italy.
2

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.
3

THE PAINTING 'TWILIGHT' BY VILHELMS PURVITIS (Vilhelma Purvisa glezna 'Mijkreslis')

100%
Veiherte I.
Makslas Vesture un Teorija
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2006
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vol. 5
78-80
EN
The article explores the painting 'Twilight' (1893) by the famous Latvian landscapist Vilhelms Purvitis found in a private collection. It belongs to Purvitis study years (1890-1897) and is the earliest of his large-scale paintings. The lyrical landscape was possibly created in St. Petersburg, after sketches made in open air. The article traces similarities with Russian painting of the period as well.
4

PETERIS KRASTINS' SYMBOLIST VISION OF NATURE IN THE CONTEXT OF EUROPEAN ART (Petera Krastina simboliskais dabas redzejums Eiropas makslas konteksta)

100%
Abele K.
Materiali Latvijas makslas vesturei
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2000
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vol. 1
92-103
EN
The Latvian painter and draughtsman Peteris Krastins (1882-c. 1942/43), whose promising artistic career was ruined by a mental disease in the early 1910s, so far has been mostly remembered for his dreamy vision of the Jardin de Luxembourg in the permanent exposition of the State Museum of Art in Riga. This publication brings into discussion another, almost obscure aspect of his work - numerous sketchy depictions of the domestic North Latvian scenery, produced in pastels, watercolor or mixed soft media on various rough paper backgrounds of different color. These particularly small and delicate, but boldly stylized series of clouds, forests, marshes and bogs in the graphic collection of the State Museum of Art date back to 1905-1907 when Krastins was studying stage design in the Stieglitz Central School of Technical Drawing in St. Petersburg. Marked by daring simplicity of form, associative use of color and texture, and overpowering intensity of feeling, the studies convey the artist's heartfelt empathy with the life of nature and represent emotional experiences ranging from moody lyricism to anxiety, depression and fear. 'They look very much like colored drawings, yet it seems that the drawing has no other use than to conduct the grand symphony of color. ( ...) And every fragment is brimming with life and vitality, even though the whole is veiled in a deep melancholy', the writer, artist and critic Janis Jaunsudrabins wrote in 1908. Krastins' evocative landscape miniatures are a perfect supplement to the greatly earth-bound picture of early-20th-century Latvian art, but, as their formal and emotional particularity set them apart from the painted work of other compatriots, helpful analogies should be sought elsewhere In terms of emotional expression and formal stylization, similar effects in their landscapes were frequently achieved by Jan Stanislawsky, Edvard Munch, Emil Nolde, Paula Modersohn-Becker, Adolf Hoelzel, Waiter Leistikow, the early Piet Mondrian, Mikolajus Konstantinas Ciurlionis and other artists of international reputation.
5

ART NOUVEAU AND LATVIAN LANDSCAPE PAINTING AT THE TURN OF THE 20TH CENTURY (Jugendstils un latviesu ainavu gleznieciba gadsimtu mija)

100%
Kacalova T.
Materiali Latvijas makslas vesturei
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2000
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vol. 1
70-73
EN
At the time when Art Nouveau first arrived in Latvia, landscapes were a favored genre - one which offered a wealth of subjects and motifs and which was inherited from Russian and Scandinavian artists who had worked in the spirit of Realism. A successful study of this issue would allow us to determine the phases that were important to the development of the genre more completely, because in Latvia, Art Nouveau did not replace earlier styles, but co-existed with them. Most often, Art Nouveau was expressed as an ingredient in solutions which conformed to the demands of other styles. The arrival of Art Nouveau elements in Latvian landscape painting was a gradual process, and there are relatively few landscapes that are typically Art Nouveau in style. Art Nouveau did not subjugate Latvian art, but it did affect the mentality of Latvian artists. The main resources of its formal idiom (decoration and rhythm) awakened centuries-old sub-conscious understandings of these values, thus facilitating the establishment of a national art. A vivid example of Latvian landscape painting at the turn of the century is provided by the work of Vilhelms Purvitis (1872-1945) who, more than his contemporaries, managed to adapt the formal idiom of the new style to the needs of landscape painting while at the same time not turning his works into typical Art Nouveau stylizations. There should be more research on the work which Purvitis did in the late 19th and early 20th century, because it hides the key to revealing the most important aspects of Art Nouveau iconography and, by extension, the key to a broader understanding of Latvian landscape painting.
6

FROM IDYLL TO LANDSCAPE OF DARKNESS AND SPECTRES: THE CESKÉ STREDOHORI IN THE WORK OF EMIL FILLA

100%
Winter T.
Umění (Art)
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2004
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vol. 52
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issue 1
37-51
EN
The paintings of the Ceské stredohori (Czech low mountain range), a hilly region of volcanic origin in north-western Bohemia, occupy a special position in the work of the painter and sculptor Emil Filla. They were made at the very end of the artist's life, in 1947-1952. Because of the subject matter of the paintings and the shift towards a more realistic form of depiction, certain theorists tended to classify them as socialist realist, the trend that dominated Czech plastic arts in the 1950s. This classification is no longer tenable, considering the wider historical context and the formal qualities of the works in question. These paintings do not represent a fundamental revolution in Filla's work; rather, they develop on his earlier landscape pieces. In the first half of the 1920s, he drew motifs from the Turnov region; the landscapes from the area of Máchovo jezero (Mácha's Lake) date from 1929. Moreover, after 1948 the painter was personally affected by a number of events. The official ideological rejection of Cubism as 'formalism' had a tragic culmination for Filla in the so-called trial: in June 1951, the members of the 3rd regional centre of the Union of Czechoslovak Artists Mánes discussed the artist's cycle Songs. The outcome of the 'trial' was that Filla was forbidden to exhibit anything but landscapes of the Ceské stredohori. These circumstances were reflected in the painter's works. After 1951, he no longer presented the landscape as an idyllic place, a closed hortus conclusus. The dramatic and expressive qualities of the works were heightened; at the same time, the influence of the paintings of Jan van Goyen and Chinese landscapes was apparent. Shortly before that, Filla had treated them in a theoretical study. He interpreted the Chinese landscape as a timeless, static place of 'absolute emptiness' and introduced these qualities into his paintings of the Ceské stredohori. This sort of conception of the landscape was at odds with the demands of socialist realism. Thus, in this phase, one can interpret the infiltration of forms of Chinese art in Filla's landscape work as a deepening of the universal dimension of the landscape, as well as an act of resistance against the dominant ideology. In the 1951 discussion of Filla's cycle Songs, some of those present had objected in particular to the inspiration of Chinese art that was manifest both in the format of the works, derived from the Chinese or the Japanese kakemono, as the case may be, and in the stylisation, based on Chinese models. Thus, in Filla's case, the forms of old Chinese painting ended up in the same position as Cubism. From the socialist realist point of view, these forms were undesirable, in particular in treatments of the Czech landscape and other 'national' themes. Thus, the introduction of the style of Chinese painting to pictures of the mountain range was not a dodging manoeuvre or a humiliating concession, but rather a provocative challenge to the stagnant ruling ideology. This was so even though Chinese artwork was admired by representatives of official circles in Czechoslovakia after 1952. It is clear that even at the end of his life, Filla was true to his reputation as a defender of freedom and the autonomy of art. Idyllic landscapes became landscapes of the spectres that pursued the artist in difficult times and oppressed his psyche.
7

THE LANDSCAPE PAINTING MASTER STUDIO OF THE LATVIAN ACADEMY OF ART. STRUCTURE. FACTS. STUDENTS (Latvijas Makslas akademijas Dabasskatu meistardarbnica)

100%
Ogle K.
Makslas Vesture un Teorija
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2003
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vol. 1
24-38
EN
The founder of the Latvian Academy of Art, its first rector and tutor was Vilhelms Purvitis (1872-1945), who also ranks high in Latvian art and is unquestionably its most outstanding landscape painter. Ever since the opening of the Academy (1921) Purvitis taught painting and ran the Landscape Painting Master Studio until 1944. Due to his great experience and broad outlook, Purvitis was a competent tutor. There were two main grades for Landscape Painting Studio's apprentices - those who were admitted and the entering ones, but the difference between them was not strictly determined. To be admitted meant to spend some trial period under master's supervision. For some students it could last for several years, but others (especially those who crossed over from other studios) could enter the Landscape Painting Master Studio at once. The Master Studio saw very different students in terms of number (e.g. 2 students in the first study year or 30 in 1932/33), nationality (basically Latvians, but also 2 Russians, 1 Lithuanian, 1 Osset), age (from 17 to 40). 90 people passed through Purvitis workshop at all. 49 of them graduated from the master studio by working out the diploma work. Students deeply respected him because of their master's sensitive and individual approach to each one of them. Purvitis chose the most talented young artists for his studio - the selection was carried out during the autumn shows. The most significant indicator for the aspirants of the Landscape Painting Studio seemed to be the profound sense of color - the master was sure that this was the ability, which could not be taught and depended only on student's inherited talent. The painter taught his students to strive for pure tonality, tightly constructed composition and generalisation of the image. Meticulous nature studies resulted in a deep feeling and thorough understanding for Latvia's nature. Like Arkhip Kuinji, Purvitis' teacher at the St. Petersburg Imperial Academy of Art, the master never forced his style onto his students.
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