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1

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

100%
Smite E.
Makslas Vesture un Teorija
|
2006
|
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.
2

Roberts Johansons un mākslas fotogrāfija

100%
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.
3

Skatpunktu maiņa. Rēveles periods (1906–1909) un tā atbalsis Vilhelma Purvīša dzīvē un glezniecībā

72%
Ābele K.
Makslas Vesture un Teorija
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2020
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vol. 24
18-42
EN
All biographies of the prominent Latvian landscape painter Vilhelms Purvītis (1872–1945) and almost every overview of early 20th century Latvian art briefly outline the period between two dates in his career – 1906 when he left Riga for Tallinn (old Latvian: Rēvele; German: Reval) to teach drawing in two secondary schools and 1909 when he returned to head the Riga City Art School. Nevertheless, Latvian authors in their representation of Purvītis’ Tallinn period have left unnoticed that this city was not only the object of his impressions painted alongside his teaching duties but also a cultural centre where Purvītis’ art was highly appreciated by critics and the public alike. This continuous ignorance has resulted in misinterpretations and unverified assumptions. Exploring the inner network of Baltic art life beyond the borders of present day national states, the author has attempted to fill in the existing gaps of knowledge. The sources of this study include originals and reproductions of Purvītis’ paintings of the Tallinn period, notices, reviews and advertisements in Baltic German, Latvian, Estonian and Russian periodicals from 1906–1909, catalogues of exhibitions and museums, documents in Estonian and Latvian archives as well as the memoir of Purvītis’ Tallinn pupil Alfred Rosenberg whose shameful role in the history of the Third Reich does not detract from the fact that some episodes of his Last Notes give illuminating evidence about the activities of the Latvian painter in the Estonian capital. The main intertwined questions in the article refer to Purvītis in the art scene of Tallinn and the representation of Tallinn in his painting while also tracing the aftermath of this period in his later life and work.
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