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1

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.
2

GEDERTS ELIASS' INTRODUCTIONS TO BOOKS 'FRENCH CONTEMPORARY PAINTING' AND 'THE 20TH ANNIVERSARY OF LATVIAN SSR ACADEMY OF ART'. PRINTED TEXT AND LECTURER'S FORTUNE AT THE ACADEMY OF ART AT THE CHANGE OF OCCUPATIONAL POWERS (Gederta Eliasa ievadi gram

100%
Kalnacs J.
Materiali Latvijas makslas vesturei
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2006
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vol. 5
134-155
EN
Two publications of the so-called Year of Horror - Gederts Eliass' and Kristaps Eliass' 'French Contemporary Painting' (Francu jaunlaiku gleznieciba, 1940 or 1941) and 'The 20th Anniversary of Latvian SSR Academy of Art. 1919-1940' (Latvijas PSR Makslas akademijas 20 gadi. 1919-1940, 1941) - are a significant part of Latvian art literature that have long become bibliographical rarities. This was conditioned by the biases of occupational powers because Nazis withdrew these books from sale; they were completed before Soviet occupation but contained lip-services to the Soviet power. Without introductions by Gederts Eliass who had supported social democratic ideas in his youth none of the books probably would have been printed. At the Latvian State Archive and the Latvian State History Archive there are quite comprehensive documents on the dismissal of professor Gederts Eliass, the last member of the Riga Artists' Group, who worked at the Latvian Academy of Art after the change of occupational powers. The process of dismissal was started in September 1941 and completed in February 1942. These documents clearly demonstrate the mechanism how cultural and educational institutions got rid of 'persons politically exposed during the Bolshevik period'. The board of the Latvian Academy of Art participated in the process initiated by the institutions of Nazi occupation and Latvian self-government. Important arguments in this case were the above-mentioned introductions by Gederts Eliass.
3

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.
4

KRISTAPS ELIASS - 120: HIS WORK AS MUSEUM DIRECTOR AND FINAL YEARS (Kristapam Eliasam - 120: Darbibas laiks muzeja direktora amata un dzives pedejie gadi)

88%
Konstante I.
Makslas Vesture un Teorija
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2006
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vol. 6-7
115-123
EN
The article based on archival materials examines the late period in the life of Latvian art historian Kristaps Eliass (1886-1963) when he suffered from repressions endorsed by Stalinist regime: his work as the Director of Riga City Art Museum (now Latvian National Museum of Art) was disapproved and he was also expelled from the Artists' Union and fired from the pedagogical work at the Academy of Art. In 1951 he was arrested and deported to USSR and released in 1954 after Stalin's death.
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