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LEONIDS ARINS (1907-1991) (Leonids Arins (1907-1991)

100%
Cebere G.
Makslas Vesture un Teorija
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2007
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vol. 8
25-33
EN
Leonids Arins was one of the leading followers of Fauvism in Latvian art. Already during his studies at the Decorative Painting Master Studio of the Latvian Academy of Art (1925-1942) he was interested in Latvian early modernists' and the latest European achievements in art, purchasing the best publications available at the time - expensive books on art published in the West. Arins spent most of his life in the provincial town of Tukums, working at the local museum (1938-1953) and teaching drawing at the local secondary school (1953-1968). He took up painting enthusiastically after retirement. Arins' painting is typified by attempts to achieve colour harmony on a flat surface, characteristic of the Fauves and especially of Henri Matisse; at the same time he searched for an individual style as well. From a thematic viewpoint, this shows in the choice of local environment and landscape but from the aspect of form and style - in the blending of bright colour fields and variations on the Northern light. Expression, asymmetry and the broken rhythm give Arins' compositions a particular experimental tension.
2

HENRI MATISSE AND LATVIAN ART (Anri Matiss un latviesu maksla)

63%
Klavins E.
Makslas Vesture un Teorija
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2006
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vol. 6-7
33-43
EN
In autumn 2005 the Foreign Art Museum in Riga exhibited an excellent collection of works by Matisse from the Pushkin Museum of Fine Arts in Moscow. Apart from the purely aesthetic pleasure it raised the question of his place in the history of Latvian art. Despite the fact that in Latvia there was no stable circle of followers, Latvian artists proved to have a surprisingly enduring interest in the ouevre of the French master. Some of his works were exhibited already in 1910 in Riga and the first promoter of Modernism in Latvia, Voldemars Matvejs, presented Matisse as one of its paradigms. The first Latvian painter whose early style was unmistakably dependent on Matisse's paintings seen in Moscow in 1916-1917 was Gederts Eliass. He not only constructed bright, colourful compositions with the same iconography (lazy figures of models, ornamental dresses, fragments of interior settings) but also used the bright colour ranges representing more random and ordinary motifs derived from his surroundings. In the course of the 1930s some young artists from the so-called Tukums Group tried to revive the concept of early Modernism related to the Fauves and Matisse. As a result, Karlis Neilis developed his individual intimate style uniting brilliant colour areas with some effects of plein-air light. Later, as an emigre in Austria, he took up more abstract style but preserved his commitment to the use of decorative colourfields. During the first decade of the Soviet occupation Matisse, as well as other French modernist artists, were seen by the guardians of the official ideology as formalists and products of bourgeois decadence. In the years of the so-called thaw and later, a second 'discovery' of Matisse was possible. A devotee of the Fauves was Leonids Arins, more ambitious, monumental and full of pathos was another Latvian 'Frenchman' - Rudolfs Pinnis who lived in Paris in the 1930s.
3

Zaudejumi un ieguvumi cela no autsaidera lidz kanonam

51%
Kalnacs J.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
165-177
EN
The notion of “outsider”, being more a sociological and psychological category, has an overtone of stoic self-sufficiency and suggests noble rather than deplorable characteristics - at least in the sense that it encompasses a measure of independence and courage. In a totalitarian society, ideologically unsuitable and rejected persons also join the ranks of outsiders. The notion of outsider acquires different meanings in capitalist society governed by corporate connections and leaders, marketing, mass media and project management. It may well be that many see themselves as outsiders in the contemporary globalised, mobile and frustrating world. What I mean by outsider is an artist who dares to stand apart from society or is driven out/not accepted by it for some reason. An ideal but practically impossible case would be the artist who creates out of his/her artistic and often ideological conviction, regardless of daily income. Here one might find a link between outsiders in art and conceptual art. The conflict between the outsider and society has something of the typical romanticist idea of the artist’s predestination, still current in the shifting value system of the post-modern situation. An empathic art historian’s attitude is often decisive in the ‘discovery’ of outsiders. It is important to recognise that outsider art is not exactly the same as an outsider in Latvian art. During the period of Soviet occupation (1950s-1980s) many of the most independent artists, now belonging to the so-called artistic canon, were outsiders in their time. However, the output of the self-taught wood sculptor Mikelis Pankoks who spent part of his life in Waldhaus Psychiatric Clinic in Switzerland after World War II, conforms to the notion of outsider art if this comprises both the art of the mentally ill and the work of naïve artists. This close relation in which distinctions are difficult to make was stressed by the short-lived Museum of Naïve and Outsider Art in Zwolle, the Netherlands. The most famous outsider artist in Latvia is Karlis Padegs; the article also deals with the creative output of Arvids Strauja, Leonids Arins, Peteris Smagins, Valters Hirte and other artists coinciding with the notion of outsiders in art.
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