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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
|
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

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

100%
Konstante I.
Makslas Vesture un Teorija
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2006
|
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.
3

FIRST STEPS IN MASTERING SOCIALIST REALISM: THE COLLECTIVE WORKING METHOD 1945-1955 (Pirmie soli socialistiska realisma apguve: Kolektiva darba metode 1945-1955)

100%
Konstante I.
Makslas Vesture un Teorija
|
2009
|
vol. 12
86-93
EN
On 13 October 1944 Riga once again became the capital of the Latvian Soviet Socialist Republic (LSSR). The political re-education of artists who now had to comply with tenets of Socialist Realism was resumed with new vigour. In 1934 the classical definition of the term was voiced at the 1st All-Union Writers' Congress - 'a truthful reflection of life in its historical and revolutionary development, national in form and socialist in content'. A wide gap opened up between normative idealisation and reality, involving a xenophobic opposition to Western art and literature LSSR Art Academy denounced apolitical, meaningless works which were to be replaced by 'true events from the life of the socialist country'. In 1950 the Artists' Union attempted to introduce team-work which had been known in the USSR since the start of collectivisation and socialist production. There were already numerous examples in Soviet art. The first collective work by Latvian artists was the decoration of the LSSR pavilion at the All-Union Agriculture Exhibition. Competitions were announced in 1951 and many teams were created as there was much interest in artists' circles with intrigues and fierce passions. However, when it came to the submission of sketches the number of approved artists declined significantly. Pathetic gestures in easel painting were far removed from the dramatic effect they attempted to convey and teams were unable to merge their approaches. Even if co-operation went smoothly, the outcome was far from satisfactory. Collectively created works sometimes emerged in later periods of Soviet art but they were no longer dictated by the state but by the artists' desire for commissions and solving some artistic problems more successfully.
4

ARTISTS' SOCIETIES IN LATVIA (1934-1940). LATEST RESEARCHES OF MATERIALS FOUND IN THE LATVIAN STATE HISTORY ARCHIVE (Makslinieku biedribas Latvija (1934-1940))

100%
Konstante I.
Materiali Latvijas makslas vesturei
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2006
|
vol. 5
105-126
EN
Establishment of an authoritarian regime in Latvia was neither a surprise nor exception in the European context. After World War I democracy had power and high reputation in all European countries. But the practice showed that democratic form of government was too ineffective to deal with the acute problems of the post-war period. Economical and social issues were not resolved and governments - too weak. Economical decline of the 1930s enhanced the sense of disappointment in democracy. Movements campaigning for authoritarian government emerged in almost all European countries. In Latvia there was no experience of political democracy at all and this burdened the success of this system. After Prime Minister Karlis Ulmanis realised a coup d'etat on 15 May 1934 and abolished the constitution, the state was reformed to create a completely new system, founding trade chambers. There were six chambers in total. In May 1938 the last two chambers were established - the Latvian Chamber of Writing and Art (Rakstu un makslas kamera) and the Chamber of Professions (Profesiju kamera). They completed the process of involving each inhabitant of Latvia in the sphere of competence represented by the chambers. The Latvian Chamber of Writing and Art was opened in the Riga Latvian Society hall on 15 December 1938. According to the law, the Chamber of Writing and Art consisted of six sections representing literature, publishers and dealers, fine art, music, theatre and folklore. Groups (former artists' societies) could exist as sections. The Section of Fine Art received 19 posts. Founding of the chambers was carried out together with closing down of the former societies. On 14 November 1938 a meeting was organised at the Independent Artists' Society (Neatkarigo makslinieku vieniba) building and residence, bringing together boards of former artists' societies to decide about consolidation and passing regulations of the new society.
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