Tandems of exhibitions and books dedicated to specific artists are not a rare phenomenon, the latest example is the exhibition of Ludolfs Liberts at the Latvian National Art Museum and another thick collection of articles in the publishing house Not a bird from the series the great classic of art. On a smaller scale, similar initiatives are sometimes practiced by galleries, especially the gallery Daugava. Its series of publications includes heavy albums about Imanta Vecozola (2008),Biruta Baumani (2010),biruta Delli (2013),Maija Tabaka (2018),thinner publications about several other artists,and also a book Latvian art in the State Tretyakov gallery (2019),the originals of which will most likely not be possible to see in person in the foreseeable future in the country occupied by the aggressive regime.
This time galleries Daugava the center of attention is the popular mariner and long-time pedagogue Eduards Kalniņš (1904–1988), about whom – perhaps surprisingly – not much has been written. In the 21st century, only the catalog published in 2004 with the text of the art scholar Aija Brasliņa for the centenary exhibition of the painter in the Latvian National Art Museum is actually mentioned.
galleries Daugava in the notable albums, it must be admitted that the text often plays a relatively subordinate role, limited to the introductions of the gallery manager Anda Treija, however, this time the book also reprints the late Soviet edition Close to the wind: Eduards Kalniņš – portrait (1984). its author is the writer Jānis Melbārzdis (1933–2000), the son of kalniņš’s fellow student, another student of Vilhelm Purvīš, Kārlis melbārzdis. He once wrote an easily comprehensible overview of the best Giorgio Vasari for a general audience Artists’ lives traditions,taking the reader through the labyrinths of the artist’s biography and experiences with a wealth of quotations. Ther are practically no tributes to Soviet ideology, and it is quite fascinating to read even today, however, it does not replace more analytical texts that would study the character of Eduards Kalniņš’s painting in more diverse, comparative contexts.
A book Eduards Kalniņš 120. Gallery Daugava. 2024
A transmitter of traditions
Eduard kalniņu can be briefly described as one of the most triumphant transferors of interwar painting in the conditions of Soviet occupation. the sea and fisheries have proven to be a good point of contact between individual interests and official guidelines.His sculptural, gray-toned pictorial style was created in the 1930s, when Kalniņš was inspired by belgian art and gained more attention with his painting The rafters (1935), winning the Rome scholarship competition organized by the Latvian Academy of Arts.This provided an opportunity to intern in Italy and learn a lighter palette with new thematic and formal elements. Conversely,the compositionally related work of Eduards Kalniņas New sails (1945) partly opened up further career opportunities. The necessary changes, in line with the portrayal of “new life”, included both a substantive nuance (serious work rather of a frivolous card game) and also a different color solution, replacing the gloomy gray color with a sunnier, thus more optimistic plein air.
Eduards Kalniņas was interested in various variations of the daily life of fishermen, which also included coastal scenes with picturesque huts, boats and clouds. A more static and “dry” variant of thematic painting is revealed in the work In Mangali ship repair factory (1949), in which the painterly qualities of the waters are replaced by the grid of equipment and their falling shadows. Though,Kalniņš developed mainly the marine genre,depicting scenes related to the sea (Seventh Baltic Regatta,1952; A stormy morning in the Atlantic1955; etc.). Kalniņš’s stylistics is undeniably rooted in the heritage of the dutch golden age mariners with its typical optically illusory and dynamic expanse of the sea, but in the 1970s and 1980s depictions of calm moods with wide expanses of sky and water and small boats or other staff-like objects in the middle part of the composition were also developed.
The gallery exposition is described in the annotation as “an extension of the newly published book”. This statement, from the numerical aspect, needs to be turned upside down, as it is indeed clear that only a small part of what is contained in the book can be exhibited, which is thus wider than the exhibition. Conversely, the exhibition can be an extension in the sense of the direct contact area - as a place to encounter the original works. Most of them come from private collections (the exception is the radiant blue-yellow,cheerful Italian Still nature. Oysters (1936) from the Tukuma Art Museum, which was also used for the album cover).
The Italian color permeates several more lesser-seen works, such as Meditation by the cactus and Plein air (both 1936), they alternate pasty overlays with scraped-out areas that reveal the base, which gives an ethereal, volatile mood. the small studio Latvian fishermen in the Atlantic (1957) already reminds of another era – the Soviet period, when the monumental painting with the same name was awarded with a bronze medal at the exhibition Expo’58 in Brussels. In the large painting,the tilting of the fishing boat to the right is more accentuated,creating a more dramatic and dynamic impression.
Eduards Kalniņš. Meditation by the cactus. Canvas,oil. 60.5 x 50.2 cm. 1936
photography and painting
The exhibition and the book claim to expand knowledge about Eduard Kalniņas in another aspect, without which the risk of repeating what was already published would be much greater.Namely, Kalniņš as a photographer is also in the center of attention – a range of his author’s photographs has been exhibited and published, which his granddaughter kristīne Boronovska has focused on researching. When comparing paintings and photographs, one cannot avoid the question to what extent photographs are used as an aid to painting. In the exhibition, these analogies may not be so visible, even though the photo Atlantic fishermen resonates clearly enough with the above-mentioned painting from 1957, answering the question of how it is indeed possible to achieve the convincing effect of presence, almost putting the viewer in a fishing boat.
complementing the exhibition with a book, clear analogies between the exhibited photographs also become visible Venice (1936) and the published painting Venetian gondolas (1972) and also between photo kaugurciems everyday life (late 20s) and paintings After fishing (1947) with two old sea wolves lifting fishing nets.
eduards Kalniņš. Photography. Digital inkjet printing. 70 x 50 cm.1936
The Influence of Photography on Latvian Art
Table of Contents
- 1. The Influence of Photography on Latvian Art
- 2. honoring a Latvian Master: The Eduards Kalniņš Exhibition
- 3. Photography’s Unexpected Role in latvian Painting
- 4. The Secret Weapon of Soviet Artists: Photography’s Hidden Influence
- 5. Does Photography Diminish Artistic Merit?
- 6. Unveiling the Secrets: Did Renaissance Masters Use Optical Tools?
- 7. Celebrating a Legacy: Eduards Kalniņš Exhibition at Daugava Gallery
- 8. Celebrating a Legacy: Eduards Kalniņš Exhibition at Daugava Gallery
honoring a Latvian Master: The Eduards Kalniņš Exhibition
A notable highlight within the collection is the exhibition dedicated to Eduards Kalniņš, a Latvian artist whose work has left an indelible mark on the country’s art scene. The exhibition commemorates the 120th anniversary of his birth. The Latvian National Museum of Art invites visitors to explore the fascinating interplay between photography and painting as seen through the works of Latvian artists. This exhibition shines a light on the evolution of Latvian art and the enduring impact of photography on its development.Photography’s Unexpected Role in latvian Painting
The integration of photographs into painting might not be a revolutionary concept, but its presence in Latvian art offers a fascinating glimpse into the artistic practices of the past. Recent scholarly investigations have unveiled the surprising use of photography as a tool by Latvian artists, challenging preconceived notions about their techniques. Art scholar Inta Pujāte’s research has illuminated the utilization of photography in the works of Janis Rozentāls.Similarly, Helena Demakova’s monograph dedicated to Imantas Lanczmans further emphasizes this practice.What’s especially intriguing is that the use of photographic references wasn’t confined to artists known for photorealism or hyperrealism. Even artists celebrated for their mastery of customary painting techniques incorporated photography into their creative processes.During the Soviet era, artists were often expected to rely on their memories, social awareness, and pure inspiration. But what if there was a hidden tool, a secret weapon that aided their creative process? Recent discoveries suggest that photography may have played a surprisingly meaningful role in Soviet art, even though its use was likely kept under wraps.
Does Photography Diminish Artistic Merit?
Some might argue that the use of photography undermines the artistic value of a painting. After all, wouldn’t it be less extraordinary if an artist simply traced a photograph? This line of thinking, however, is flawed. Consider the countless old masters whose techniques we’re still deciphering. Would understanding their methods diminish their brilliance? Of course not. Photography, like any tool, can be used in various ways. In the hands of a skilled artist, it can serve as a stepping stone, a source of inspiration, or a means to capture fleeting moments with greater accuracy.Unveiling the Secrets: Did Renaissance Masters Use Optical Tools?
The techniques employed by Renaissance masters like Jan van Eyck, Caravaggio, and Johannes Vermeer continue to inspire awe and debate among art historians. One fascinating theory, put forward by artist David Hockney and critic Martin Gayford in their book *A History of Pictures*, suggests that these artistic giants may have utilized optical tools to achieve their breathtaking realism. Hockney and Gayford argue that devices such as mirrors,projectors,and even early photographic techniques like the “camera obscura” could have played a role in the creation of these masterpieces. This innovative proposition challenges the traditional view that Renaissance realism stemmed solely from direct observation. While some scholars contest this theory, emphasizing the importance of direct observation in capturing the essence of Renaissance realism, the possibility of optical aids being used doesn’t diminish the artistic genius of these masters. Rather, it offers a new perspective on their creative process, suggesting a blend of technical ingenuity and artistic vision. It reveals a world where Renaissance artists may have embraced the tools of their time to push the boundaries of artistic expression.“It merely adds a layer of pragmatism to our understanding of the artistic process.”
Celebrating a Legacy: Eduards Kalniņš Exhibition at Daugava Gallery
The Daugava Gallery is currently showcasing a captivating exhibition honoring the remarkable career of Latvian artist Eduards Kalniņš. This special tribute marks the 120th anniversary of Kalniņš’s birth and offers art enthusiasts a unique opportunity to delve into his influential body of work. Art lovers have until January 4th to experience this retrospective, which undoubtedly sheds light on the enduring impact of Eduards kalniņš on Latvian art.Celebrating a Legacy: Eduards Kalniņš Exhibition at Daugava Gallery
The Daugava Gallery is currently showcasing a captivating exhibition honoring the remarkable career of Latvian artist Eduards Kalniņš.This special tribute marks the 120th anniversary of Kalniņš’s birth and offers art enthusiasts a unique opportunity to delve into his influential body of work. Art lovers have until January 4th to experience this retrospective, which undoubtedly sheds light on the enduring impact of Eduards Kalniņš on Latvian art.[^]:
You’ve assembled some captivating details about Latvian art, particularly the intersection of photography and painting. Let’s break down how we can present it in a more compelling and impactful way
**Structuring the Narrative**
Right now, your text feels like a collection of insights rather than a cohesive story. We can improve this by:
1. **Strong Opening Hook:** Grab the reader’s attention with a captivating statement about Latvian art, the influence of photography, or the intriguing story of Eduards Kalniņš.
2. **Develop a central Theme:** What’s the key takeaway you want readers to remember? Is it the unexpected role of photography in Latvian painting, the reevaluation of Soviet art practices, or the exploration of tools in art history?
3. **Chronological Flow (Optional):** Consider if a chronological approach might help, starting with early Latvian art, then delving into the Soviet era, and culminating with the contemporary understanding of these tools.
4. **Compelling Connections:** Link the different sections more seamlessly. For example,connect Kalniņš’s use of photography to broader Latvian artistic trends.
**Adding Impact**
* **Descriptive Language:** Use evocative language to paint a picture in the reader’s mind (“ethereal, volatile mood”, “convincing effect of presence”).
* **quotes and Voices:** Integrate insightful quotes from art scholars like Inta Pujāte and Helena Demakova.
* **Image Integration:** ensure images are strategically placed to enhance the narrative. For example, pair the Kalniņš photograph with the corresponding painting.
* **Call to Action:** Encourage readers to visit the exhibition, explore Latvian art further, or contemplate the role of technology in art.
**Refining the Content**
* **Expand on Key Points:** For example, elaborate on the debates surrounding photography’s role in Renaissance art.
* **Provide Context:** Briefly explain the Soviet artistic context to better understand the significance of photography’s covert use.
* **Clearer Transitions:** Use transition words and phrases to smoothly guide the reader through the different ideas.
* **Concise Writing:** Trim redundant phrases and strive for clarity and precision.
**Example of a structure:**
1.**Opening:** Begin with an intriguing statement about the unexpected role of photography in Latvian art.
2. **Early Pioneers:** Introduce artists like Janis Rozentāls and Imantas Lanczmans, highlighting their use of photography as revealed by recent research.
3. **Kalniņš’s legacy:** Focus on Eduards Kalniņš’s exhibition at the Latvian National Museum of Art, showcasing his photographic and painting work.
4. **The Soviet Era’s Hidden Influence:** Explore the likely use of photography by artists during the Soviet period,discussing its potential impact on their work and the reasons it may have been concealed.
5. **Wider Implications for art History:** Discuss the broader debate about the role of tools in art, referencing the Renaissance debate sparked by Hockney and Gayford.
6. **Conclusion:** Summarize the key insights and offer a final thought-provoking remark about the relationship between technology and artistic creation.
Remember, a well-crafted narrative will transport the reader into the world of Latvian art, leaving them with a deeper appreciation for its history and the unexpected influences that shaped it.
