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with the concept of Art Nouveau. Unappreciated in the past has been the fact that figurative paintings influenced by academic salon art were popular in interiors during this period of time. • Architecture in Rīga during the late period of Art Nouveau saw an increase in rationalistic tendencies. This affected the functional aspects of buildings, but it also meant changes in façade décor. Innovations in architecture, as always, did not emerge in a vacuum. There were ongoing links with German and Viennese architecture, and around 1905, there was also increased interest in Finnish architecture. The amplitude of external impressions created a foundation for a wide range of interpretative techniques. Décor, in terms of style, offered elements of National Romanticism, Domestic Revival and Neo-Classicism, as well as Neo-Rococo and “proto Art Déco” motifs, often in synthesis with Art Nouveau. A lack of criteria in the selection of motifs for décor makes it particularly difficult to specify the boundaries of Art Nouveau décor, because in stylistic and iconographic terms alike, décor often strayed beyond the boundaries of Art Nouveau. • During the late period of Art Nouveau, plastically emphasised and applicative plasticity became less important, and there were fewer decorative and anthropomorphic round sculptures. The rhythmic repetition of a single motif became more common in décor. There were many different types of finishes on facades, with various tonal and relief ornamental solutions, as well as the so-called scratched ornaments which were a version of sgrafito. Geometric motifs were often used in décor. This perhaps signalled the influence of the traditions of vernacular art, or, equally, it might have demonstrated a link to heraldry. Unlike in the early period of Art Nouveau, there were more efforts to make use of ideas that were ethical, patriarchal and didactic, or in the style of National Romanticism. Story-telling reliefs appeared in décor as a result of this. • It is not possible to claim that so-called National Romanticism really helped Latvian identity to emerge more specifically than was the case with other forms of architecture during the period that is in question here. Latvian architects at the time were discussing the classical heritage as a possible paradigm for national art. The forms and language of National Romanticism, not least in the area of décor, were based on various elements and traditions from the Latvian ethnos. This is most clearly seen in the stylisation of ethnographic ornaments and motifs. If the question is whether this type of décor should be identified as “Latvian National Romanticism,” then there is the matter of differentiating the style as a broader concept. • Motifs which can be said to be in line with the style of Neo- Classicism increasingly appeared in the décor of buildings in Rīga during the early 20 th century. Building ornaments in architecture presented a few manifestations of Neo-Classicism during the very first years of the new century, which allows one to 104
assume that the idea that Neo-Classicism suddenly popped up in Rīga’s architecture sometime around 1910 requires some revision in the realm of décor. An understanding of the façade décor of Art Nouveau-era buildings in Rīga in the overall context of European art is based on the extent to which this décor has been preserved. Rīga makes it possible to monitor trends that were typical in the architecture of Berlin, Dresden and also Warsaw, but which were lost irreversibly because of the destruction of war. Although the role of examples can often be seen in décor, we must remember the typical and differing attitude of that period in time vis-à-vis the concept of copying others. The element of crafts in décor is subject to different criteria of evaluation in the present day, and this allows us to make note of the uniqueness of that element. The materials that have been discovered in writing this dissertation are available for further research in such areas as a more in-depth consideration of the styles and specifics of individual architects. New materials remain to be found about companies which produced decorative paintings or sculptures, as well as about individual sculptors who worked in this area. 105
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LATVIJAS MĀKSLAS AKADĒMIJA / THE
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6. Precizēt jūgendstila attiecīb
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obežu noteikšanu. Tomēr stilisti
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ir mākslas zinātnieka Eduarda Kļ
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plastisko elementu mērogs attiecī
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II. 3.1. Būvtēlniecības darbnīc
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epizodisku un Polijā nav izdevies
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aktivizējās Nikolaja Ļebedeva (
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produkciju - tai skaitā jau sagata
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konvencializācija un panteisms jū
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III.2.3. Antropomorfais dekors 19.
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Tuvo Austrumu mākslai). Aplūkojam
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IV. AGRĀ JŪGENDSTILA PERIODA BŪV
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dekoratīvā apdare agrā jūgendst
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īres nama Blaumaņa ielā 11/13 (1
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viduslaiku tēmai kā pasaku un tei
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Pēkšēns,), kā arī arī īres n
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īres namos parasti otrā un treš
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ielā 1 (gleznojumi iznīcināti 19
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Rīgas aplūkojamā perioda dekorat
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iela 88, 1910, Elizabetes 41/43, 19
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Kļaviņas īres un veikalu ēka Ma
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Neoklasicisms Eiropas arhitektūrā
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VIII. NOBEIGUMS Promocijas darba ie
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pagānismu un brīvmūrniecību, ku
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I. INTRODUCTION I.1. The topicality
Page 53 and 54: photographs, photo reproductions, a
Page 55 and 56: focusing on Art Nouveau architectur
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Page 59 and 60: façades was monotone, and the deta
Page 61 and 62: II.3. Sculptural, painting and othe
Page 63 and 64: as Lwów and was in Poland. He died
Page 65 and 66: demand. Although there are clearly
Page 67 and 68: wealth of tradition). It does have
Page 69 and 70: A separate issue is the role of the
Page 71 and 72: It might be added, to step back fro
Page 73 and 74: Particularly popular in the style o
Page 75 and 76: eleased in 1882, and it was extreme
Page 77 and 78: egan to appear in architecture in t
Page 79 and 80: stylised depictions of natural form
Page 81 and 82: produced in the 19 th century in ac
Page 83 and 84: V.2. The orientation toward Medieva
Page 85 and 86: Lyebedinskiy building at Elizabetes
Page 87 and 88: interior of one’s home as a place
Page 89 and 90: still life paintings showing wild g
Page 91 and 92: ornamentation that was so typical o
Page 93 and 94: Provinces of the Baltic Sea”. The
Page 95 and 96: period. It also showed that the sty
Page 97 and 98: Rīga City Pawnshop, Wilhelm Roessl
Page 99 and 100: the first years of the new century.
Page 101 and 102: VIII. CONCLUSION The author of this
Page 103: oundaries of Art Nouveau in both ic
Page 107 and 108: 10. Dekoratīvās tēlniecības dar
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