SILVIJA GROSA JŪGENDSTILA PERIODA PLASTISKAIS UN ...

décor and those who commissioned it. Unless stated otherwise, expressions of
evaluation are the author’s.
1.5. Definition of time periods and the structure of the dissertation
The principles of architectural décor at the turn of the 19 th and 20 th
centuries in Rīga changed along with developments in the style of Art Nouveau as
such. For this reason, the author differentiates between early Art Nouveau (1989
to 1902), the golden age of Art Nouveau (1903-1905/06), and late Art Nouveau
(1905/06-1914). Art Nouveau in the décor of architecture in Rīga was similar in
form to the presentation of the style in many other European countries, where Art
Nouveau had been adapted as a mature style. Initially this occurred in tandem with
Historicism, while toward the end of the process, there were more classical motifs
and themes. The importance of Historicism in the décor of architecture would be
preserved both during the early period and the golden age of Art Nouveau,
sometimes in a stylistically pure way, other times alongside Art Nouveau in terms
of specific motifs or traditional techniques. During the late Art Nouveau period,
other styles began to appear as well – National Romanticism, Neo-Classicism, and
proto-Art Déco. This means that the boundaries of the Art Nouveau style are
difficult to define, but it is true that harmonisation of stylistic phenomena was
facilitated by the “platform of Neo-Romanticism” which existed in the arts at the
turn of the 19 th and 20 th centuries.
The dissertation’s introduction speaks to the goals, methods and
terminological, thematic and chronological conditions of the dissertation, as well as
to historiography. The basic text consists of six chapters. Chapter 2 analyses the
architectonic, crafts-related and social conditions under which building décor
emerged at the turn of the 19 th and 20 th centuries. The author also reviews the
workshops of sculptors and painters who created Art Nouveau décor in Rīga.
Chapter 3 focuses on the sources and primary motifs of Art Nouveau décor in
Rīga, their origins, and the way in which people in Rīga learned about them.
Chapter 4 analyses the plasticity of buildings and ornaments on building façades
during the early period of Art Nouveau (1898-1902). Chapter 5 does the same for
the golden age (1903-1905/06). Chapter 6 evaluates the decorative aspects of
interior design during the early and classical age of Art Nouveau. Finally, Chapter
7 analyses the décor of late Art Nouveau (1905/06-1914). General conclusions
that are in line with the structure of the dissertation are offered at the end.
1.6. An historiographic review
Since the latter half of the 20 th century, there has been a considerable
increase in the available amount of information about Art Nouveau, the related
architectural style and, in a broader sense, art as such during the turn of the 19 th and
20 th centuries. Despite this, literature related to the subject of the dissertation has
proven to be very limited. Most research touches upon the subject indirectly,
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