SILVIJA GROSA JŪGENDSTILA PERIODA PLASTISKAIS UN ...

Particularly popular in the style of Art Nouveau was the archetypal
symbol of the dragon. It was used extensively in the décor of buildings in Rīga
throughout the period of Art Nouveau.
III.2.5. The idea of synthesis and musical themes
The cornerstone of the aesthetic concept of Art Nouveau is the idea of a
synthesis of the arts. Significant achievements were made in this regard in several
different areas, including interior designs which were close to an embodiment of
the concept of a merger of all of the arts (Gesamtkunstverk) which was first
presented in the musical dramas of Richard Wagner and then adapted into other
areas of the arts.
Over the course of the 19 th century, the concept of synthesis was
developed to a further degree by men such as Eugène Emmanuel Viollet-le-Duc,
Gottfried Semper, John Ruskin and William Morris. They all offered specific
suggestions as to how architecture and the applied arts could be synthesised on the
basis of a creative transformation of historical styles. These ideas were also
popular in Rīga because they were addressed in many publications and lectures in
the city.
Of particular importance in interior design and the décor of facades in the
context of a synthesis of the arts was the ornament. During the early period of Art
Nouveau in Rīga, ornamental décor played a medial role, ensuring harmony not
just among various materials, but also among various neo-styles and the
manifestations of Art Nouveau so as to promote the appearance of artistic
homogeneity. Ornamental polychromy was one of the most important principles of
interior design at the turn of the centuries, and to a certain extent it became a part
of the synthesis of the arts while, at the same time, demonstrating a close link to
the aesthetics of Historicism – the aesthetic value of undecorated surfaces was not
appreciated in interiors before 1903, and the principle of horror vacui (fear of
empty spaces) was much respected. When it came to the range of colour, designers
preferred dark and warm tones, along with bronzed items. The principle of amor
vacui did not really become too popular until the late period of Art Nouveau.
Theories proposed by Richard Wagner were of key importance at the turn
of the 19 th and 20 th centuries when it came to the synthesis of the arts. There were
Wagner Societies in many cities, including Rīga. In 1902 and 1903, Wagner’s
grand tetralogy, Ring of the Nibelungen, was staged in Rīga. Early in the 20 th
century, the composer’s authority was also upheld by publications in various
periodicals. The journal Riga und Seine Bauten (Rīga and its Buildings) reminded
readers of the Wagnerian period in Rīga, and this became a unique symbol for Rīga
as a city of culture.
Under the influence of the aforementioned theories, music became a
specific theme in the décor of buildings. There was visual manifestation of music
in scenes showing performances, dancing and singing, in drawings of scores, and
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