SILVIJA GROSA JŪGENDSTILA PERIODA PLASTISKAIS UN ...

eleased in 1882, and it was extremely popular in Rīga, as throughout Europe. The
Gerlach publication was meant as a book of samples for art students and artists,
and the goal was to establish a “contemporary view in the use of allegories and
emblems.” Many artists were involved in the preparation of the journal, including
Franz von Stuck, Koloman Moser, Max Klinger, Gustav Klimt, and others. It was,
however, mostly an academic and conventional publication.
In the regional context, academic salon art of the day was an important
source of information for the decorative arts. The popularity of this type of art is
confirmed not only by materials about decorative painting that have been studied,
but also by endless reproductions in the periodicals of the day.
III.2.7. Authorities and interpretations
The heterogeneous nature of the sources which are available to the author
creates questions about criteria of choice, as well as about those authorities which
have been respected and whose work has been seen as an example for others.
During the early period of Art Nouveau in Rīga, architectural décor was
clearly influenced by the Viennese school of architecture. Of particular importance
was the role of Otto Wagner. No less important a source of inspiration was
German architecture, particularly in terms of work done by architects in Berlin.
This was revealed in the co-operation among specific architects. It is key to note
here that interpretations were often based on available photo reproductions and
graphic art. This could, quite unintentionally, create significant departures from
the original source. This means that in the context of architectural décor in Rīga, it
seems appropriate to make use of the interdisciplinary concept of “invention of
traditions,” as used by Pekka Korvenmaa, who referred to Eric Hobsbawn in
identifying the concept.
In addition to the examples that were recognised to be important and
innovative during the process of Art Nouveau rehabilitation in the 20 th century,
there were also some which have almost completely been forgotten in Latvia or
which are on the periphery of art history. This means that one must re-evaluate the
role of those authorities who were respected at the beginning of the 20 th century in
Rīga and whose work could serve as an inspiration alongside the achievements of
well known Art Nouveau artists.
During the early period of Art Nouveau, this applied to the Berlin-based
architect, sculptor and painter Otto Rieth. Although he has been all but forgotten
in the present day, his name appeared frequently in the publications of his era. In
the latter period of Art Nouveau, of similar importance in the area of decorative
sculpture was Franz Metzner. Among others who have been mostly forgotten were
Ernst Hottenroth, a sculptor from Dresden, as well as Sascha Schneider of Weimar
, who worked in Dresden at the beginning of the 20 th century.
At the turn of the 19 th and 20 th centuries, important inspiration came from
masters of sculpture and painting who worked in the style of Symbolism – the
German Franz von Stuck, the Swiss Arnold Böcklin, masters from the Berlin
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