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Human figures (Vaļņu Street 2, architect Edgar Friesendorff, 1911) and representations of fauna (Tērbatas Street 13, Jānis Gailis, 1912; Brīvības Street 37, Laube, 1909) were also subject to stylisation. After 1907, there was increased interest in the motifs and subject matter that were typical of Neo-Classicism, and the décor of new buildings more frequently presented images of fauna which created traditional, presentable or heraldic associations – bears (Brīvības Street 88, Jānis Alksnis, 1910; Daugavgrīvas Street 74/76, Alksnis, 1907), eagles (Blaumaņa Street 5, Alksnis, 1911), and lions (Ģertrūdes Street 60, Rudolph Dohnberg). Freely designed natural motifs in the plastic décor of façades were often replaced with small and compact vases with flowers (Čaka Street 49, Ernests Pole, 1912). In other cases there were motifs that were close to a style that could be described as “proto Art Deco” (Eksporta Street 3, N. Nords, 1913). This showed links to the architectural décor that was typical in Berlin at that period of time. Putti became a very popular motif (Baznīcas Street 45, Konstantīns Pēkšēns, 1909; Bruņinieku Street 28, Eižens Laube, 1910; Čaka Street 44, Edmund von Trompowsky, 1911; Brīvības Street 88, Jānis Alksnis, 1910; Elizabetes Street 41/43, Alksnis, 1913). These trends help to explain the freely designed stylisations of historical ornaments – cartouches, palmettes and rocaille motifs, often intermingled, sometimes with biomorphic ornaments that were typical of Art Nouveau itself. In the search for new ornamental subjects, it was also possible to engage in free stylization of the capitals of the classic orders (Brīvības Street 37, Laube, 1909). Sometimes jewellery and textiles were stylized as motifs for plastic décor (Lāčplēša Street 60, Dohnberg). Décor included festoons, lambrequins, caduceuses, horns of plenty, bouquets of ribbons and meanders, sometimes in combination with the aforementioned putti or with vases. Although these motifs were often subject to non-classical solutions, the use of what were essentially conventional motifs confirmed a certain trend in décor, which eventually meant a return to allegorical and literary compositions. The departure from the typologically identified and most popular motifs of Art Nouveau iconography was manifested in depictions of the hunt (Stabu Street and Stabu Street 93, architect Bielenstein in both cases, 1909; Smilšu Street 1/3, Nikolai Proskurnyin, 1906), of didactic and patriarchal subject matter (Tallinas Street 77, Jānis Gailis, 1911; Miera Street 45, Rudolph Dohnberg, 1908), as well as of the symbols of National Romanticism (Maskavas Street 68, Oskars Bārs, 1911). It was also possible in décor to focus on various aspects of economic life – industry, agriculture, etc. There were allegorical presentations of the arts, sometimes from antiquity. We can find topics related to 17 th or 18 th century Classicism, and to the Italian Renaissance (see the chapter in the dissertation on the relationship between Art Nouveau and Neo-Classicism). These clearly presented ideas related to Neo-Romanticism (Čaka Street 18, Jānis Alksnis, 1907), or an interest in music (Lenču Street 2, Bārs, 1911). This demonstrated the overlapping nature of typical stylistic manifestations during this 94
period. It also showed that the style of Art Nouveau as such was beginning to weaken. There were also changes in interior design, and oversaturation of décor was no longer in fashion. The “Yearbook on the Pictorial Arts in the Eastern Provinces of the Baltic Sea” printed illustrations of several rooms which showed that design was increasingly becoming more functional and practical. This was a leitmotif in all of Europe at that time, and it was of dominant importance in Rīga, too. There were three major trends in ornamental décor, whether plastic décor or use of stencils and wallpaper. First of all, Art Nouveau motifs were subject to greater stylisation. Second, there was a greater focus on abstract and geometric ornaments, with free variations on ethnographic subject matter in some cases. Third, there was greater interest in the decorative motifs of Neo-Classicism. At the end of this period, as the number of new building projects increased, and as the popularity of geometric and Neo-Classicist motifs became more popular, décor in vestibules and stairwells was subject to a certain amount of unification. This was encouraged by the industrially manufactured décor elements which were available at that time. Interior design during the late period of Art Nouveau continued to be an era in which stained glass remained in much demand, particularly with geometric and Neo-Classicist motifs such as festoons, crowns and the like. In public and commercial buildings, interior designers also were interested in traditional emblematic motifs, sometimes interpreting them in the context of the Latvian National Awakening (Tērbatas Street 14, which initially housed a bank, shops and residences, architects Konstantīns Pēkšēns and Artur Moedlinger, stairwell stained glass designed by Kārlis Brencēns). The role of stained glass began to diminish in the latter stages of the period, and this was part of an overall trend toward functional and practical interior design. VII.2. The décor of National Romanticism in the late period of Art Nouveau Identification of décor from the late period of Art Nouveau in Rīga is made more difficult by the fact that there have been problems in determining the relationship between Art Nouveau and National Romanticism both in terms of terminology and in terms of practical analysis. As had been the case with Art Nouveau a few years earlier, National Romanticism was a major direction of innovation in the architecture of the early 20 th century in Rīga. A Swedish specialist, Sixten Ringbom, has written that the concept of National Romanticism has been used in the history of architecture most often to describe certain phenomena in Scandinavian and Finnish architecture around the year 1900. This is the definition of the concept which has taken root in Scandinavia, Finland and Germany. In Russia, by contrast, there is no question that National Romanticism 95
Page 1 and 2:
LATVIJAS MĀKSLAS AKADĒMIJA / THE
Page 3 and 4:
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
Page 21 and 22:
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
Page 43 and 44: Kļaviņas īres un veikalu ēka Ma
Page 45 and 46: Neoklasicisms Eiropas arhitektūrā
Page 47 and 48: VIII. NOBEIGUMS Promocijas darba ie
Page 49 and 50: pagānismu un brīvmūrniecību, ku
Page 51 and 52: I. INTRODUCTION I.1. The topicality
Page 53 and 54: photographs, photo reproductions, a
Page 55 and 56: focusing on Art Nouveau architectur
Page 57 and 58: the architecture and art of Latvia
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: Provinces of the Baltic Sea”. The
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 and 104: oundaries of Art Nouveau in both ic
Page 105 and 106: assume that the idea that Neo-Class
Page 107 and 108: 10. Dekoratīvās tēlniecības dar
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