Concluding the project Unaccustomed souls. Symbolism in the art of the Baltic States presentation in Riga, we can conclude that in this respect we are also chosen in a sense, because as a united team we were able to pay attention to the Baltic States both culturally and politically and diplomatically, without leaving indifferent visitors to Paris, Tallinn, Vilnius and Riga. We have contributed by opening the Baltics to France and Europe and at the same time proving to ourselves that we can fulfill powerful ideas together. Lorraine Descar reiterated on several occasions that Europe is united not only in politics but also in the creation of common cultural values. This conviction, which is one of the cornerstones of the exhibition policy of the Orsay Museum, showed that the contribution of the lesser-known Baltic artists, along with the works of well-known masters, belongs to the common European cultural heritage. We can add that, with our sentiment of “unaccustomed souls”, we have established ourselves as a peculiar part of Europe’s common values. The peculiarity of the Baltic States is revealed in this cultural dialogue, and right now they, as a unified geopolitical whole, are beginning to realize the advantages of their community and the power of the creative soul, says the project. Unaccustomed souls. Symbolism in the art of the Baltic States Head, LNMM Head of the Latvian Visual Arts Department Ginta Gerharde-Upeniece.
More chamber character
“This exhibition will be 99 percent identical to what can be seen in the Orsay Museum,” reveals Dace Lamberga, an art curator at the Latvian National Museum. At the moment, it is worth looking up again and getting acquainted with her research published in 2019 by the publishing house Neputns in the Age of Latvian Art Symbolism. “For our part, we added only a few more works – one by Rosenthal and two by Pearl, which could not be sent to Paris for preservation,” says Dace Lamberga.
Asked who surprised her in the selection of curator Rodolfo Rapetti’s work and whether she tried to influence or at least direct it, the art historian says: “Yes. I tried to dissuade him and offer this. I don’t know how many Estonians and Lithuanians offered. I offer 150 She was as curious as Emilija Gruzīte, I said that we only have one job and we don’t know her at all, and she is not very professional either, but Gruzīte is the only woman in this show. We drove with Rapeta to Tallinn, Vilnius, Kaunas, then I saw that the collection offered by Lithuanians and Estonians is narrower. However, we have a lot more work to do. We didn’t have to persuade Rapeti in particular. I showed him very early drawings by Vidberg, he said – yes, he needs them. ”
Both Dace Lamberga and Aija Brasliņa, the head of the Collections and Research Department of the LNMM, emphasize that the exhibition reveals the “French view” more and that the symbolism represented in it is more chamber character. “The German is foreign to them, they are against it,” says Dace Lamberga. For example, the works of Janis Rozentalds have not been selected Black snake flour edge a Temptation, bypassing the scenes of gloomy temptation and eroticism related to the Swiss master of symbolism Arnold Becquin. Dace Lamberga remembers that the French curator was rather excited by the rush portrayed by Adam Alder, where the devil chases after the bunny. “The Latvian devil is such a lunatic, he is not a satan. He can be wrapped around a finger,” Dace Lamberga emphasizes. In turn, Estonian artists are influenced by their epic Kalevdel.
“At the conference accompanying the Kumu exhibition, I was preparing a report on Rozentāls Arcadia. Of course, at the turn of the century, everyone was heading to Paris. Our symbolism meets a variety of influences from the time of St. Petersburg Mir iskusstva, of non-academic modern art life, which was available in St. Petersburg, of course, the Nordic and Finnish direction, also Čurļonis as an influential person at that time. In Riga, the main metropolis of Baltic art, the influence of German art is historically strong. Both in terms of the friendship of Rosenthal and Borchert, both in terms of art periodicals and the orientation towards art centers in Berlin and especially in Munich. This is something that the French curator did not find so prominent, “says Aija Brasliņa.” In her selection, works that are very much associated with symbolism have remained in our own exhibition at the moment. Above are the works of Rozentāls and Valters, which could just as well have expanded this exhibition. “
As Dace Lamberga writes in her book, the people of Riga had the opportunity to see 38 of Beklin’s works in 1903, although Rozentāls regretted that “many of the paintings that the great master, while alive, would never have allowed to be exhibited: either from the corners of the workshop failed attempts, or unfinished works of earlier youth, or, again, things which, in a whim or in a disposition, are of little value as works of art in themselves’ (Art observer, 1903).
“It is a great pleasure to meet a European art researcher who has his own opinion. It also makes us stronger about his own. What did not seem important to Mr. Rapeti made me think as a researcher,” Aija Brasliņa sums up her fruitful experience of working with a French curator. Her invisible curtain work exhibits Unaccustomed souls. Symbolism in the art of the Baltic States The preparation of accompanying texts for the works of Rozentāls and Pēteris Krastiņš is being prepared. “I was also honored to briefly describe the title work of the exhibition – a painting by Johann Walter Farmer girl. The fact that this girl not only holds the image of this exhibition not only in the Baltics, but also in Europe, is thrilled, “the art scientist does not hide her emotion. All the researchers addressed call the exhibition of Baltic symbolism at the Orsay Museum an exaggeration.
Curator Rodolfo Rapetti, who is currently the director of the castles and national museums of Compiegne and Blerancourt, continues to work remotely on the project, is interested in creating the exhibition and approves the changes as needed.
Value in different
In 2018, when a conversation between three Baltic writers – Nora Iksten, Kristina Sabaļauskaite and Mihkela Muta – took place in the London Book Market Program – British Library, the Lithuanian writer clearly got rid of the discussion leader’s assumption that Baltic writers are strongly influenced by folklore motifs. Sabaļauskaite said that, in her opinion, the Baltic community was not as big as it was said.
I asked art scholars to what extent we can talk about a common Baltic soul in the context of visual art and this exhibition, whether rather the Baltics is a geopolitical concept and a more convenient outcome in terms of marketing.
“During the Soviet era, there were joint exhibitions of Baltic artists, painting triennial in Vilnius, Tallinn – graphics, posters in Riga. At that time it was a sense of community and was highly valued. This exhibition of symbolism shows that we are really very different. “All the artists were young but at a high professional level. Exhibitions took place in Riga with the participation of Lithuanian and Estonian artists. There were also a lot of German artists in Riga. The only German exhibitor is Bernhard Borhert,” says Dace Lamberga. “We are united by the language of Lithuanians, but the history and religion are completely different. The Finns have written that the symbolism is different in the Lutheran countries. In the Catholic countries it is more pompous, expressive and emotional. are Finno-Ugric and have a different mentality It’s good that we’re all different Also the perception of color Latvians have a very subtle perception of color from ethnography Estonians are more restrained Although their folk costumes also have very colorful things Estonian and Lithuanian flag shows the perception of their colors. They have colors in folk costumes that may not be very close to us. I think that’s exactly the value of not being similar, we’re different. “
Slightly sloping as in the woods
The artist “Ineta Sipunova” provides the “Riga Accent” exhibition in the premises of the Latvian National Museum of Art, still continuing to cooperate with the designer and scenographer of the Orsay Museum exhibition Flavio Bonučelli. The core of the French version has been preserved, the most important design quotes have been added, but local moods and shades have been added. The same happened at the National Art Gallery of the Lithuanian National Museum of Art in Vilnius and the Estonian Art Museum. Kumu In Tallinn.
Asked if the period of symbolism resonates in her, Ineta Sipunova says: “Yes, of course. This is a very interesting period with a touch of transcendence, relevant today, when there is a pandemic.” According to her, modern man has forgotten to feel the greatness of nature and be aware of his loneliness. Much of the painting is about that. Working with Bonuchelli and Rapette, the artist has experienced interesting “moments of cultural synergy, revealing how they see our information field”. Ineta Sipunova draws attention to the fact that there is no work on the outer wall, everything is exhibited only on the sliding walls. “They wanted to create even more tension in the middle. There is so much work that I had to touch the big walls,” the artist reveals the details of her work. Seeing Rosenthal, Rapeti said – it’s just brilliant. “These pearls were taken to France and slowly structured in space,” Ineta Siponova recalls the history of the exhibition.
“For the Baltic States, the cool space with mythology has been quite sincerely preserved and passed through Christianity, the Soviet Union, various systems, the inner root has been retained. It has already been destroyed by the French since the bourgeois revolution. It was all wiped out, “They lack this human code. However, people need a balance between the rational and the mythological in order to live. A sense of God and a sense of materiality. It was a great discovery for them.” A separate space in the Riga exhibition has been created for Mikalojus Konstantins Čurļonis, whose music will also sound in the blue circle of the universe.
A yellow showcase in the tone of ripe cereals catches your eye. “It is the classic color gamut at the turn of the century, which may not be so used in Latvia. The saturated color gamut around the turn of the century is a normal part of the interior. If the exhibition had been created only by a Latvian group, it would have been gray. Our perception always comes from nature There is no denying that it is a subtle sense of color, Flavio himself is Italian, and there is undeniably an Italian sunny tone, “explains Ineta Sipunova, emphasizing another nuance of the exhibition ‘s scenography that is important to her. “Latvians and Lithuanians have a strong sense of rhythm. Here, too – everything seems to be in a stripe, but not. A little sloping as in the forest. Conceptual rhythms give a sense of order.”
That is why Ineta Sipunova felt it was important to “plant” a birch grove triangle at the beginning of the exhibition. “To put the roots, show how we form an energetic triangle. When the spectator comes in to knock him out of the daily race. You get a small, rhythmic touch of nature and then you slowly come down to the show.” Birches come from Bolderāja fortress for cleaning in summer. The artist hopes that the interactivity of birches will delight the youngest visitors of the exhibition.
Aija Brasliņa says that at the same time as the exhibition, the publishing house Neputns has also published a comprehensive catalog in Latvian and English. In parallel, if the epidemiological situation allows, an international scientific conference is planned Symbolism in Europe and the identity of the Baltic nations. Lecturers from France and the Baltic States, who have been involved in the development of the exhibition concept and catalog, as well as in various professional discussions, preparing the scientific basis of the project, are invited to participate.
An extensive program of accompanying events is also planned.
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