<abstract xmlns="http://www.w3.org/1999/xhtml"><p>This article is dedicated to the “Baltars” collective porcelain painting workshop (1924–1930), founded in Riga, Latvia by three modernist artists: painters Romans Suta (1896–1944) and Aleksandra Beļcova (1892–1981) and graphic artist Sigismunds Vidbergs (1890–1970).The “Baltars” phenomenon is significant because of the innovations that the artists brought to the landscape of Latvian porcelain manufacturing and its exhibition activities in the 1920s and the early 1930s, both local and in the Baltic Sea region—Lithuania, Estonia, and Sweden. The article investigates “Baltars” foundation and closure, artistic activities of the company, its attempts to enter the international art and trade scene, and its accomplishments. Special attention is paid to the amalgamation of modernisation, nationalism, and state-building manifested in their paintings on porcelain. Due to the present growing interest in porcelain art in Latvia, triggered by numerous exhibitions and publications, discourse on the “Baltars” phenomenon has become topical.</p></abstract>

This article is dedicated to the “Baltars” collective porcelain painting workshop (1924–1930), founded in Riga, Latvia by three modernist artists: painters Romans Suta (1896–1944) and Aleksandra Beļcova (1892–1981) and graphic artist Sigismunds Vidbergs (1890–1970).The “Baltars” phenomenon is significant because of the innovations that the artists brought to the landscape of Latvian porcelain manufacturing and its exhibition activities in the 1920s and the early 1930s, both local and in the Baltic Sea region—Lithuania, Estonia, and Sweden. The article investigates “Baltars” foundation and closure, artistic activities of the company, its attempts to enter the international art and trade scene, and its accomplishments. Special attention is paid to the amalgamation of modernisation, nationalism, and state-building manifested in their paintings on porcelain. Due to the present growing interest in porcelain art in Latvia, triggered by numerous exhibitions and publications, discourse on the “Baltars” phenomenon has become topical.

Symbiosis of Modernisation and National Identity in the Legacy of the “Baltars” (Baltic Art) Porcelain Painting Workshop, 1924–1930

Art History & Criticism

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

This article is dedicated to the “Baltars” collective porcelain painting workshop (1924–1930), founded in Riga, Latvia by three modernist artists: painters...

Symbiosis of Modernisation and National Identity in the Legacy of the “Baltars” (Baltic Art) Porcelain Painting Workshop, 1924–1930

Online veröffentlicht: 05. Dez. 2019

Seitenbereich: 37 - 55

Eingereicht: 31. März 2019

Akzeptiert: 07. Aug. 2019

DOI: https://doi.org/10.2478/mik-2019-0003

Schlüsselwörter
“Baltars” workshop, Riga, porcelain painting, revolutionary propaganda porcelain, national identity, international exhibitions

© 2019 Dace Ļaviņa, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Symbiosis of Modernisation and National Identity in the Legacy of the “Baltars” (Baltic Art) Porcelain Painting Workshop, 1924–1930

Online veröffentlicht: 05. Dez. 2019

Seitenbereich: 37 - 55

Eingereicht: 31. März 2019

Akzeptiert: 07. Aug. 2019

DOI: https://doi.org/10.2478/mik-2019-0003

Schlüsselwörter“Baltars” workshop, Riga, porcelain painting, revolutionary propaganda porcelain, national identity, international exhibitions

© 2019 Dace Ļaviņa, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Schlüsselwörter
“Baltars” workshop, Riga, porcelain painting, revolutionary propaganda porcelain, national identity, international exhibitions