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Levi Lipman 9 Mavrik Wulfsohn 69 Reuben Wunderbar 10 Herbert Dubin 70 Aaron Pumpyansky 11 Mendel Bash 71 Albert Salamonsky 12 Sarah Rashina 72 Joseph Rozin 13 Peter Krupnikov 73 Simon Dubnow 14 Alexandra Rolova 74 Abraham Isaac Kuk 15 Tina Hertzberg 75 Oscar Grusenberg 16 Lea Novozhenetz 76 Mikhail Eisenstein 17 Joel Veinberg 77 Paul Mintz 18 Nathan Barkan 78 Nehemiah Pereferkovich 19 Gunars Cirulis 79 Leo Blech 20 Yoseph Schteimann 80 Paul Mandelstamm 21 Yoseph Elgurt 81 Naum Aronson 22 Friedrich Segal 82 Vladimir Mintz 23 Margers Vestermanis 83 Mechislav Zentnerschwer 24 Pavel Homsky 84 Lina Stern 25 Hertz Frank 85 Mordechai Marcus Nurock 26 Anatoli Blyuger 86 Joseph Isaac Schneesohn 27 Leonid Koval 87 Semyon Nakhimson 28 Ruth Schatz-Maryash 88 Max Schatz-Anin 29 Tovye Lifshitz 89 Aaron Nimzovitch 30 Alexander Gomelsky 90 Max Lazerson 31 Yury Tarnopolsky 91 Adolph Metz 32 Yuly Anshelevich 92 Mordehcai Dubin 33 Herman Branover 93 Solomon Mikhoels 34 Arkady Katz 94 Noah Mayzel 35 Alexander Dembo 95 Oscar Strok 36 Mikhail Malkiel 96 Yury Tynyanov 37 Abram Kletskin 97 Marc Veintrob 38 Semyon Shtrikh 98 Yekaterina Bunchuk 39 Felix Deich 99 Mark Razumny 40 Mikhail Tal 100 Yacob Gordin 41 Adolph Shapiro 101 Sergei Eisenstein 42 Vladimir Okun 102 Friedrich Ermler 43 Yaakov Rafalson 103 Marc Lavry 44 Ruvin Ferber 104 Mark Rothko 45 Misha Maisky 105 Yeshayahu Leibovitz 46 Inez Galant 106 Benjamin Akzin 47 Yefim Shifrin 107 Philippe Halsman 48 David Kagan 108 Alexander Stolper 49 Chaim Kogan 109 Leonid Berdichevsky 50 llya Gerchikov 110 Isaiah Berlin 51 Kirov Lipman 111 Max Belenky 52 Igor Rapoport 112 Arkady Raykin 53 Vitaly Gotlieb 113 Zelik Cherfas 54 Grigory Krupnikov 114 Lea Cherfas 55 Alexander Milov 115 Chaim Risin 56 Vladimir Tsadovich 116 Leonid Zakhodnik 57 Yaakov Pliner 117 Yakov Panovko 58 Inna Steinbuk 118 Anatols Imermanis 59 Sergei Zakharyin 119 Mikhail Aleksandrovich 60 Viktor Krasovitsky 120 Solomon Hiller 61 Leonid Esterkin 121 Mikhail Schneiderov 62 Boris Tzilevich 122 Joseph Eidus 63 Sol Norman Buckingolts 123 Mikhail Zorin 64 Julia Gurvitch 125 Jury Vater 65 Arkady Sukharenko 126 Max Goldin 66 Mordechay Glazman 127 Haim Beinart 67 Herman Braun 68 /f *3 i*X * Grigory Smirin (b. 1955) Historian, editor. Born in Disna (Belarus). Since 1965 lives in Latvia. Graduated the Journalist department of the University of Latvia Philology faculty in 1977. In 1990 gained a Masters degree at the Latvian Institute of History. Doctor of History (1993). 1977-1990 editor at the publishing house of the Latvian Academy of Sciences, "Zinatne". Since 1991 editor at the publishing house "Zvaigzne ABC". Has written about the history of the Press, the 1917 Revolution, the Second World War and Latvian historiography. Books: "Main Historical Facts about Latvia" (1993, 1999). Co-author and translator of several textbooks Since 1995 is the scientific editor of the collections of materials of the .

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At the Confluence of Art Nouveau and Ecclectic Early Modernism in Riga's
ZDZISŁAWA TOŁŁOCZKO* AT THE CONFLUENCE OF ART NOUVEAU AND ECCLECTIC EARLY MODERNISM IN RIGA’S METROPOLITAN ARCHITECTURE U ZBIEGU ART NOUVEAU I EKLEKTYCZNEGO WCZESNEGO MODERNIZMU W ARCHITEKTURZE METROPOLITALNEJ RYGI Abstract The aim of this paper was to draw attention to the coincidence of streets intersections ending, in general, in corner buildings making up typical and picturesque parts of the townscape of the 19th c. European cities, including the central quarter of Riga. This type of town-planning establishments perfectly compose with the art and aesthetics of Art Nouveau in Riga. An additional and very important component of the town- planning-architectonic solutions is the decorative finial of the corner houses (not only inJugendstil , but also the Latvian national romanticism) creating a harmonious composition in respect of art and town-planning, ideally completing the townscape of this Baltic metropolis. Keywords: Latvia, Riga, Cracow, New York, London, Berlin, history of architecture and city-planning, Art Nouveau, Modern Art, Jugendstil, National Romanticism Streszczenie Celem prezentowanego artykułu jest zwrócenie uwagi na koincydencję zbiegów ulic zakończonych na ogół wyraźnymi narożami, tworzącymi typowe, a jednocześnie malownicze, fragmenty krajobrazu dziewiętna- stowiecznych miast europejskich, w tym również śródmieścia Rygi. Tego rodzaju założenia urbanistyczne doskonale komponują się ze sztuką i estetyką Art Nouveau w Rydze. Dodatkową i jednocześnie niezwy- kle ważną komponentą rozwiązań urbanistyczno-architektonicznych są umieszczone na narożach ozdobne zwieńczenia (nie tylko w stylu Jugendstil’u, ale także łotewskiego narodowego romantyzmu) komponujące się wspólnie i harmonijnie pod względem artystycznym i urbanistycznym, uzupełniając znakomicie pejzaż tej nadbałtyckiej metropolii. Słowa kluczowe: Łotwa, Ryga, Kraków, Nowy Jork, Londyn, Berlin, historia architektury i urbanistyki, Art Nouveau, Modern Art, Jugendstil, Narodowy Romantyzm DOI: 10.4467/2353737XCT.15.154.4191 * Prof.
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The Art Nouveau Buildings
Riga (Latvia): The Art Nouveau buildings http://www.riga-life.com/riga/art-nouveau The architectural and artistic answer to the literary Modernist movement that began in the late 19th century was the Art Nouveau movement in Europe. The Art Nouveau movement reached its peak in the early 20th century, which is when the majority of Riga’s Art Nouveau houses were built, beginning in 1899. Riga’s term for the movement, Jugendstil, comes from the German and Scandinavian movement named after the avant-garde periodical Jugend(“Youth”). Unlike the stiffer sensibilities of Victorian style, Art Nouveau stressed a complete creative freedom, mixing fantastic elements with a tendency to show all utilitarian construction elements as artistic value, with very characteristic elements such as dynamic, undulating, and flowing lines and geometrical ornaments. In Riga, Art Nouveau could be split into two main directions, decorative and romantic-nationalistic Art Nouveau. Riga is one of the largest centres of Art Nouveau, with more than a third of the buildings of its Central District built in the style. The main street for Riga’s Art Nouveau district is Elizabetes, which intersects Brivibas Boulevard. In addition to Elizabetes Street, Alberta and Strelnieku Streets also feature impressive examples of the style. In total, there are over 800 Art Nouveau buildings in Riga, but finding them all would be quite an ambitious undertaking. Significantly, most of the Art Nouveau buildings were designed and built by Latvian architects. Buildings in the decorative Art Nouveau style by one of the most famous architects, Mikhail Eisenstein (father of director Sergei Eisenstein), can be found at Elizabetes 10a and 10b, as well as at Alberta 2, 2a, 4, 8 and 13.
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Visits4u Itineraries: History and Heritage Route Riga, Latvia
visits4u itineraries : History and Heritage Route Riga, Latvia visits4u is co-funded by the COSME Programme of the European Union Riga, Latvia: History and Heritage Route Description of the town Riga, capital of Latvia is located on the shore of Baltic Sea, on the creek of Daugava river and with almost 700,000 inhabitants and 18 different districts is the biggest metropolis in the Baltics. Riga was founded in 1201 and is a former Hanseatic League member. Riga's historical center is a UNESCO World Heritage Site, noted for its Art Nouveau/Jugendstil architecture and 19th century wooden architecture. Over the centuries, the city has developed as a center for trade, transit and later became an industrial center. Riga is also known for being a green and blooming city – large and well- kept parks, romantic squares, beautiful gardens. Already since the 18 th century, Regan’s have taken great interest in the art of gardening, creating lush public parks and picturesque squares. Unhurried walks, colourful flowerbeds, leisurely sitting in benches or lawns in a park, bird songs and leaves rustling in the wind – this is Riga where city meets Nature. Landscape of Old Riga featuring Dome Cathedral in the center www.visits4u.eu Project No: 699484 | Call: COS – TOUR – 2015 – 3 – 04 – 1 Page 1 The content of this document represents the views of the author only and is his/her sole responsibility; it cannot be considered to reflect the views of the European Commission and/or the Executive Agency for Small and Medium-sized Enterprises or any other body of the European Union.
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Download the Paper
Permanent Secretariat Av. Drassanes, 6-8, planta 21 08001 Barcelona Tel. + 34 93 256 25 09 Fax. + 34 93 412 34 92 Strand 3: The Challenges facing Art Nouveau Heritage (Looking Towards the Future) Art Nouveau buildings of Riga for the future Anita Anteniske A rich and dynamic cultural life has always been one of the most characteristic features of Riga, the more than eight centuries old capital city of Latvia. Diverse and internationally recognised architectural heritage1 together with recent daring structures will greet thousands of visitors in 2014 when the city becomes the European Capital of Culture and the host of the eight World Choir Games.2 The city can be very proud of its recent cultural achievements; nevertheless, the turn of the 19th and 20th century was one of the most intense periods of economic development in the history of Riga, and the city reached a cultural and architectural peak. The magic number of Art Nouveau buildings in the entire city is estimated to have been over eight hundred,3 constituting 40% of apartment houses in the city centre.4 The large number and immense architectural diversity of Art Nouveau buildings constructed during the 15-year-span prior to World War I is not only an asset, but also a challenge for the northern metropolis. Still as important a centre of international trade and transit as in the previous centuries, currently Riga is facing increasing globalisation and unpredictable economic problems of European scale, complimented by the shifting habits and lifestyle of the urban population – real challenges for established practices of maintenance and preservation of cultural heritage.
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Hubert Van Den Berg
THE EARLY TWENTIETH CENTURY AVANT-GARDE AND THE NORDIC COUNTRIES. AN INTRODUCTORY TOuR D’HORIzON Hubert van den Berg The Nordic countries have played only a marginal role in existing historiographic studies of the classical avant-garde. General accounts of the aesthetic avant-garde in the first decades of the twentieth cen- tury focus, as a rule, on the manifestations of this avant-garde in the main Western-European cultural capitals of the period (cf. Pio- trowski 2009). While metropolises like Paris and Berlin were un- doubtedly pivotal to the development of the avant-garde as a whole (cf. Bradbury/McFarlane 1978, Casanova 2004, Hultén 1978), there can be no doubt that the avant-garde was not confined to these cities. The main centres of avant-garde activity were not isolated bulwarks, but rather market places where the transnational avant-garde met – stemming from and giving new impulses to a plethora of smaller and larger pockets of resistance, which constituted an interrelated net- work of avant-gardists throughout Europe (with links to other con- tinents as well). This wider presence is receiving increased attention, marking a shift in general surveys of the avant-garde (cf. van den Berg/Fähnders 2009). However, a comprehensive account of the pres- ence of the avant-garde in Northern Europe is still missing. An ad- mirable, but all too brief, inventory of the avant-garde in the Nordic countries appeared as an exhibition catalogue some fifteen years ago (cf. Moberg 1995), and since then monographic studies and exhibi- tion catalogues devoted to single Nordic artists or movements (cf.
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Coup De Fouet
Coup4 de fouet 2004 Unveiling Art Nouveau in Tblisi Desvelant el Modernisme a Tblisi Riga: walking in the Art Nouveau metropolis Riga: passejant per la metròpoli del modernisme Josep Palau Oller, textile and toy designer Josep Palau Oller, dissenyador de teixits i joguines Coup de fouet Capitals and decorative graffitos on the chevet of the function room in the Caixa Sabadell building. 3 Capitells i esgrafiats decoratius a la capçalera del saló d’actes de l’edifici de la Caixa Sabadell. © Arxiu audiovisual Caixa Sabadell singular Sabadell, a rendez-vous with catalan Modernisme Caixa Sabadell Sabadell t the beginning of the 20th century, the Art century, building work began on two beautiful examples of Nouveau movements did more than put Catalan Modernisme, located right in the middle of the city, forward a new architectural and decorative between the Central Market and the main thoroughfare of La style. Their audacity signalled a leap beyond Rambla: the headquarters and social foundation buildings traditional forms in favour of free respectively of the savings bank Caixa Sabadell. Both schemes imagination, and towards a search for other were drawn up by the architect Jeroni Martorell i Terrats artistic languages. Its driving forces were (Barcelona 1873-1951), theorist of the magazine Catalunya who Avitality and a desire for art to break through established introduced the ideas of the Viennese Secession. In 1915, Martorell boundaries. The great European cities, at least, immediately i Terrats would become responsible for the cataloguing and espoused the new artistic concepts, and artists from all disciplines preservation of monuments for the Catalan regional government, had their say.
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Rethinking National Romanticism in the Architecture of Riga at the Turn of the Twentieth Century
SILVIja GROSA 56 Rethinking National Romanticism in the Architecture of Riga at the Turn of the Twentieth Century Silvija Grosa The article deals with the problem of interpretation related to national romanticism in Riga’s early twentieth-century architecture, focusing on the development of the term, as well as on its suitability. The complex cultural-historical context of early twentieth-century Riga is delineated; as in many peripheries of Europe, Riga was permeated by searches for a national style in the neo-romanticist vein typical of the period. This study attempts to answer the question of whether this trend, known in the Latvian history of architecture as Latvian national romanticism, really expresses the aspirations for a Latvian national style, as Baltic German architects were involved in its implementation and the trend was critically reviewed in early twentieth- century Latvian periodicals. In addition, architects of Latvian origin also put forward some ideas regarding classical heritage as a possible paradigm of national art. Fifteen years ago Riga’s historical centre was included in the UNESCO World Heritage List, testifying to the unique character and artistic quality of its architecture. This prestigious status has led both local and international circles to take an interest in Riga’s architecture at the turn of the twentieth century; the number of publications dealing with this subject has also increased. Still, not all issues related to the study and interpretation of Riga’s architecture have been resolved. This article aims to take up the problem of interpretation of ‘national romanticism’ in Riga’s architecture; the issue is well described in the text found on the website of the Riga Art Nouveau Museum: National romanticism reflects the attempts of Riga’s architects to create a spe- cific Latvian architecture.
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Mikhail Eisenstein Brochure.Pdf
Interesting facts from We invite you to visit the newly opened gallery Art Platz and our forum, where M. Eisenstein’s life everyone can share their poems. The authors of the best poems will be selected and will Everyday hobbies of Mikhail Eisenstein included horse riding and tennis. According to the memoirs of his son, receive unexpected prizes! there was only one horse in Riga that tolerated Eisenstein - Mikhail "a giant Peak with a bluish semi-gel on one eye". In the search of ideas for the forum, we invite guides to take part in the preparation of new Also, the circle of his entertainment and interests included themes for the poetry contest about the Eisenstein opera and theatre. Mikhail was a high society man, and diverse architecture of Riga. evenings with the participation of noble people of Riga — artists and deputies of the Riga City Council — were often held in his apartment. Such events helped Eisenstein stay Riga is impossible not to love, close to many high-ranked people in Riga, which it inspires everyone! contributed to the growth of his career. Initially, the architect's last name was Aisenstein, but in order to better integrate into the society of that time, he decided to change it to Eisenstein. When exactly Mikhail changed his last name is not precisely known, but for the rst time under the name Eisenstein the architect appeared in 1902 in the list of persons who completed the course of the Institute of Archaeology of St. Petersburg. For his work and service Mikhail Eisenstein was awarded the orders of St.
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European Elites and Ideas of Empire, 1917–1957
Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.22, on 02 Oct 2021 at 05:04:48, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/DC85C5D84467A2F4A8F8E5EE7BD2B4AA Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.22, on 02 Oct 2021 at 05:04:48, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/DC85C5D84467A2F4A8F8E5EE7BD2B4AA EUROPEAN ELITES AND IDEAS OF EMPIRE, 1917–1957 Who thought of Europe as a community before its economic integra- tion in 1957? Dina Gusejnova illustrates how a supranational European mentality was forged from depleted imperial identities. In the revolutions of 1917–1920, the power of the Hohenzollern, Habsburg, and Romanoﬀ dynasties over their subjects expired. Even though Germany lost its credit as a world power twice in that century, in the global cultural memory, the old Germanic families remained associated with the idea of Europe in areas reaching from Mexico to the Baltic region and India. Gusejnova’s book sheds light on a group of German-speaking intellectuals of aristocratic origin who became pioneers of Europe’s future regeneration. In the minds of transnational elites, the continent’s future horizons retained the con- tours of phantom empires. This title is available as Open Access at 10.1017/9781316343050. dina gusejnova is Lecturer in Modern History at the University of Sheﬃeld. Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.22, on 02 Oct 2021 at 05:04:48, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms.
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Russian Minority in Latvia
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