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Latvian, 20th century, male.

Born 7 October 1930, in Riga, Latvia; died 11 February 2002, in Riga.

Painter, graphicist, draughtsman, and academician. Landscape, genre, still-life, human figure, and abstract subjects.

Boriss Bērziņš’s artistic training began in childhood when the electrician’s son was exposed to Russian Orthodox icons. He copied reproductions of famous paintings and took lessons from watercolourist Jānis Skučs. He studied at Riga’s Janis Rozentāls Art High School ...

Article

Latvian, 20th–21st century, male.

Born 6 September 1943, in Riga, Reichskommissariat Ostland (now Latvia).

Painter, scenographer, poster designer, graphicist, and book illustrator. Literary, allegorical and historical subjects; abstractions and symbolic representations; installations, performance, and soundworks.

Ilmārs Blumbergs spent his childhood in Siberian exile, then studied in the Department of Stage Design at Riga’s Secondary School of Applied Arts ...

Article

Allan Doig

(b Utrecht, Aug 30, 1883; d Davos, Switzerland, March 7, 1931).

Dutch painter, architect, designer and writer. He was officially registered as the son of Wilhelm Küpper and Henrietta Catharina Margadant, but he was so convinced that his mother’s second husband, Theodorus Doesburg, was his father that he took his name. Little is known of his early life, but he began painting naturalistic subjects c. 1899. In 1903 he began his military service, and around the same time he met his first wife, Agnita Feis, a Theosophist and poet. Between about 1908 and 1910, much influenced by the work of Honoré Daumier, he produced caricatures, some of which were later published in his first book De maskers af! (1916). Also during this period he painted some Impressionist-inspired landscapes and portraits in the manner of George Hendrik Breitner. Between 1914 and 1915 the influence of Kandinsky became clear in such drawings as Streetmusic I and Streetmusic II (The Hague, Rijksdienst Beeld. Kst) and other abstract works....

Article

Éva Bajkay

(b Budapest, April 15, 1936).

Hungarian painter, conceptual artist and teacher. By 1956 he was familiar with most modernist tendencies. In 1960 he graduated from the Academy of Fine Arts, Budapest, having already taken part in exhibitions as an undergraduate. Lakner’s unique Hungarian mixture of Surrealism and naturalism was primarily influenced by the Hungarian painter Tibor Csernus (b 1927). Lakner’s first works were precisely executed naturalistic life studies and still-lifes, imbued with a magical quality (e.g. Scraps of Metal, 1960; Budapest, priv. col.). In other works repetition and density are used to create special effects. From 1962 the influence of Pop art is apparent in his works representing everyday objects, which lacked emotional or personal meaning (e.g. Microscopes, 1960; Budapest, N.G.). Dark tones and metallic shadows characterize his use of colour. Robert Rauschenberg’s art was influential after Lakner saw it at the Venice Biennale of 1964. He was also influenced by montage, in particular John Heartfield’s Dada and Neo-Dada works. He drew upon his knowledge of art history for such montages as ...

Article

Latvian, 20th century, female.

Born 23 August 1908, in Riga, Russian Empire (now Latvia); died 21 December 1983, in Riga, Latvian SSR (now Latvia).

Painter, sculptor, tapestry designer. Still-life, portrait, celestial, and abstract subjects, assemblages.

Zenta Logina survived decades of material adversity, official hostility, and professional obscurity to produce one of Latvian art’s most stylistically diverse, technically inventive, and intellectually ambitious bodies of work. Like many Latvian artists of her generation, Logina spent World War I as a refugee in the Russian interior, returning to a newly independent nation consciously fashioning its modern cultural identity. In ...

Article

(b Amersfoort, March 7, 1872; d New York, Feb 1, 1944).

Dutch painter, theorist, and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of Stijl, De, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title Le Néo-plasticisme (see Neo-plasticism) by Léonce Rosenberg. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and colour, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most ...

Article

Kyla Mackenzie

(b Dargaville, April 5, 1925).

New Zealand painter. Self-taught, Mrkusich pioneered abstract modernism in New Zealand in the 1940s, a period when there was little acceptance of abstract art there. He co-founded the Auckland design firm Brenner Associates in 1949. His interest in European and American modernism, and the Bauhaus school, informed both his early painting and architectural designs of the 1940s and 1950s, which in turn, influenced each other. His early works on paper explored spatial concerns using line, geometric and organic forms, and colour. Mrkusich’s approach to colour was generally informed by Kandinsky’s writing on the emotive and metaphysical power of colour and its receding and advancing qualities. The orchestration of irregular coloured squares and rectangles in Buildings (1955; Wellington, Mus. NZ, Te Papa Tongarewa) echoes Piet (er Cornelis) Mondrian’s Boogie Woogie paintings of the 1940s.

Mrkusich painted full-time from 1958, and from c. 1960 he began to paint with a gestural spontaneity reminiscent of Abstract Expressionism. In these paintings irregular networks of brushwork form loose grids. In other works, amorphous colour fields are overlaid by, or adjacent to, finely drawn straight lines, circles, and squares. Geometric shapes appear in the ...

Article

(b Minsk, Belorussia, Nov 21, 1893; d Łódź, Dec 26, 1952).

Polish painter, theoretician, typographer and draughtsman. On completion of his engineering studies at the Moscow Military Academy, he was drafted into the Tsarist army in 1914; seriously wounded, he subsequently began his artistic studies in the post-Revolutionary academies in Moscow, Vkhutemas and Inkhuk. In 1920–22 he was associated with Unovis, and during this period he was influenced by Suprematism, whose principles would in later years form the basis of his polemics. In 1921 he married the sculptor Katarzyna Kobro, and at the beginning of 1922 they both moved to Poland. He published his first articles on the Russian avant-garde in the Kraków periodical Zwrotnica in 1922. Strzemiński organized the Wystawa Nowej Sztuki (‘Exhibition of new art’) in Wilno (now Vilnius, Lithuania) in 1923, which acted as a manifesto of Polish Constructivism; he exhibited Suprematist architectural projects, Cubist paintings and Synthetic Compositions as well as Suprematist abstract works constructed from simple forms in contrasting colours. With Strzemiński’s help, in ...