Papers by Gundega Gailite
Journal of Comparative Studies, 2015
The exploration and investigation of anthropomorphic ornaments
in Latvian folk art have started c... more The exploration and investigation of anthropomorphic ornaments
in Latvian folk art have started comparatively recently. During organizing
the collection of hope chests and closets at the Latvian Open-Air Museum
and working on Bachelor and Master1s theses (both dealing with painted
ornaments of hope chests), the author came to a conclusion that the
painted ornament has been undeservedly neglected. Having searched
through more than a thousand of hope chests and closets dated back to
the 18th and 19th centuries it is possible to state that the most common
painted motifs were vases, flowers, garlands, wreathes, dates, person
names, birds (especially roosters, hens, and storks), zoomorphic and
anthropomorphic figures. Currently the exploration of hope chests and
closets in the local museums of Latvia takes place. The obtained
information will most definitely discover more diverse variety of painted
ornaments that appear in Latvian folk art.
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Przegląd Rusycystyczny / Русское обозрение / Russian Studies Review, Mar 1, 2012
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Māksla un politiskie konteksti, Rīga, Neputns., 2006
The discussed period is typified by the high point of caricature as the most topical genre of art... more The discussed period is typified by the high point of caricature as the most topical genre of art because very different artists participated in decisive historical events of that time. The article gives an outline of the major themes, differing individual styles of artists, their means of expression, etc. The term 'caricature' is derived from Italian word caricare, meaning 'to heap', 'to exaggerate'. Its task is to unmask contradictions of social phenomena, relationships, human conduct and character in a peculiar manner. Caricature exaggerates and distorts external features, revealing the inner truth. The article deals with particular examples from periodicals because their quantity and quality significantly increased on the threshold of the 20th century. Thanks to the development of printing industry and spread of liberal ideas, political and satirical publications helped to change the public opinion. As periodicals reached wide audience and had deep influence, critical and satirical imagery served as a potent means of visual propaganda. Besides Latvian caricaturists, German and Russian artists are stressed as well because they had the most influence upon the local authors' formal and thematic choices. The most significant source was the German periodical 'Simplicissimus' - a promoter of democratic opinions and worldwide leader of political satire during the early years of publication (1896-1908/09). The major artists to be mentioned are Thomas Theodor Heine, Rudolf Wilke, Bruno Paul, Ferdinand von Reznicek, Erich Schilling and Olaf Gullbransson. By World War I 'Simplicissimus' held the oppositional stance but then gradually transformed into a conformist, nationalist and chauvinist voice of the official power. Russian government prohibited the import of 'Simplicissimus', still artists had access to it and influences are easy to detect.
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“Visual Encounters with Alterity” (Eds. Sz. K. Ildiko, D. Demski), 2013
“‘Mother Latvia’ in Constructing Self and Other: A Case of Latvian Caricature From the Nineteenth... more “‘Mother Latvia’ in Constructing Self and Other: A Case of Latvian Caricature From the Nineteenth Century to 1920” demonstrates how the figure of ‘Mother Latvia’ has become an important part of modern Latvian identity and its role in the process of the unification of Latvia. The paper highlights the origins of the image of “Mother Latvia” in Latvian caricature of the period in which the movement for independence was taking place, acting as a means of unification for Latvians and producing Otherness. The author offers caricature as the perfect tool to draw the symbolic border between how the Self and Other are seen within this “imagined political community.”
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STUDIJA, 2015
Rakstā ieskicēta Riharda Zariņa loma Mātes Latvijas tēla izstrādē, šajā gadījumā izvēlēts veidols... more Rakstā ieskicēta Riharda Zariņa loma Mātes Latvijas tēla izstrādē, šajā gadījumā izvēlēts veidols - Lavija kā kuģis/Latvija kuģī. Minēts kultūrvēsturiskais konteksts, kā arī nozīmīgu nacionālās identiātes teorētiķu izvirzītie apgalvojumi. Piedāvāti piemēri no dažādām tēlotājmākslas jomām, izceļot visdemokrātiskāko un operatīvāko - karikatūras žanru.
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Gundega Gailite. Mother Latvia in the History of Latvian Caricature
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Gundega Gailīte. Latvian Caricature of the Late 19th and Early 20th Centuries as a Factor of the ... more Gundega Gailīte. Latvian Caricature of the Late 19th and Early 20th Centuries as a Factor of the Formation and Development of National Identity.
The origins of Latvian caricature date back to the same time period that saw the beginning of the formation of the Latvian nation, and graphic satire played an important role in the processes that gave rise to national self-awareness. Artists actively used the ability of caricature to produce deformed images as the representation of One’s Own and Others. Caricature, which contains all the basic elements of identity, served as the nation’s means of visualization and thus also a factor promoting the development of national identity. Along with the creation of signs of the nation’s typical features, including the character and appearance, nature and the representation of Latvian traditions, caricature helped provide a very clear distinction between the Latvians and Others, first of all their neighbors. For the images of the Others cartoonists only chose those elements that could help build a positive identity of the Latvians, promoting typical Latvian features and characteristics and raising their prestige. At the same time, this involvement of caricature in the nation-building processes significantly increased the Latvians’ interest in graphic satire and thus also its status. The Svari magazine, for instance, received broad critical acclaim. Already after the publication of its first issue in November 1906 critics praised the high quality of the magazine’s artistic design, which eclipsed its literary qualities. Rūdolfs Blaumanis compared the Svari magazine with the German magazine “Simplicissimus” and particularly praised R. Zariņš’ contribution. The history of the Latvian caricature of the late 19th and early 20th century therefore cannot be properly studied without taking into consideration the factor of national identity.
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Gundega Gailīte RUSSIAN BEAR IN THE HISTORY OF LATVIAN CARICATURE The article is devoted to the i... more Gundega Gailīte RUSSIAN BEAR IN THE HISTORY OF LATVIAN CARICATURE The article is devoted to the image of the “Russian bear” in Latvian caricatures. The author analyses its history, meanings, types, and functions. The image serves as a factor of Latvian-Russian relations. The image is exploited in caricature for marking Russian and Russianness; for maintaining and supporting Latvians’ positive collective identity; for mobilization of Latvians. In the contemporary Latvian society the image of “Russian bear” influences not only rhetoric on foreign policy but also interethnic relations; it is actively exploited by both Latvian and Russian ethnic communities.
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Books by Gundega Gailite
Europe-Russia Contexts/Discourses/Images Edited by Irina Novikova LU DZSC-LEVIRA RIGA , 2011
The paper focusses on the evolution of the images of Russians in the Latvian caricatures. The aut... more The paper focusses on the evolution of the images of Russians in the Latvian caricatures. The author points out that this evolution reflects both the history of relations between two peoples as well as development of satirical graphics in Latvia. The caricatures depict the main events of the history of Russia, the traits of the Russians’ character, and national allegories of the country, first of all, Mother Russia and Russian bear.
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Papers by Gundega Gailite
in Latvian folk art have started comparatively recently. During organizing
the collection of hope chests and closets at the Latvian Open-Air Museum
and working on Bachelor and Master1s theses (both dealing with painted
ornaments of hope chests), the author came to a conclusion that the
painted ornament has been undeservedly neglected. Having searched
through more than a thousand of hope chests and closets dated back to
the 18th and 19th centuries it is possible to state that the most common
painted motifs were vases, flowers, garlands, wreathes, dates, person
names, birds (especially roosters, hens, and storks), zoomorphic and
anthropomorphic figures. Currently the exploration of hope chests and
closets in the local museums of Latvia takes place. The obtained
information will most definitely discover more diverse variety of painted
ornaments that appear in Latvian folk art.
The origins of Latvian caricature date back to the same time period that saw the beginning of the formation of the Latvian nation, and graphic satire played an important role in the processes that gave rise to national self-awareness. Artists actively used the ability of caricature to produce deformed images as the representation of One’s Own and Others. Caricature, which contains all the basic elements of identity, served as the nation’s means of visualization and thus also a factor promoting the development of national identity. Along with the creation of signs of the nation’s typical features, including the character and appearance, nature and the representation of Latvian traditions, caricature helped provide a very clear distinction between the Latvians and Others, first of all their neighbors. For the images of the Others cartoonists only chose those elements that could help build a positive identity of the Latvians, promoting typical Latvian features and characteristics and raising their prestige. At the same time, this involvement of caricature in the nation-building processes significantly increased the Latvians’ interest in graphic satire and thus also its status. The Svari magazine, for instance, received broad critical acclaim. Already after the publication of its first issue in November 1906 critics praised the high quality of the magazine’s artistic design, which eclipsed its literary qualities. Rūdolfs Blaumanis compared the Svari magazine with the German magazine “Simplicissimus” and particularly praised R. Zariņš’ contribution. The history of the Latvian caricature of the late 19th and early 20th century therefore cannot be properly studied without taking into consideration the factor of national identity.
Books by Gundega Gailite
in Latvian folk art have started comparatively recently. During organizing
the collection of hope chests and closets at the Latvian Open-Air Museum
and working on Bachelor and Master1s theses (both dealing with painted
ornaments of hope chests), the author came to a conclusion that the
painted ornament has been undeservedly neglected. Having searched
through more than a thousand of hope chests and closets dated back to
the 18th and 19th centuries it is possible to state that the most common
painted motifs were vases, flowers, garlands, wreathes, dates, person
names, birds (especially roosters, hens, and storks), zoomorphic and
anthropomorphic figures. Currently the exploration of hope chests and
closets in the local museums of Latvia takes place. The obtained
information will most definitely discover more diverse variety of painted
ornaments that appear in Latvian folk art.
The origins of Latvian caricature date back to the same time period that saw the beginning of the formation of the Latvian nation, and graphic satire played an important role in the processes that gave rise to national self-awareness. Artists actively used the ability of caricature to produce deformed images as the representation of One’s Own and Others. Caricature, which contains all the basic elements of identity, served as the nation’s means of visualization and thus also a factor promoting the development of national identity. Along with the creation of signs of the nation’s typical features, including the character and appearance, nature and the representation of Latvian traditions, caricature helped provide a very clear distinction between the Latvians and Others, first of all their neighbors. For the images of the Others cartoonists only chose those elements that could help build a positive identity of the Latvians, promoting typical Latvian features and characteristics and raising their prestige. At the same time, this involvement of caricature in the nation-building processes significantly increased the Latvians’ interest in graphic satire and thus also its status. The Svari magazine, for instance, received broad critical acclaim. Already after the publication of its first issue in November 1906 critics praised the high quality of the magazine’s artistic design, which eclipsed its literary qualities. Rūdolfs Blaumanis compared the Svari magazine with the German magazine “Simplicissimus” and particularly praised R. Zariņš’ contribution. The history of the Latvian caricature of the late 19th and early 20th century therefore cannot be properly studied without taking into consideration the factor of national identity.