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Dzintarzemes (1966)
jubilejas izstāde, 30
Auls (1960)
ir studentu vienības
Dzintarzeme (1996)
art exhibitions The National of State ofArchives Archive
Dzintarzemiešu (1965)
ceļojošā izstādeToronto, 17
Sildegs (1988)
Arnolds gadi
Dailei (1958)
darbam November, 22
Kõpp (1953)
ajalugu kirjastus, 13
Ščerbinskis (2010)
draugam studējošo slēgtās mūža organizācijas konvents
Lettonorum (1870)
Album Riga papīru spiestuve
Soikans (1983)
un esejas apgādskritika Toronto
Latvijas Mākslas (2016)
vēsture Riga akadēmijas vēstures institūts
Verners Dukurs (1914)
Artist dz The National of State ofArchives Archive
Latviešu (2002)
māksla jaunie mākslinieku teorētiskie raksti un manifesti
Latvieši (1993)
ārzemēs zinātniskā asociācija un latvieši pasaulē
Dailei (1973)
draugam, 14
Šturma (2011)
Eleonora gadus mākslai pa pēdām Mansards
Latvijas (1990)
kultūra muzeju apvienība
Cīrulis (1960)
atklājas November
SummaryAfter the proclamation of the Republic of Latvia in 1918, Latvia experienced a rapid influx of youth into its capital city of Riga, looking to obtain education in universities. Students began to build their academic lives and student societies. In 1923, students of the Art Academy of Latvia founded the “Dzintarzeme” (“Amberland”) fraternity. The aim of “Dzintarzeme” was to unite nationally minded students of the Art Academy of Latvia and to promote the development of national art and self-education. Most “Dzintarzeme” members were faithful to the old masters and Latvian art. This phenomenon is significant, because “Dzintarzeme” members grew up with Latvian painting traditions, which are a remarkable heritage of interwar Latvia.In 1940, when Latvia was occupied by the Soviet Union, “Dzintarzeme” was banned. A part of “Dzintarzeme” members were deported, killed in war, went missing, or stayed in the Latvian SSR; the remaining chose exile. Although scattered throughout the United States of America, Canada, and Australia, some members were able to rebuild and sustain the fraternity’s life, gathering its members, organising trips and anniversary art exhibitions.The aim of this research is to reflect on “Dzintarzeme’s” activities in exile (1958–1987), focusing on the main factors of Latvian national art conservation policy: first, the ability of “Dzintarzeme’s” ideology to preserve the values of Latvian national art in an international environment, and second, the problem of generational change and the enrollment of young Latvian artists who continued to maintain “Dzintarzeme” values in exile.
Art History & Criticism – de Gruyter
Published: Dec 1, 2019
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