Ilona Audere
Latvijas Mākslas Akadēmija
Lettische Kunstakademie
Latvian Academy of Art
Autoreferāts par disertācijas tēmu doktora grāda promocijai
Autorenvortrag zur Dissertationsarbeit zur Doktorpromotion
Author's summary for obtaining the degree of doctor of art
Gleznojumi uz stikla Latvijā
Darbnīcu un meistaru mantojums
Malereien auf Glas in Lettland
Atelier- und Meisternachlati
Paintings on Glass in Latvia
Heritage of masters and workshops
Rīga
2004
Paintings on Glass in Latvia
Heritage of masters and workshops
Interpretation aspects of the concept "painting on glass"
"Paintings on glass in Latvia" up to now are only fragmentary
investigated; however, the preserved unique material confirms it being a
significant theme of the dissertation. The written work for obtaining the degree
of doctor of art is conceived as important contribution to the field of the history
of art so far lacking contribution of information.
In order to start the discussion on the theme of the research, it is
necessary at first to find out the meaning of "painting on glass", to clarity its
relation with the concept "stained glass". Both of these concepts often are not
separated from each other; on the contrary, they are in contraposition. The
word stained glass (fr. vitrage) is borrowed from the French language and has
a wide meaning denotation, which grammatically is formed from Latin word
vitrum - in translation "glass", for denoting decorated glass windows, which
can have both architectural and decorative element, also function of
information. Nowadays in special literature colour windows are mostly defined
as stained glass, though also whole-coloured and uncoloured composition of
windowpanes, if they are decompounded in peculiar ornament, coincide with
the ornamental principles of stained glass. The wider view of the concept
concedes to see the stained glass both as coloured and whole-coloured
decorative pane compositions, for whose treatment glass processing methods
like painting, frosting, engraving, etc. can be used. This concept is referring not
only to the ornamentation of window glass, but also to the door glass
decorations and formation of several decors and objects following the forming
principles of decorative windowpanes. One should take into consideration that
extension of the concept makes a distinction between "decorative architectural
element" and "stained glass" subjectively definable. Painting on glass, as one of
glass decoration methods, is incorporated in the concept of "stained glass".
Referring to the 16th century, when the new method of forming the stained glass
is introduced and prevails afterwards, and when the previous mosaic type
principle - the plot is formed from painted or coloured pieces of glass put
together with leaden glazing bars - disappears, and especially, are painted
undivided whole-coloured glass plates, it is necessary to use the concept
"painting on glass". The new concept can be attributed also to stained glass
formed in the next centuries, so as to excrete pieces, whose determinant
technique is painting. In the centre of this research specifically window glass
and its decorative paintings (painting on glass include also paintings on dishes,
tiles etc.) are looked at.
53
Paintings on glass in literature sometimes refer to the concept of "glass
painting", which is related to German mark "Glasmalerei". Nowadays the
concept "glass painting" has acquired very wide meaning - this is any painting,
which is formed from glass or on glass. This is ever-poeticised phantom of
decorative windowpanes in mosaic technique formed glass pieces, also glass
paintings and even applique" on the glass. In modern art as it has been
demonstrated in exhibition "Glass Painting" (2001) in the hall of Latvian Art
Academy, this concept is applied to any piece, which express piaorial vision of
glass as the material of piece of art, for example, the portrait of a lady from
separate details of blown glass, made by Kristaps ZarinS. The expansion of the
concept "glass paintings" requires an update - the concept "painting on glass"
should be used when referring to utilisation of colour and painting. German
"Glasgemalde" (glass painting) and English "stained glass" (coloured glass) are
analogous to designation "stained glass" and used in wider conceptual meaning.
The concepts "natural stained glass" and "simulated stained glass", which are
found in literature, are unacceptable, because it is without reason to consider
some types of glass decoration as natural and some as simulated. In this
research both concepts "paintings on glass" and "stained glass" are used
accordingly with the characteristics of window decorations in wider or
narrower meaning.
Overall description of used written materials
The data about glass paintings in their early history in Latvia are quite
incomplete. There are several publications of depictions and little informative
references. The first and up to this moment only album of Latvia stained glass
is compiled by artist Tenis Grass (sen.) in 1979, thereby summarizing and
documenting valuable pieces. This publication is important as the first attempt
to perform overall summarizing insight in the history of stained glass, though
the author subjectively selected the pieces of art, descriptions are not scientific
and there are many mistakes of historical facts. In most cases the producer of
stained glass, the location of art pieces (neither historical, nor during the time of
book performance) and the dimension, even inkling about approximate
dimension of stained glass are not given. The most important material is
unpublished lectures and articles on this theme by professor Ojars Sparitis, in
which the main tendencies in producing and decoration of windows, produced
collections of museums are characterized. Lexicon of artists of P. Campe
(Campe, P. Lexikon. Teil I, II, Stockholm, 1951., 1957), from which inkling
about the main tasks of glaziers in 15^-19th centuries and researches of Ilmars
Dirveiks about the windows of Latvia ancient buildings is attained, and in
which the main attention is devoted to the analysis of window form and
glazing. Extended research is originated about stained glass in the period from
the end of 19 th cent, until 20 th cent. 60-ties - article of J. Pujats about the
54
stained glass in Latvia in the collection "Latvian Soviet Art" (Riga, 1960);
research "Stained glass" (Riga, 1959) issued by E. Minuhin, the architect from
Russia. The research of J. Pujats is more analytical; it also characterizes
technologies and the individual scripts of authors. It is appreciable that the
author is collaborating with glaziers and has visited their workshops. In the
work of E. Minuhin de facto material is emphasized, which for today's
researcher is the value as such, because many a stained glass mentioned in his
book does not exist anymore or is located in unknown place. O. Sparitis with
the book "Stained glass of Riga Dome Cathedral" (Riga, 1977) accomplished a
serious analytical research about the all windows of group of Riga Dome
objects; thereby originate the first complete history of the window decorations
of one building, what is very important in overall scene of Latvia's stained
glass. Very constitutive references about the church stained glass can be found
in the book "Lutheran churches in Latvia" by O. Sparitis, as well as the
description of important stained glass in Latvia in series of articles "Colour and
light" in magazine "Zvaigzne" in 1987. The informative material about the
window and its decoration is also found in annual reports of archaeological
expeditions and archive documents. Certain informative data can be found in
the book "Parishes and churches of Native land" issued by E. ipploks in
Minnesota in 1987, as well as in encyclopaedia "Art and architecture in
biographies" Mil vol. (Riga, 1995 - 2000); "Latvia Small Encyclopaedia",
"Latvia Conversation Dictionary", in collection "Latvian fine arts 1860-1940"
(Riga, 1986) etc.
In this research the analysis of paintings on glass in Latvia is
accomplished, contemplating on the technologies and thematic circles,
highlighting the main performances of concrete authors and workshops,
drawing parallels with samples of Europe, using both illustrative material stained glass, its depictions and sketches, and varied written materials publication, diaries, archive and museum records, letters. For the analysis of the
recent material negotiations, observations of stained glass production and
restoration process have been used. The main collections of museums, as well
as many churches, secular public buildings and residential houses in Latvia
have been inspected because one of the most important research tasks is
existent stained glass (both the ancient and contemporary) documentation. For
getting the complete, objective survey about the preserved historical paintings
in all regions of Latvia a written inquiry has been accomplished in 1999. 48
questionnaires have been sent out and 32 answers have been received. The
inquiry is to be regarded as being complete, because received answers include
the information about all objects of interest. The number of Latvia's ancient
stained glass in 17-18* cent, collections is quite large, several tens of known
works thus making it possible to talk about stained glass art history in this time.
55
The most significant collections are kept in the Riga Museum History and
Navigation and Rundale Palace Museum. Additional attention is paid to newfound materials - in 1980-ies in the research of the Mentzendorff s House
painted fragments of window glass (more than 4000 chippings) are found,
which are related with Jiirgen Helm's workshop at the turn of 17/18th centuries.
The author of dissertation has worked with this collection since 1992, having
devoted several years for composing the fragments, subjects and technology, as
well as research of materials referable to this workshop. In the context of theme
the main features in different historical stages of Latvia stained glass art are
highlighted, comparing previous and consecutive centuries, emphasizing the
heritable and innovative traditions in each time period, retracing the craft
function of Riga glaziers, adumbrating the main principles in acquiring the
handcraft proficiency, considering the archive evidences on glaziers' actions in
Latvia. More attention is paid to the less investigated ancient periods of history
and novelties in this field. The monographic themes are noted in references. In
the research of analogies, important material is acquired in Luebeck accomplishing the researches in archives, St Anna's Museum and glazier
workshop of Achelius-Berkentin. Information is also obtained in Luxemburg in the workshop of glass artist Robert Emeringer, in museums in France and
Belgium as well as in the Lvov Glass Museum. Consultations in techniques of
technologies are given by Latvian glass artists - Tenis Grass (sen.), Tenis Grass
(jun.), Ausma Gutmane, professor Arnolds Vilbergs, Nora Cesniece, Inese
Straznova, Zigurds Bormanis, also professor Jonas Dovidenas - the chair of
department of the stained glass and glass paintings at Vilnius Institute of Art,
glass artist of Luxemburg, renovator of ancient stained glass - Robert
Emeringer (both have contributed in determination of the contents of glass
painting paints, which is very important, because in Latvia at present it is
problematically to perform such researches, because of the lack of experience,
therefore the composition of ancient glass paints is not analysed in Latvia). In
this work special attention is paid to the contemporary glazier procreative
actions, their views towards the traditional and innovative, for not breaking the
chain of historical link, straight documented negotiations and contemplation of
coeval performances.
In summary, the aim of the work and research is to create detailed
history of paintings on glass in Latvia based on expanded research.
Considering the specifics and stage of preservation of paintings, the
presentation of the research results is organized mainly in relevance with
workshops and performances of craftsman and is collocated in historical
sequence.
56
Evidences about glass work until the establishment of glaziers'
craft in territory of Latvia
Until year 1541, when glazier craft is founded and thus the documentation of
glaziers' working is begun, the evidences of glazing in territory of Latvia are
quite poor. These are separate evidences found by archaeologists about
processing of glass in medieval Riga - "in Riga the glass beads, semiproducts,
clay crucibles for glass melting, flux with oddments of glass aggregate" were
produced, chippings of glazing in archaeological layer of palaces were
manufactured in Cesis, Limbazi etc., window lights profiling in the Rauna and
Sigulda Castles, also architectural element from some medieval building, which
were found in catacomb in Tirgonu Street in 1980-ies (Illustration 16a),
reported about the usage of glass. The separate chapter in dissertation work is
devoted for archaeological evidence.
The time until 16th century is considered to be non-resident guestcraftsman and foreign concoction time, conceded the possibility, which already
before the establishing of craft in Riga some indigenous craftsman could
produce something from glass, considering the time - some years of fight of the
craft foundation rights. So P. Campe denotes some glazier Gedena Hinrik who
has worked in Riga in 1458- 59 and received 16 marks for glazed windows of
municipal revenue in the city hall. Unfortunately with these few words the
information is terminated. In "History of Riga" by J. Straubergs the data about
church windows, which are presented by Riga Blackheads Compagnie are
found. Already in 1421 elderman of the Blackheads Ludeke Messe is
mentioned on the subject of windows - he has directed to build two windows,
which cost 107 marks in chapel in Katrina Church beside the Franciscan
monastery. In 1470 the Blackheads mended the window with coloured glass
and Compagnie's patrons in Riga St Peter's Church. There have been 48 round
and 7 semicircular panes, but window cost 93 marks. Consequently, in 15 th
century there had been windows with heraldic motifs, and with reference to
information about St Peter's Church, the number of stained glasses is quite
large.
To give colour about varies sights of windows and their ornaments,
certain analogies found in the materials about other European countries should
be regarded. There are somewhat limited data about the stained glass
renaissance time windows in Latvia (until 17th century). What has been like the
decor of the large scale church window glazing, window decors in residential
buildings of the wealthy - it is anticipated mostly after European analogies,
because the ancient glazing as such does not exist anymore. Glazier actions in
Latvia during 16 –18th centuries
The collections of glass paintings in Latvia confirm the close parallel with the
existing process at that time in whole Europe.
57
Background - the situation in Europe
Establishing of the Riga Small Guild glaziers and mirror producers
craft in 1541 coincides with after-reformation period, which marks the end of
stained glass art renaissance in Europe. After that ensues the long time period,
which used to be called as declension and droop period in the history of stained
glass development because further development of monumental medieval glass
painting and stained glass then basically is destroyed and is denied as the
important decoration of European catholic churches. The reformation destroyed
it ideologically (Illustration 32), but the sacral architecture of the Renaissance,
then the Baroque and Rococo deprived its space giving the preference to
natural, bright light, which shone through colourless window glass rendering
interior of church very light.
It is assumed that the art of stained glass dies in the time of
reformation in the 16th century and remains denied until the 19th century, when
again monumental sacral and secular painting principles regenerate. The 17 th
and 18th centuries are considered as a time of quarrels between catholic and
protestant Europe. The time really seems ineffectual for glass painting, though
exactly at that time the heraldic subject paintings in windows - in churches up
surged to fill in the habitual coloured window space for which the rendering of
religious theme is denied, even manor and residential buildings of the wealthy,
even municipal buildings of different character. Besides heraldic flora and
fauna motifs spoken of earlier, different social life scenes, historical themes and
other secular subjects are multiform painted. Around the end of 17 th century
glass painting found its main place exactly in decorations of secular buildings there are formed small size "parlour" paintings, hereto, most separately
appended to the window. The end of 17th and beginning of 18th centuries is
considered as the time of appended stained glass renaissance, when in whole
Europe pervades glass paintings made after the engraving subjects. The most
popular authors of engravings were Albrecht Dtirer (1471 - 1528) and his
students, also Hans Holbein (sen.) (1465-1524) and Hans Holbein (jun.)
(1497/98 - 1543) etc. Certainly the samples of engravings sometimes are used
for even several centuries long time period, creating rupture between the
formation time of engraving and glass painting (consequently creating also
difficulties in stained glass dating). Also paintings of different artists - Dtirer
(spoken of earlier), for along time period also Dutch-Flemish paintings are
taken as the samples. Significant that even in the windows of secular buildings
appear small size glass paintings with religious matter (quite many in
Germany).
Also the technical process of the stained glass making has changed monolithic glass plate painting (mostly depiction of engraving or painting
58
transmission on glass) dominates. New paints are detected and the technology
of colour sequence is improved. Paintings are both monochrome (dark brown),
and multicoloured.
From 16-18th century the art of stained glass has an international
character. It is contributed by obligatory instructional travels for glaziers.
Because of these circumstances materials in Latvia have many analogies with
European samples in both sorts/manners, thematic and performance. In territory
of Latvia such experiences, which at that time accumulated glaziers from other
Europe countries converged, certainly the German tradition and its international
influences, prevailed, what is contributed the wanderings of the travelling
journeymen.
The spot of glass paintings in windows in 16th- 18th centuries: a) some
separate pane painting or larger painting square collocation in small-pane
window; b) occasionally - painting of all panes; c) painting on a separate
appended picture that hangs in a window; d) hardly ever - stained glass
window formed in medieval traditions.
About glass concoctions in territory of Latvia in the very beginning of
the craft activities data are not determined, because none of the signed glazing
of 16th cent, beginning is preserved till nowadays. J. Straubergs has written that
in the first half of 16 th century the Blackheads in Riga Dome Cathedral have
hade their own window, decorated with the golliwog head paintings, but "when
in St John's Church Latvian parish (since 1582) was assembled, the Blackheads
participated in the construction of this church and established their own bench,
as well as a window under the small door on the south side." According to the
data of H. Spielt, in the second half of 16th century are renovated the windows
of the Blackheads' chapel in St Peter's Church: "Windows were renovated
repeatedly per money of union, so for example in 1567 two new windows were
manufactured, which cost for union, included all expenses, 297 marks. On one
window, which was situated beside so-called town council window, 6 eldermen
and 14 seniors obliged to reproduce their names in the upper part of it. The
other window was bedecked with names of 24 inferior Blackheads, which were
the presenters of another window." As purport the scientific account materials
of archaeologists (textual appendix no.3), in different areas of Latvia leaden
glazing bars, window fragments, also painted chippings are found. Part of these
findings might also be concoction of the 16th century, for example, fragments of
window glass and leaden glazing bars found in excavation in Ludza Castle,
Bauska castle-ruins, also Cesu castle-ruins and excavation in Lielvarde etc.
About fairly significant preserved stained glass and also written material one
can speak since the time of 17th century. About 17th -18th centuries glasswork
and paintings in territory of Latvia there are much more information than
59
about previous periods, because indigenous crafts' operations are documented,
and, the most important fact is that stained glass is preserved.
Also archive documents are the important resource of information,
especially inventory documents of churches and manors, also artist lexicon
composed by P. Kampe and articles of different researchers about the history of
Latvia's churches (textual appendix no.6). In most cases this information is
incomplete, which does not give us inkling about the style and view of the
windows, though this is an evidence of small-pane window prevalence, and in
separate sources data are also found about painted windowpanes and window
manufacturers. In Latvia's collections is preserved interesting and rich
exposure of 17 - 18th cent. glass paintings.
The research of 17-18th centuries' glass paintings is difficult to be
done, because the information about preserved works is quite poor. There are
very few autographs of manufacturers or workshops of Latvia's stained glass,
the specific registers with the names of glaziers are preserved only from 1710,
about the previous time are fragmentary data. In most cases it is not even
possible to designate, if specific stained glass is manufactured in Latvia or
imported from foreign countries. The situation is becoming more complicated
in the 19 th century because the collectors of art (collecting art is becoming a
trend) are importing undated glass paintings from Germany, Switzerland and
other countries. Then in Riga one can come across manufactured glass
paintings appeared only in the 17 th century, ever also in 19 th century
manufactured copies of previous centuries works, hereto, frequently using the
same sort of glass and paints.
The main at that time in Latvia territory manufactured and imported
glass painting collections are kept in the Riga Museum of History Navigation
and the Rundale Palace Museum. The deficiency of documentary confirmation
ever incommodes the relevance of specific work with particular glazier
workshop of Latvia. The archive data mostly give insight in general activities
of the Riga Small Guild glaziers craft and Kurzeme glaziers. The more specific
data is about 1980-ies new-found material, painted glass chippings from J.
Helm's workshop, which are found in research of the MentzendorfFs House.
Jiirgen Helm is the only Riga glazier at the turn of the 17th -18th centuries,
whose workshop contribution can be objectively evaluated today, as it is found
in the locality of the workshop and significant quantum of glass painting
fragments, that referring to the analogies gave the possibility to link J.Helm's
name with the most in Latvia museum collections existing stained glass.
The greatest part of this painted glass collection is window glass, most
of all rectangle shaped small-pane fragments of 17th century, but also there are
oval shaped painting fragments from windows or their appended pictures.
Inferring from the imprints on glass from the lead glazing bars, part of
60
paintings has been placed in windows, later shivered or broken. However, there
have also been defective paintings never put together in a unity of a stained
glass which shivered before glazing gars have been used because there are no
imprints from lead on the glass. For paintings the glass of different thickness
(from 1-4 mm) and different colours (uncoloured, different intention green and
brown) is used. Different paint applying technologies have been used monochrome paintings (painted by Schwarzlot) painted on one or both sides of
glass; multicoloured paintings of hot paints on one or both sides of glass is
used.
Three main thematic circles of painting - floral paintings, fauna
paintings and heraldic compositions, which embrace very wide gallery of
images - saints, allegories, angels, people, nature etc. Even the further research
(more than 4000 units) of these only workshop paintings gives insight subject
in technology variety, presenting direct analogies with Europe's material.
The manufacturing of glass territory of Latvia in 17 th century is not
complete, if we do not mention once very famous manufactories of Kurzeme
dukedom.
Kurzeme dukedom glass manufactory products have acquired fame far
outside Latvia frontiers. Both local and foreign art museums have put on view
high-quality glass concoctions from these workshops. Sadly, but in none of
these museums there are not preserved windows or glass paintings (only
gorgeous tumblers, bottles, roof tiles, even way stick from glass) which with its
autograph would allow surely include them among works of certain Kurzeme
workshop or craftsman though presumably part of existing stained glass in
Latvia's collections are manufactured exactly in Kurzeme. It is implied by the
established archive in Rundale Palace Museum where Latvia's archives and
library stocks are summarized and data about Kurzeme glaziers and interiors of
historical buildings are found. Although these materials mainly contain nonexpanded informative news, it gives insight in the order exposure of workshop,
producing concrete surnames of performer, also touches upon social life of the
glaziers and in separate cases the number and character of window in definite
buildings is mentioned. Everyday's work of Jelgava, Saikava, Biržu, Vircava,
Ventspils, Kandava glaziers and expanded descriptions of workshop inventory
are found in LWA 554. in cases of fund description no. 3. The most important
data regarding this theme are founded in the material folders of manors and
churches. For example, only Landze rectory's stained glass coat of arms
descriptions (RPM archive, No.337 (12-13) certainly verify, how very wide the
gallery of heraldry in the windows of one building has been. Dating and
enumeration of stained glass allow to originate inkling about these series coat
of arms improving through the years (1707 and 1712, as confirm the
descriptions of windows, the coat of arms of householders inserted beside the
61
heraldry of Duke Jacob (made in 1623), Fr. Wilhelm (made in 1703) and
Ferdinand). In separate cases in church materials data about glazier who
produced windows for building are found , as for example, record (RPM
archive, No. 7049), that windows of Burtnieku Church in 1683 are produced by
Ambrosius Gabriel in Valmiera, but in 1687 - Peter Kunst. Unfortunately there
is not documented the sort of window, and no note decodes weather it has been
a stained glass window. Primary conclusions: In 17-18* cent, in Kurzeme
workshops produce high-quality glasswork also glass for windows and stained
glasses, as well as stained glasses no lacking specific documentation that would
verify determined relevance with some of these workshops. In the middle o f
18th century workshops specialize in certain fields of glasswork. The glass for
stained glass becomes the special production of separate workshops. Overall in
the middle of 18 th century the main renaissance of workshops is related with
glass tare manufacture and manufacturing of mass production.
Thematic groups of Latvia glass paintings in 17-18tb centuries
Taking into consideration the obvious authorless character of
Latvia's collections of glass paintings in 17—18th centuries, the works of this
period are inspected within the framework of thematic groups.
In Latvia are preserved interesting and varied examples of heraldic
glass paintings, but as the first should be mention eldest preserved (defective)
stained glass, which relates with territory of Latvia - this is dated with 1606,
oval shaped, appended heraldic composition with Livonian bishop in Wenden
(Cesis) Otto Schenking's coat of arms and to his position respective attributes
- sceptre and mitre in the upper of the coat of arms. At the moment the picture
is in the collection of the Poland's Museum (Illustration 45a). The manner of
representation, font and technical performance of this stained glass refer with
eight years later originated paintings from collection of Rundale Palace
Museum. These are two heraldic compositions one of which is dated with year
1614; both are preserved fragmentary (successfully restored in "Biķeru"
workshop for exhibition of heraldry in Rundale in 2003). Presumably that all of
these stained glasses are manufactured in one (Jelgava?) workshop, because
they are stylistically similar, and for them are used similar hot paints. As shown
by heraldic symbolism and legends on the painting hemline, stained glass has
been a grant and mark of distinction from the Ketlers. Glazing has been located
in Tervete Church.
A common feature of all Tervete heraldic compositions is an
immensely wide scale of colours of hot paints that indicate features of one
manufacturing school. Presumably, these stained glasses have been
ordered in glaziers' workshops in Jelgava - the capital of Dukedom of
62
Kurzeme. Jelgava since 1597 when local glaziers have received statues of
the craft, is to be accounted for the second largest centre of stained glass
manufacturing in territory of Latvia, first being Riga.
Heraldic paintings on stained glass have decorated the windows of the
Lipiku Church as well. They picture coats of arms of seven villages of the
Cours kings (in Latvian - konim). These seven coats of arms are made in the
year 1664. Unfortunately, only the coat of arms of the North Village is
perfectly preserved till nowadays (Illustration 50).
Taking into consideration the spread of the glaziers' craft in Kurzeme
dukedom, most probably, they have been made by a local glazier.
A significant collection of the heraldic paintings on stained glass is
gathered in the funds of the Riga Museum of History and Navigation (RMHN).
A composition - rich in colour and with a didactic touch, given in the
year 1684, is inherited from 18 th cent. Himzell's Collection - at the present
moment owned by RMHN (Illustration 53). The small scale and composition of
the painting are analogical to those of Europe "cabinet" appendable pictures of
the 17th and 18th centuries. Alliance's (unification of two families) coat of arms is
here presented in one composition with inscription from Psalms of David,
psalm 13 3 in German (translation): "How good and pleasant it is when brothers
live together in unity" and an illustration (well known in European mythology
and folklore) picturing a dying father and younger members of the family
certifying a parable that it is easy to brake one arrow but impossible to brake a
bunch; theme is taken from a gravure. A heraldic family tree is encircling
central painting but the lower part of the stained glass, using a small message,
informs about alliance of two families.
17th cent, window decor picturing Mauritian coats of arms in the Guild
premises in Strasbourg is compositionally alike to the painting of the alliance
families spoken of earlier. It consists of a central painting in the frame of
columns, surrounded by smaller paintings, picturing different coats of arms and
family name inscriptions of their owners (Illustration 57). Taking into
consideration the fact that the Schoerers are
well-known in Switzerland, most probably the stained glass is made in a Swiss
workshop.
Heraldic compositions are vivid and bright; however, some
compositions in the funds of the RMHN are less coloured in.
In 17th and 18th centuries stained glass drawings are done in black-andwhite under influence of black-and-white gravures.
The collection of the RMHN holds two fragments of a civil heraldic
painting earlier having been parts of a larger composition. Transparent,
uncoloured glass is painted on one side - using "Schwarzlot" and only two
details are coloured in red - a tongue of a lion and a mouth of an angel
63
(Illustration 59). The present setting - bright blue edgings, roses in the corners
and wooden frames - have become a part of the stained glass considerably
later.
These fragments could be from a similar coat of arms of a town as the
one in the illustration 60 (coat of arms of Riga). The fragments - considering
the similarities between these fragments and the fragments found in the
MentzendorfFs House - can be linked to the workshop of Jiirgen Helm. They
have been donated to the museum by the Society of Ancient times Researchers.
Ornamental painting of Riga's Emblem on a fractional window of
forty-two parts is brought from Sala Church in the collection of the Riga
Museum of History and Navigation. It has been restored at the end of 1970-ties.
The painting is an interesting example of applying elements of town's heraldry
in a church interior. Remarkably, it is the only preserved 17 th cent, composition
whose painting covers entire window light. The painting is made in several
colourings of hot paint. The central ornament is a traditional heraldic
composition used in towns' seals since 1225 - a gateway with keys above
them. Shield holders - heraldic lions, a head of a lion in the gateway and a
crown above the keys are painted as official canonical symbols. The rest of the
design is characteristic to the barque ornamentation. An accent of bright yellow
flowers and green leaves stands out against the background of grey colourings
of lions, acanthus and seraphs. Lines are lightsome - painted freely and
virtuously. Similar patterns can be seen also on the glass fragments found in the
Mentzendorffs House. One can point out that the same patterns of floral
elements could have been used in more than one stained glass of a glaziers'
workshop, as well as there could be more than one painting on the same theme
(Illustration 61.) A painting of a sunflower on a fragment found in the
Mentzendorffs House; Illustration 62. Sunflowers from Riga's Emblem;
Illustration 63. Fragments with the paintings of plants and berries from the
collection of the MentzendorfFs House.). Stylistically alike floral patterns
painted in 1633 decorate portraits of Charles I and his consort in the hall of
Magdeleine College, Oxford (Illustration 48a).
The use of the floral patterns in heraldic and other compositions is a
common trait. These patterns are painted by certain examples - so called
pattern books and thus they can appear alike in different paintings. Usually they
are naive and stylised.
The heraldic paintings have been the primary orders in 17 th-18th
centuries. Not only the large number of the preserved paintings has proved it
but also a number of documents and pattern drawings.
17th cent, glaziers' pattern book from the funds of Riga Museum of
History and Navigation has already become a legend (inventory no. VRVM
36218, illustration appendix no. 44 - copies of drawings). Besides the fact that
64
it is an interesting material, one cannot know for certain that it has belonged to
glaziers in the 17th century. Leather cover bound book contains two hundred
nineteen drawings in ink picturing sketches of armorial bearings for certain
persons and organizations and the ones for no specific orders (in brownish and
greyish colourings). It might be a masterwork of a glazier's journeyman or
master.
Nature Reflections on Glass. Motives in Latvia in Context of Europe in
17-18th centuries
Considering that glaziers' work in territory of Latvia has been greatly
influenced by German school, the paintings of 17-18 th centuries hold
characteristics of stylization. However, partly some of the compositions
picturing elements of flora and fauna could not enclose the symbolic meaning
so common in the medieval ages (practically for every flower or animal,
pictured in these stained glasses there can be found a meaning in the context of
Christianity). Varied compositions of floral motives can be seen on the
fragments from the collection of J.Helm's workshop. In most cases plants are
very stylized and it is hard to tell between a certain species and a fantasy.
Influence of Bible on paintings of 17th-18th centuries. Analogies of Europe
Beginning already with the 16 th century - time of religious
confrontation, religious themes in glazing of churches have been forgotten;
however they appear in the windows of the dwelling houses and municipal
buildings - mostly as appendable compositions. However, there are some
exceptions - a stained glass made in the 17th cent, that includes Song of song in
the composition located in one of the cathedrals of England (Illustration 123).
However, majority of the compositions are small size paintings that
are made mainly referring to the samples of gravures and oil paintings. The
Bible scenes are gaining popularity and they serve as reminders opposing vices
of mankind and strength of the Holy Spirit. One can find an illustration of this
idea in a painting on glass (the funds of RMHN) where Apostle Paul is being
hurled with stones, (illustration 126). It is a dynamic and compositionally
complex painting in "Schwarzlot" - painted on one side of the glass. The frame
has been coloured in yellow; however its painting has almost peeled off. This
stained glass has been made on basis of gravure of Flemish artist Jan Sadeler
(1550-1600). Dynamics and composition in the painting are similar to Dutch
painting on glass in Bishopsburn Church, England (Illustration 127).
65
Social Life Sketches. Social life activities - working, festivities, etc
are pictured on glass, as well as illustrated in other genres of art since 15 th
century. Previously those have been religious themes that have enclosed social
scenes from lives of Christ, The Virgin Mary, Saints, evangelists a.o. Also
calendars, Dutch genre painting and graphic art in the lS^-ie* centuries have
popularized showing every day life. Centres of the development of the genre
paining on glass in the 17 th-18th centuries are considered to be Switzerland,
Germany and the Netherlands where mainly appendable paintings have been
produced. Themes of social life have been important for the so called "gift
paintings". One can find evidence of it in Luebeck, St Anna's Museum multitude of paintings of musicians, festivities a.o. on windowpanes
(Illustration 136 and 137). A painting of a violinist (17th century) is seen on the
fragment from Helm's workshop (Illustration 143). It has been painted using
"Schwarzlot" - on one side of the glass; density of the glass 1.5 mm. Features
are rather blur but his waving hair and 17th cent, beret with a feather are painted
in detail.
Revival of Stained Glass at the end of 19th century and beginning of
20th century
Across Europe and in the United States of America era of experiments
and research has begun. Thus it has been natural due to the Gothic Revival in
architecture. The necessity for decoration of the Gothic style windows lead to a
deepened research of stained glass traditions in the Middle Ages. George
Seddon has pointed out: "At the beginning of the 19 th century, after the long
period of decadence in stained glass art, Europe and the United States were
lacking talented and experienced glaziers who would be able to create
monumental windows of a high artistic quality."
State of Affairs in Latvia
At this point of time activity of utilitarian glass manufactures is
advancing in order to satisfy the needs of the aristocracy; however, situation
varies in Different regions of Europe. For example, none of the Kurzeme
manufactures function in the first half of the 19 th century (until 1858 when the
Pusenieku workshop in the neighbourhood of Ventspils is founded). However,
16 master glaziers are working in Riga in 1802, among them later well-known
glaziers in Latvia form the family ofBeiermann and famous glaziers from the
family of Achelius in Luebeck. Unfortunately none of the works of these
workshops from the first half of the 19 th century are preserved. A certain
change of scene occurs at the end of the 19 th century when Ernst Friedrich
Tode, Alfred Kahlert a.o. workshops are founded - the aim is to work with
66
stained glass leaving utilitarian glasswork behind; thus begins specialization in
certain fields.
The material of Latvia's stained glass presents some innovative glass
art work reaching the level of excellence that proves to seeking of new ways in
Europe, An unusual synthesis of techniques is used in making a copy of a
painting "Holy night" (1522-1530) by Correggio in the second half of the 19 th.
century (Illustration 150a). The glass painting is made of an oleograph that is
fixed between two plates of glass creating an impression of the under-glass
painting.
Among innovative glass work made at the turn of the 19 lh/20 th
centuries one should regard also five stained glasses of Ķemere estate now
kept in the Valka Museum of Study of Local History, 64 Riga Street
(Illustration 263). Presumably the order of the paintings on glass has been made
by the owner of the estate Elisabeth von Lanting who has resided in Ķemere
since 1898. Paintings are machine-made by using some technique of printing
on glass. Glass material is very fragile and thin (2 mm) and paint is applied on
one side of the glass - now in poor condition. That points to the fact that all the
colourings have been applied at once before burning or cold technique has been
used.
Taking into consideration that German workshops are dominating in
19th century and main orders have been fulfilled in Germany or in German
workshops in Riga, it is clear that European tendencies have greatly influenced
stained glass art in Latvia. As abroad also in Latvia significant and monumental
stained glasses are made at the end of the 19 th century - window glazing for
Dome Cathedral, St Peter's, St Paul's, St Gertrude's and St John's Churches,
the Small Guild also St Simeon's Church in Valmiera a.o.
Stained Glass Workshops in Latvia - end of 19 th century -1940
Stained glass production in territory of Latvia has been greatly
influenced by German traditions. Till the end of the 19 th century it has been
German trade, also at the beginning of the 20 th century German tradition is
dominating, disregarding first professional Latvian glaziers. A significant role
is played by the prestige of German workshops and the great number of
German workshops in a quite small territory of Latvia. German pattern books
are still popular at the beginning of the 20 century. Great deal of the orders
has been fulfilled at the Bcicrmann workshop. Inheriting the craft form
generation to generation, it has been in business for a long period of time from 1747 to 1939, specializing in paintings on glass. Unfortunately there is
lack of information about this workshop and produced works. A bright example
of M. Beiermann is the glazing in Nereta Church made in 1903. One should
67
mention the workshop of Alfred Kahlert functioning in Riga since 1890-ties
as the workshop of A.Kahlert and Franz Weber, Between 1900 and 1939 it
bears the name of A. Kahlert making both religious and ornamental secular
painted compositions and mosaic windows. The workshop of Ernst Friedrich
Tode should be regarded as the most professional workshop in Latvia
functioning in Riga from 1895 to 1909. It has been working with versatile
orders. One can find a significant number of stained glasses made at the
workshop of E.Tode in many churches, municipal buildings and private estates
of Latvia - in Riga, Valmiera, Asare, Liepaja a.o. Orders have also been filled
for St. Petersburg, Moscow, Tbilisi, Odessa, Vladivostok, Kharkov, Warsaw
a.o. A workshop of glaciation and glass art that has been o wned by
A. Schwolkowsky exists in Riga till 1930. Important sketches of Latvian artists
for stained glass have been materialized at the workshop of E. Baumann Fromhold. There have also been several smaller workshops. Beginning of the
20th century introduces professional and highly educated Latvian stained glass
artists who have studied at local German workshops. Some of them have
established their own workshops at the beginning of the century. Those include
- J.Krigers, E.Vainovskis (students of A. Schwolkowsky), A.Lilientāls
(a student of A.Kahlert). H.Grīnbergs and J.Šķērstēns have been trained at the
workshop of E.Tode for several years. These glaziers have continued to work in
German tradition filling the orders of German workshops although they have
been attempting to create stained glasses of Latvian origin when the first
Republic of Latvia is founded. However, Latvian and German traditions
blended after year 1920. It has been influenced not only by the tradition but
also by the form of cooperation - Latvian artist - the author of the sketch,
German workshop - producer. Thus it is hard to tell the author of a stained
glass not signed. When the first Latvian artists appear in fewer cases the
workshop of production indicated (after year 1910).
Despite the high level of proficiency and quality of the works at the
local German workshops in Riga, many of the stained glasses for significant
buildings in Latvia (The Small Guild, Dome Cathedral, Valtaiku Church a.o.)
have been ordered in Germany - Munich, Dresden and Hanover on account of
the close contacts of Baltic German customers and architects with their ethnic
motherland.
Till the beginning of the 20 th century stained glass producing
monopoly in Latvia has been held by German workshops with a few exceptions
of Latvian origin glaziers - craftsmen. However, the first owners of Latvian
workshops at the beginning of the 20 th century - J.Kngers (apprentice of
A. Schwolkowsky) also E.Vainovskis who has later taken possession of
J. Krīgers' workshop in 1905 are making the stained glasses according to the
pattern books and sketches of invited artists. An exception is E.Tode workshop
68
where the stained glass is made on basis of the master's original sketches.
Changes are introduced by painters - J.Rozentāls and K.Brencēns who try to
reflect the tendencies of Latvian painting in the art of stained glass.
Janis Rozentāls (1866-1917) episodically works with sketches for
stained glasses having no particular education in art of the stained glass.
Belonging to Europe's "pure art" representatives, he has been striving to work
in several fields of art including applied arts thus confirming his commitment to
symbolism and Art Nouveau. His devotion to these principles is clearly seen
when looking at the sketches for the paintings on the drapes of the Latvian
Compagnie Theatre or the compositions for the facade of the building in
mosaic and plaster plastic techniques. Three large scale stained glass
compositions (unfortunately not preserved till nowadays) for the premises of
Latvia Credit Bank in 8 Dome Square (at present premises of Latvia Radio)
have been made after his sketches at the beginning of the 20 th century.
First professional stained glass artist in Latvia is Karlis Brencens who
studied at Felix Gaudin workshop in France in 1903. Between years 1907 and
1917 K.Brencēns is the head of the class specializing in paintings on glass and
stained glass at St. Petersburg Stieglitz Central technical School of Drawing.
Eduards Brencēns and Sigismunds Vidbergs have studied under his guidance.
Although K Brencēns has been working abroad (making stained glass for the
churches of St. Petersburg, the hotel "Europe" a.o.) his creative work has
influenced further development of Latvian stained glass. Large segments of
laconic colours, characteristic to the works of K.Brencēns, add monumentality
to his stained glasses. One of his most engaging works is "A cock in Snow"
(1905, in other sources 1903, now in the funds of the State Art Museum). It is
an intimate stained glass differing in style from the works of the local German
school (Illustration 223). Its composition is monolithic and main expressive
means are lines and stylized forms with romantic accents - glistering
snowflakes covering the entire plane. The name of the customer remains
recondite; however, according to its character it has not been meant for
a significant municipal building.
One can sense 20th cent, beginning's trends of avantgarde style in
sketches of S.Vidbergs - a pupil of K.Brencēns. He has used more graphical
expressive means - rhythm of silhouette and line, the lights and darks, less
involved in the use of colour. In 1930-ties S.Vidbergs has worked on several
stained glasses for dwelling houses and municipal buildings in Riga. For
example - "The Port Worker", "The Bricklayer", "The Metalworker", "The
Artist of Applied art" (1930, present 29/31 Bruninieku Street, stained glass not
preserved, Illustration 228). Modern stained glass is also made by painters
having not specialized in stained glass, as N.Strunke, J.Bine a.o.
69
During time of the first Republic of Latvia many of the painted stained
glasses are influenced by national romanticism; sketches are made by J.Bīne,
A.Cīrulis, K.Freimanis, E.Treilons, a.o. Ansis Cīrulis (1883-1942) have
made stained glasses to represent the Baltic States in World Exhibition in
Paris in 1937. Six allegorical compositions - "Latvia's Rye", "The
Farmstead", "The Craft", "The Trade", "The Navigation" and "The
Construction" are awarded with gold (last four stained glasses are decorating
the windows of the Big Guild, Illustration 236). The composition is simple
and clear supplemented by figures in folk costumes and symbolic attributes
- a sailing boat, weights, a hammer.
Local German school traditions are being kept alive by Jēkabs
Šķērstēns. In the use of geometrical ornamentation, architectural forms and
fonts, works of J. Šķērstēns are similar to the works of his teacher E.Tode;
however, they differ in the used expressive solutions that are combining and
drawing nearer diverse cultures and genres in the monumental painting of
Latvia in 1920-ties.
Stained Glass During Occupation Period
For over a half of a century Latvian stained glass art is under the strong
influence of two different inimical political forces. During this time period the
experienced glaziers continue their work. Some of them do not stay in Latvia
for long as S.Vidbergs and emigrate due to the growing political pressure and
restrictions. Already in 1939 most of the German workshops are closed down
and their owners expatriate for Germany following the invitation of A. Hitler.
In order to supplement the lack of stained glass glaziers after year 1944,
K.Brencēns and A. Litentāls (1886 - 1980) are establishing the Department
of Glass Art in Riga School of Applied arts. Head of the department
A.Litentāls has studied in the workshops of AKahlert A.Schwolkowsky, J.
Beiermann and J.Krīgers. Due to the fact that both artists are trying to follow
the guidelines of Latvian and German schools it is self evident that the
department is disbanded. In 1951 in order to fill the orders of the Soviet Union
a new stained glass workshop is founded in the factory "Māksla". During the
long occupation period it has been a hard inner struggle for the artists making a choice between conviction and political state of affairs. Based on
the individual inspiration and power of will both bright artworks and less
artistic state orders are created.
In the period of German occupation several bright and high-quality
masterpieces are produced showing sincere emotions and sufferings - as the
stained glass made after sketches of S.Vidbergs for Straupe Church in
memory of the deported in 1941 (Illustration 247). In all there are three
70
stained glasses - "Birth of Jesus Christ", "Crucifixion", "Window of the
Deported", two of them - "Resurrection" and "Lāčplēsis", remain in sketches.
Windows are ordered by the owner of the E.Baumann - Formhold workshop
whose family has been deported on My 14 th 1940. The stained glass is
produced between years 1942 and 1944 and painted by Augusts Treirats leading painter of the workshop.
In 1950-ties mass orders are mainly made for different cities of the USSR.
In order to fulfil the plans an additional workshop has been created at the art
factory "Māksla" in 1951. During this time period Latvian glaziers are more
abound in technical performance because sketches are made by Russian artists.
However, the traditions of previous decades are maintained in works of Latvian
glass artists.
New methodology of teaching young glass artist is begun in 1960-ties.
A separate division of stained glass is created in Latvian Art Academy. New
ways of further development are also searched in glass art division at Riga
Applied Arts School. Professor Tenis Grasis at Latvian Academy of Art (sen.
1925-2001) has pointed out that there have been attempts to combine the
ordinary with the building glass, as well as some combinations of techniques
and the first research in the field of the monochrome - grisaille stained glass
and last but not least - in restoration of the historical stained glass (from Riga
Dome Cathedral, Simeon's Church in Valmiera a.o.). Due to activities of
glaziers a circle of stained glass artists is founded within Latvian Union of
Artists in 1963. Anew generation of glass artists-painters has announced itself.
At this point of time new advanced technologies begin to brake through,
Stained glasses in technique of the blown, molten, cleaved glass in the
framework of metal, cementand epoxy are the new trends. Also the first double
technique and molten glass stained glasses are made.
In 1970-ties and 80-ties both generations of stained glass artists continue
successful working. Besides ideological orders that should be made according
to the Soviet principles also high-quality pieces of art have been created during
this time period and technologies have advanced and given the basis for further
development of stained glass.
Painting on Glass after 1990
During 1990-ties there is possibility to attract investments and that
leads to creation of fairly many monumental new pieces of art. One can
highlight stained glass compositions in the new buildings of banks, companies,
and several other public buildings (including renewal of the Blackheads House,
several banking premises, the Small Guild glazing).
71
The new period can be characterized by more intensive restoration of
historical stained glasses that is possible due to foreign investments. Quite
a number of historical stained glasses passing in the hands of private companies
are being restored and kept in their original location. In few cases, however,
they have been lost and their location remains unknown. Stained glasses in
Soviet tradition are dismantled and only few of them are in the funds of the
museums. Regaining independence has given new opportunities for experience
exchange and cooperation with the glass workshops abroad.
Beginning of the year 2002 has been rich in several local glass art
exhibitions and following the lead of the international glass art parade "Nordic
Glass" they have shown the main tendencies of development in painting on
glass in Latvia acknowledging: 1) respect of the old traditions - using hot or
cold paints and paintings on a monolithic glass plate or a mosaic composition;
(for example - "Still life with a Playing card" by Evija Grīnvalde (2001,
Illustration 326) and "Egyptian motif' by Barbala Gulbe (2001, Illustration
328) - artists of the young generation who have combined mosaic technique
with panting); 2) paintings on glass combined in untraditional compositions
harmonizing or disharmonising with metal, wood a.o. materials (for example "Winder" (2002) by Naura Bulmeistare - also artists of the young generation;
the work has to be perceived through a wire gaze (Illustration 327); 3) creation
of a piece of art using such glass handling as glaciation, engraving, melting of
glass a.o. (for example - "Sleeper" by Krista Kokina in technique of glaciation
(2002, Illustration 329); 4) transformation of glass pieces of art into paintings
(for example - a painting "Pillow" by Uģis Paeglis painted in the event "Artists
painting the Glass" where a pillow of blown glass enclosed in the wire gaze is
pictured).
New trends of art prove that painting on glass is inspiring both the
development of the stained glass and creation of other objects of art; it becomes
more sophisticated and is in search of unexpected expression.
Resume
PAINTING ON GLASS IN LATVIA
I Evidence of Glazing till the 17th Century
Until year 1541, when glazier craft is founded and thus the documentation of
glaziers' working is begun, the evidences of glazing in territory of Latvia are
quite poor.
72

Those are a few evidences of glass manufacturing in medieval
Riga found by archaeologists - glass beads made in Riga, semi
manufactured glass, clay crucible for glass melting, flux with
remains of glass mass; also chippings of window glass in
archaeological stratum of Cesis and Limbazi castles a.o.; graded
window lights in Rauna and Sigulda castles, and a building part
that has belonged to a medieval building and has been found in
underground passage of Tirgonu Street in 1980-ties and has been
an evidence of glazing.

Time till the beginning of the 16th century is regarded as time
when glazing is a priority of foreign glaziers, however, not
withdrawing the possibility that before foundation of glazier craft
some local glass craftsman could have worked with glass because
the right to establish the craft took a few years.
II Painted Stained Glass in Territory of Latvia - the 17th and 18th centuries
1. Collections of painted stained glass in Latvia verify the fact that Latvia's
stained glass is going along with the tendencies of stained glass in Europe:

Techniques of creating a stained glass have changed - most of the
stained glasses are one-piece (most commonly copies of
engravings or paintings). New paints have been discovered and
technology of paint applying has advanced. One can meet onecolour (dark brown) or multicolour paintings on glass.

Due to post-reformation changes also themes of stained glasses
have changed. Church window lights are decorated with secular
ornaments and other buildings' windows picture heraldic, nature,
social or religious ornaments.

Stained glass art of the 17th-18th centuries has international
character that is promoted by the required scholastic travelling of
glaziers what in turn has brought Latvia's stained glass closer to
analogies of Europe - both thematically and technically.

17th-18th century stained glass paintings in the windows:
a) a painting on a separate pane or a compositional painting on a
part of pane-window,
b) in a few cases - painting on all of the panes,
73
c) separate small painting that is hanged up in a window,
d) hardly ever - stained glass window of medieval tradition.
2. Rich and very interesting material of the 17th-18th centuries' paintings on
glass one can find in collections of Latvia.
 Due to the lack of documentary information it is hard to link
paintings and their manufacturing work shops.

More precise information has been gathered in 1980-ties when
fragments of painted glass have been found during the restoration
of the Mentzendorffs House. These fragments lead to the
workshop of Jiirgen Helm (17th cent, end - 18th cent. beg.).
Research on more than 4000 pieces allow to judge upon themes,
technologies of this time period and the link with European
analogies.

A part of the paintings of Latvia's collections is imported stained
glasses. Unfortunately, in many cases it is not possible to tell the
place and time of their production because they bear no
identification marks.

Basic information found in archive tells about activities of Riga
Small Guild glaziers' craft.

More documentary evidence is necessary to speak about certain
workshops in Latvia and to link different stained glasses with the
workshops they have been manufactured.
Ill 19th century - 1930-ties
1. Traditions of the previous centuries prevail in the stained glass of the 19th
century first half. Glass is regarded as a ground plane for hot paints and
a surface to make copies of famous artists' works. However, glaziers consider
that their proficiency is of higher level than during the Medieval Ages.
2. 19th century comes with innovations and searches for new techniques of
stained glass both in the United States and Europe. It prepares ground for a new
generation of stained glass that should couple with the first endeavours of Neogothic style in architecture.
74
3. At the turn of the 19th /20th centuries still the main role is played by German
glaziers' school; however, this time period also brings the first Latvian
professional stained glass artists. Several glaziers' workshops function in Riga,
for example, E.Tode, E.Baumann - Formhold, A.Kahlert and J.Beiermann
workshops. The influence of German school on Latvian glaziers' works is felt
long after closing of German workshops in 1939. In a few cases one can meet
German tradition also in contemporary glass works.
4. Despite the high level of proficiency and quality of the works at the local
German workshops, many of the stained glasses for significant buildings have
been ordered in Germany - Munich, Dresden and Hanover.
5. Beginning of the 20th century introduces professional and highly educated
Latvian stained glass artists who have studied at local German workshops and
abroad.
 First professional stained glass artist in Latvia is Karlis Brencēns
who studied at Felix Godin workshop in France in 1903. His
works are stylistically different from the works of German school.



20th century's avant-garde has merged in the sketches of
S.Vidbergs - a pupil of K.Rencens, as well as, paintings of
N.Strunke, J.Bīne a.o.
During time of the first Republic of Latvia many of the painted
stained glasses are influenced by national romanticism; sketches
are made by J.Bīne, A.Cirulis, K.Freimanis, E.Treilons a.o.
Local German school traditions are being kept alive by Jēkabs
Šķerstēns.
IV Stained Glass During Occupation
1. During 1940-ties artists of the previous decades are active and continue their
work. Among them K.Rencens, A. Lilientals, S.Vidbergs, K.Freiamnis. Year
1945 is significant because in Riga Applied Arts School a division of glass
handling is created.
2. In 1950-ties mass orders are mainly made for different cities of the USSR. In
order to fulfil the plans an additional workshop has been created at the art
factory "Māksla" in 1951. During this time period Latvian glaziers are more
abound in technical performance because sketches are made by Russian artists.
However, the traditions of previous decades are maintained in works of Latvian
glass artists.
75
3. New methodology of teaching young glass artist is begun in 1960-ties.
A separate division of stained glass is created in Latvian Art Academy. New
ways of further development are also searched in glass art division at Riga
Applied Arts School. Due to activities of glaziers a circle of stained glass artists
is founded within Latvian Union of Artists in 1963. A new generation of glass
artists-painters has announced itself, among them T.Grass, N.Cēsniece,
L.Bērziņš, G.Strauta a.o.
4. In 1970-ties and 80-ties both generations of stained glass artists continue
successful working. Besides ideological orders that should be made according
to Soviet principles also high-quality pieces of art have been created during this
time period and technologies have advanced and given the basis for further
development of stained glass.
V Painting on Glass after 1990
During 1990-ties there is possibility to attract investments and that leads to
creation of fairly many monumental new pieces of art. One can highlight
stained glass compositions in the new buildings of banks, companies, and
several other public buildings.
1.
2.
3.
The new period can be characterized by more intensive restoration of
historical stained glasses that is possible due to foreign investments.
Regaining independence has given new opportunities for experience
exchange and cooperation with the glass workshops abroad.
Exhibitions of the last years show the main tendencies of paintings on glass
in Latvia:
• respect of the old traditions - using hot or cold paints and
paintings on a monolithic glass plate or a mosaic composition;
• paintings on glass combined in untraditional compositions
harmonizing or disharmonising with metal, wood a.o. materials.
76