539:, high horizons, almost static balance of verticals and horizontals ("Landscape of Tukums" (1935), "Station" (1936), "Landscape" (1936), and some other works). Artums participated in annual Tukums artists' works showings, exhibitions organized by the Mūkusala Artists' Group, so-called Zemgale Art Exhibitions, as well as the annual Latvian Art Exhibitions of the Culture Foundation. His works also have been exhibited abroad. The income from the sale of paintings allowed him to plan a trip to one of the European art centers -
843:
835:
797:
216:
427:
639:
668:
482:
519:) has expressed that "Artums' studies have a strong treatment of forms with a peculiar brush stroke." Other viewers of the time have noted the "weary color peace in the spirit of Tone-Ubāns" and good technical readiness. From the Academy period, the more widely known works are "Still Life with a Copper Teapot" (1928), "Andrejosta" (1930), "Big Street" (1932), and "Tukums" (1932). Artums' early painting is characterized by the so-called
93:
499:
697:
22:
552:
from
January 22 to February 5, 1933, in the Riga City Art Museum (now: Latvian National Museum of Art). Among others, 6 works of Artums were displayed - "Tukums", "Street in Tukums" (2 paintings), "Landscape near Tukums", "Landscape" and "Sniķe Tavern". Artums also participated in the association's exhibitions in 1935, 1936, 1937, 1938, 1940, etc.
776:
occupy a firm place in the art of Artums. In the still lifes, a lot of attention is paid to flowers, but Artums also painted still lifes with fruits, mushrooms, fish, etc. Local colors, corporeality of objects, and even heaviness are accentuated in these still lifes. They are characterized by a sense
609:
Artist's works from the 1950s-1960s are characterized by cycles of the seasons, though not specifically intended and completed they attest to the painter's deep link with nature. He captures nature in the nuances of the seasonal rhythm, his tonal harmony of the sky and water is rich and interesting.
739:
Painter and art historian Olģerts
Saldavs formulated Artums' manner: "Artums is being guided by the very joy of the painting process (..), neither complex motifs in nature nor the difficulty of solving them in portrayal scares him. (..) the beauty of painting itself often fascinates the artist." The
494:
In the 1930s, Artums met Milda
Dombrovska (1898–1975). In 1940, they started to live together. Artums continued to paint and work in J. Krievs ceramics atelier, while his spouse managed the household, growing flowers. Contemporaries vividly remembered Milda's independent, proud spirit, fiery temper,
755:
Artums happily accompanied friends, talent admirers on rides, as it was an opportunity to explore the surroundings for painting: if a place caught the artist's attention, he used to get out and work. Following invitations from acquaintances and friends, Artums also went to paint in Ape, Salacgrīva,
730:
In the early works, the color palette is still moderate. At the end of the 1930s, Artums, instead of the previously usual harmony of natural colors, brought to the fore the color composition balance dictated by the mind. It can be considered a new level in the development of the author's pictorial
663:
Spring was still a much-loved period: variations of blooming apple and chestnut trees were also created in the 1970s and 1980s. Various motifs of flowering plants were also sought in summer ("Wind Hemps", 1973). A lot of paintings feature
Kurzeme's seaside fishing villages. The still lifes of the
551:
The group included painters who had grown up and developed in their region but zealously followed the culture of
Western Europe, including traveling and getting to know art abroad. The first exhibition of the Mūkusala (at that time also referred to as “Mūksala”) Artists' Group or union took place
726:
Color and nature are primary elements in the pictorial expression of Artums. His painting style has "a colorful sonority and emotionality, picturesque understanding of space and forms, contact with nature, (..) imaginative thinking, which (..) purely intuitively knows how to find the permanent,
830:
Numerous catalogs of his exhibitions were published during the artist's lifetime, Artums mentions and reproductions of works are included in various publications. The most important publications dedicated to Artums and his art are Taira Haļāpina compiled reproduction album "Ansis Artums" (Riga:
759:
The artist himself admitted: "I work more with instinct and feelings. And not like this: rushes out, paints for an hour, and back to the room. In nature, I don't feel hours, I don't feel how time passes, sometimes the whole day goes by without noticing." Artums art does not have sharp stylistic
743:
Regarding Artums' 1970s-1980s paintings, art historian Aija
Nodieva has used a conditional division into "picturesque compositions" (a wider landscape covered with a clear, purposeful view) and "picturesque coincidences" (a close-up corner "cut out" of nature that enchanted the artist). At this
735:
orientation, based on a strict drawing, a framework of shape, and saturated, intense color. Although the painter has taken the color palette from nature, he "removed" the tonally less essential, leaving pure, clear tones. A certain heaviness can be observed - a pasty stroke of paint, a strongly
556:
described the style of Artums during the Mūkusala artists' activity: "Ansis Artums is also becoming more and more interesting (..). He paints only landscapes and still lifes, (..) in landscapes, his peculiar green-red-gold tones reach great intensity. (..) The still lifes are very vivid, still
760:
breaks, and no distinctive periodization: outwardly, his artistic personality has formed in a calm flow. However, although to an observer from the outside, Artums' creative work seems to have developed fluidly and evenly, the artist himself felt his creative growth path as intense and dynamic.
714:
Artums' work can be relatively divided into two stages: the Early one - from the beginning of the 1930s to the mid-1940s - a certain restraint in the choice of colors, a tonality close to earth colors; the Second one - from the 1940s to the end of his life - bright, saturated, and vital color.
618:
In the 1960s, he still painted the cycles of the seasons, with a special focus on spring. In the works of this era, the painter's joy for the spontaneous beauty of painting is very noticeable. The painter was captivated by spring blossoms. We see particular fondness for the blooming lilacs and
626:
Artums achieved the internal tension in these paintings with the composition (its axis is formed by diagonals directed to the foreground) and color contrasts (opposites of warm and cold tones). The interpretation of space is essential for enhancing the "inner movement" of natural scenes. The
680:
Up until his retirement in 1968, Artum's "day job" was related to decorating ceramics. He initially worked in J. Krievs atelier, from 1945 - in the ceramic ateliers of the Art Fund of the
Latvian SSR, and later - in the Tukums Industrial Complex Ceramics Manufactory. Most often, decorated
543:. At this point, reviews attributed to the young artist "foreign impressions" and "French-Latvian" pictorial handwriting. It was a creative stage in which the artist processed and evaluated the impressions gained in Paris. The 1938-1939 works are mostly held in private collections.
631:(diagonal baselines going into the depth of the landscape) Artums adopts with a foreground painted in different intensity. The peculiarity of his handwriting is the almost complete rejection of the aerial perspective. In this and the following decade, Artums also painted a lot of
777:
of stability and thoroughness. Artums also painted the motif of blooming flower gardens, often as if "framing" them by deliberately focusing on a specific group of flowers. Portrait painting was not close to Artums: during his life as a painter, he painted only a few portraits.
414:
work "Landscape of Tukums". During his studies, Artums joined the Mūkusala
Artists' Group, where young artists worked in the workshop led by V. Tone on Mūkusalas Street in Pārdaugava. The group's artists were very diverse and declared affiliation with the traditions of V. Tone,
659:
A new technique or motif in the paintings: expressive, even dramatic, dark, and scribbled branches of trees and bushes, which stand out against a soft, pastel tonality background. Prosaic nature scenes were also painted, which are given splendor only by some blooming trees.
601:
also, these works were critically acclaimed. Shortly, Artums turned back to his favorite genre - alongside the motives of Tukums, still natures include blooming gardens, chestnut and apple trees, and
Slocene river views. In 1957 he held an exhibition together with
610:
The versatility of Artums was revealed: he was able to mute the colors even to soft pastel tones. Artums-istic color is particularly evident in the flower paintings - a specific color intensification, saturation, and peculiar color relations.
651:
Artums' palette of landscapes and still lifes became even brighter, especially expressing the artist's passion for the "beauty of painting" itself. Natural views are captured in almost romantic delight. The surroundings of the
792:
Artist’s works have been displayed in Riga, Jelgava, Jūrmala, Cēsis, many places in
Kurzeme and elsewhere, abroad - in Lithuania, Estonia, Poland, Finland, Hungary, Austria, Denmark, Russia, Georgia, Uzbekistan, Canada, etc.
736:
embossed texture. Textures are an important expressive element of Artums' paintings. They help to create an impression of spaciousness and depth in the compositions, as well as giving the paintings a corporeality of objects.
557:
reminiscent of French masters."(..)" Artums is also credited with some of Valdemārs Tone influence, his landscapes are described as "landscapes of picturesque moods". In the third year of the group's exhibitions, the artist
756:
Piebalga, etc. For 15 years, Artums spent summers with his family in Apšuciems, where he painted. The seascapes with lilacs and chestnuts blooming in the dunes, much appreciated by collectors, were created there.
788:
During his lifetime, several of his personal exhibitions were held - in Tukums, Riga, Jūrmala. The 1930s are marked by participation in Mūksalieši exhibitions. Later there were numerous exhibitions in Tukums.
752:
From spring to autumn, Artums worked very intensively in nature, while from late autumn to early spring he prepared for the next period. Artums used only specific canvases, so-called "French sizes".
785:
Artums has participated in countless exhibitions in Latvia and abroad. Starting with the Jelgava artists' exhibition in 1932 until the end of his life, Artums was an active partaker in exhibitions.
573:, went on a two-month trip to Paris, where he visited exhibitions, museums, the opera, and got to know the atmosphere of Montmartre. Artums was deeply impressed by the Louvre, the exhibition of
681:
mass-produced dishes with simple engraved ornaments with one-tone glaze. His decorated so-called "small series" vases, and plates, mostly painted with landscapes, are unique and picturesque.
899:
Bīne J. Apskati un recenzijas / Mūksalas mākslinieku biedrības izstādē / Critiques and reviews / Exhibition of the Mūksala Artists' Union. Aizsargs, Nr. 11, 15.11.1936., 779. lpp. / p.
561:
observed: "Artums' strength is colors, but his weakness is the type and the content of his works. (The other members of this organization also possess some of this last weakness.)
809:
After participating in Latvian art exhibitions in the largest European cultural centers of the 20th century. Artums' name was included in the prestigious art encyclopedias of
470:
and possessed a significant understanding of the subject. Artums owned a large collection of recordings of classical compositions. The artist regularly attended concerts in
535:
corners is justified by the "existence of the large composition line in nature", and the desire to find the aesthetic in the unremarkable. Early works are characterized by
890:
Eglītis V. Mūksalas mākslinieku b-bas izstāde Pilsētas muzejā / Mūkusala Artists' Union exhibition at the City Museum. Latvijas Kareivis, Nr. 208, 13.09.1935., 4.lpp./ p.
881:
Eglītis V. Mūksalas mākslinieku b-bas izstāde Pilsētas muzejā / Mūkusala Artists' Union exhibition at the City Museum. Latvijas Kareivis, Nr. 208, 13.09.1935., 4.lpp./p.
664:
flowers of this period are majestically gorgeous: in the springtime, the artist was fascinated by fritillaries, but during the summer – compositions of wildflowers.
689:
He passed away on January 13, 1997. He is buried in Tukums, Veļķi cemetery. The artist's tombstone was created by the sculptor and his friend Arta Dumpe (
451:. After his service, Artums once again returned to Tukums and dedicated himself to painting, while working at Jānis Krievs ceramics atelier hand painting
827:
In 1979 he received an award for the best exhibition of the year. In 1981, Artums received the honorary title of Meritorious Artist of the Latvian SSR.
515:
of the works of the Academy's students give an insight into his early works. Critics described the future artist as promising. Jūlijs Madernieks (
348:. Artums was among the twenty admitted students in the competition of more than a hundred applicants. At the Academy, among his educators were
589:. The trip deeply impressed both friends and even 50 years later A. Eglītis addressed Artums as "my French friend" in his letters from exile.
531:
In the 1930s, in Artums mostly painted the views of Tukums capturing seemingly unremarkable corners. The interest in supposedly unattractive
403:
studied alongside with Artums in the workshop. Artums learned the spirit of V. Purvītis' concept without imitating the basics of its form.
280:
In the early stages of his creative work, the artworks of Artums had muted, heavy color tones, while later on he started to use bright,
65:
47:
36:
32:
926:
Saldavs O. Anša Artuma un Aleksandra Junkera darbu izstāde / Exhibition of Ansis Artums and Aleksandrs Junkers. Cīņa, 24.11.1957.
495:
sparkling joy of life, extraordinary taste, and skill in organizing celebrations. The artist's spouse Milda passed away in 1975.
820:
From 1946 he was a member of the Artists' Union. In 1952, Artums was expelled from the union for formality - not painting in a
304:
296:
935:
Bankovskis P. Liktenim ir milzīgi liela nozīme / Fate has a huge role. Literatūra un māksla, Nr.3, 15.01.1988., 1.lpp. / p.
863:
Madernieks J. Akadēmijas gadskārtējā darbu parāde / Annual Academy Works' Showcase. // Jaunākās Ziņas, 20.12.1932.
731:
thought. However, Artums successfully avoids redundant decorativeness. The works of Artums are compositions of a
312:
511:
Very few works from Artums study years have been preserved, so the reviews published in the press about the
842:
834:
466:
and created his art book collection. In addition to his interest in art, he had a strong appreciation for
120:
337:
170:
570:
388:
956:
951:
384:
365:
320:
796:
516:
420:
308:
416:
353:
215:
769:
716:
281:
231:
198:
553:
821:
638:
558:
396:
369:
345:
316:
300:
744:
stage, Artums meticulously cultivated the special sense of nature inherent in his paintings.
603:
667:
574:
463:
467:
373:
349:
251:
598:
361:
357:
124:
838:
Album of reproductions "Ansis Artums". Compiled by Taira Haļāpina (Riga: Liesma, 1966)
740:
artist also strives to fill everyday motifs with particularly subtle color radiation.
700:
Artist with his extensive collection of books and classical music records in mid-1990s
392:
945:
810:
266:
400:
814:
481:
475:
426:
377:
295:
A large part of Artums works belong to private, as well as to museum collections -
239:
92:
498:
831:
Liesma, 1966) and Aija Nodieva's monograph "Ansis Artums" (Riga: Zinātne, 1986).
285:
274:
773:
720:
696:
632:
520:
512:
448:
235:
202:
628:
258:
817:, and Meyer's Conversational Dictionary in the second half of the 1930s.
578:
536:
444:
247:
188:
732:
653:
620:
582:
452:
411:
395:, Kārlis Melbārzdis, Jūlijs Viļumainis, Edgars Vārdaunis, Oto Pladers,
289:
284:, also changing the brush stroke technique. Artums was a member of the
471:
459:
440:
407:
255:
243:
228:
151:
147:
128:
846:
Monograph "Ansis Artums". Author Aija Nodieva (Riga: Zinātne, 1986)
841:
833:
795:
695:
666:
637:
586:
540:
497:
480:
425:
270:
439:
In 1933, after graduating from the Academy, Artums moved back to
532:
341:
262:
116:
15:
569:
In 1937, Artums, together with his friend and fellow student
523:- heavy, saturated, pasty stroke, pronounced relief texture.
908:
Nodieva A. Ansis Artums. Rīga: Zinātne, 1986, 25. lpp. / p.
800:
A. Artums together with the family – Dainis, Ārija, and Dita
288:
Artists' Group. Alongside painting, he worked in a ceramics
917:
Nodieva A. Ansis Artums. Rīga: Zinātne, 1986, 37. lpp. / p.
872:
Nodieva A. Ansis Artums. Rīga: Zinātne, 1986, 27. lpp. /p.
387:
invited Artums to join his Landscape Painting Workshop.
690:
43:
410:
of 1933, Artums graduated from the Art Academy with a
581:'s works. Artists also visited palaces - Versailles,
208:
194:
184:
176:
166:
158:
136:
102:
83:
430:The artist graduating from the Academy in 1933
8:
627:traditional technique of creating the third
227:(January 15, 1908 – January 13, 1997) was a
547:Mūkusala Artists' Group and its exhibitions
80:
619:chestnuts. He often painted views of the
66:Learn how and when to remove this message
546:
383:During the second study year, Professor
242:technique. He spent most of his life in
856:
727:generalizing in every specific motif.”
458:Artums visited the big exhibitions in
443:. From 1934 to 1935, he served in the
246:. Artums is most widely known for his
423:. They organized annual exhibitions.
7:
344:, he briefly attended the studio of
332:Education and first work experience
824:manner, then reinstated in 1958.
37:integrate it into the encyclopedia
14:
656:banks were still painted a lot.
265:, landscapes of Tukums, blooming
577:'s works, and the exhibition of
485:With Bento and Joey in the 1960s
336:In 1927, Artums enrolled in the
214:
91:
48:that are relevant to the context
20:
671:With granddaughter Dita in 1981
526:
305:Latvian Artists’ Union Gallery
297:Latvian National Museum of Art
1:
78:Landscape painter (1908–1997)
781:Participation in exhibitions
715:Cornerstones of creativity:
635:with flowers in clay pots.
261:, blooming gardens, flower
973:
213:
90:
50:within the existing text.
676:Work in ceramic ateliers
527:Artums' art in the 1930s
642:By Slocene in the 1960s
313:Kuldīga District Museum
33:links to other articles
847:
839:
801:
701:
672:
643:
597:Artums still works on
503:
486:
431:
340:. Before the entrance
845:
837:
799:
699:
670:
641:
501:
484:
429:
338:Art Academy of Latvia
171:Art Academy of Latvia
368:, Kārlis Miesnieks,
121:Governate of Livonia
97:Ansis Artums in 1933
44:improve this article
599:figurative painting
848:
840:
802:
702:
673:
644:
604:Aleksandrs Junkers
504:
502:Milda in mid-1930s
487:
432:
282:contrasting colors
822:socialist realism
366:Vilhelms Purvītis
301:Tretyakov Gallery
232:landscape painter
222:
221:
177:Years active
76:
75:
68:
964:
936:
933:
927:
924:
918:
915:
909:
906:
900:
897:
891:
888:
882:
879:
873:
870:
864:
861:
748:Work methodology
710:Characterization
575:Vincent van Gogh
421:Teodors Zaļkalns
397:Nikolajs Breikšs
370:Eduards Brencēns
346:Kārlis Miesnieks
238:, who worked in
218:
143:
140:January 13, 1997
113:January 15, 1908
112:
110:
95:
81:
71:
64:
60:
57:
51:
46:by adding links
24:
23:
16:
972:
971:
967:
966:
965:
963:
962:
961:
942:
941:
940:
939:
934:
930:
925:
921:
916:
912:
907:
903:
898:
894:
889:
885:
880:
876:
871:
867:
862:
858:
853:
832:
807:
783:
766:
761:
750:
712:
707:
687:
678:
649:
616:
595:
571:Anšlavs Eglītis
567:
554:Viktors Eglītis
549:
529:
509:
492:
474:and other then
468:classical music
437:
389:Eduards Kalniņš
362:Ludolfs Liberts
334:
329:
154:
145:
141:
132:
114:
108:
106:
98:
86:
79:
72:
61:
55:
52:
41:
25:
21:
12:
11:
5:
970:
968:
960:
959:
954:
944:
943:
938:
937:
928:
919:
910:
901:
892:
883:
874:
865:
855:
854:
852:
849:
829:
806:
805:Awards, honors
803:
782:
779:
765:
762:
758:
749:
746:
711:
708:
706:
703:
686:
683:
677:
674:
648:
645:
615:
612:
594:
591:
566:
563:
548:
545:
528:
525:
508:
505:
491:
488:
464:St. Petersburg
436:
433:
374:Ģederts Eliass
358:Augusts Annuss
350:Voldemārs Tone
333:
330:
328:
325:
321:Jūrmala Museum
317:Liepāja Museum
267:chestnut trees
234:and master of
220:
219:
211:
210:
206:
205:
196:
192:
191:
186:
185:Known for
182:
181:
178:
174:
173:
168:
164:
163:
160:
156:
155:
146:
144:(aged 88)
138:
134:
133:
125:Russian Empire
115:
104:
100:
99:
96:
88:
87:
84:
77:
74:
73:
56:September 2024
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
969:
958:
955:
953:
950:
949:
947:
932:
929:
923:
920:
914:
911:
905:
902:
896:
893:
887:
884:
878:
875:
869:
866:
860:
857:
850:
844:
836:
828:
825:
823:
818:
816:
812:
811:Thieme-Becker
804:
798:
794:
790:
786:
780:
778:
775:
771:
763:
757:
753:
747:
745:
741:
737:
734:
728:
724:
722:
718:
709:
705:Creative work
704:
698:
694:
692:
684:
682:
675:
669:
665:
661:
657:
655:
654:Slocene river
646:
640:
636:
634:
630:
624:
622:
613:
611:
607:
605:
600:
592:
590:
588:
584:
580:
576:
572:
564:
562:
560:
555:
544:
542:
538:
534:
524:
522:
518:
514:
506:
500:
496:
489:
483:
479:
477:
473:
469:
465:
461:
456:
454:
450:
446:
442:
435:Personal life
434:
428:
424:
422:
418:
413:
409:
404:
402:
398:
394:
390:
386:
381:
379:
378:Boriss Vipers
375:
371:
367:
363:
359:
355:
354:Konrāds Ubāns
351:
347:
343:
339:
331:
326:
324:
322:
318:
314:
310:
309:Tukums Museum
306:
302:
298:
293:
291:
287:
283:
278:
276:
272:
268:
264:
260:
257:
253:
249:
245:
241:
237:
233:
230:
226:
217:
212:
207:
204:
200:
197:
193:
190:
187:
183:
179:
175:
172:
169:
165:
161:
157:
153:
149:
139:
135:
130:
126:
122:
118:
105:
101:
94:
89:
82:
70:
67:
59:
49:
45:
39:
38:
34:
29:This article
27:
18:
17:
931:
922:
913:
904:
895:
886:
877:
868:
859:
826:
819:
815:Hans Vollmer
808:
791:
787:
784:
767:
754:
751:
742:
738:
729:
725:
713:
688:
679:
662:
658:
650:
625:
617:
608:
596:
568:
550:
530:
510:
493:
490:Spouse Milda
476:Soviet Union
457:
438:
405:
393:Ārijs Skride
382:
335:
294:
279:
275:fritillaries
240:oil painting
225:Ansis Artums
224:
223:
142:(1997-01-13)
85:Ansis Artums
62:
53:
42:Please help
30:
957:1997 deaths
952:1908 births
774:still lifes
768:Along with
647:1970s-1990s
633:still lifes
559:Jēkabs Bīne
521:earth tones
513:exhibitions
507:Early works
478:republics.
401:Arvīds Egle
385:V. Purvītis
159:Nationality
31:needs more
946:Categories
851:References
770:landscapes
721:still life
537:panoramics
449:Daugavpils
259:landscapes
236:still life
203:Still life
109:1908-01-15
717:landscape
629:dimension
614:The 1960s
593:The 1950s
327:Biography
248:paintings
209:Signature
199:Landscape
180:1933–1997
167:Education
623:river.
579:El Greco
453:ceramics
445:military
417:K. Ubāns
286:Mūkusala
195:Movement
189:Painting
35:to help
733:Fauvist
621:Slocene
583:Amboise
412:diploma
406:In the
323:, etc.
290:atelier
229:Latvian
162:Latvian
764:Genres
585:, and
472:Latvia
460:Moscow
441:Tukums
419:, and
408:winter
399:, and
376:, and
273:, and
271:lilacs
256:summer
252:spring
244:Tukums
152:Latvia
148:Tukums
129:Latvia
685:Death
587:Blois
565:Paris
541:Paris
342:exams
263:vases
127:(now
719:and
533:city
462:and
254:and
137:Died
117:Riga
103:Born
693:).
606:.
455:.
447:in
292:.
250:of
948::
813:,
772:,
723:.
691:DE
517:FR
391:,
380:.
372:,
364:,
360:,
356:,
352:,
319:,
315:,
311:,
307:,
303:,
299:,
277:.
269:,
201:,
150:,
123:,
119:,
131:)
111:)
107:(
69:)
63:(
58:)
54:(
40:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
