Silent protest of propaganda art. Case study of Latvian artist Jekabs Bine.

• In Event: Baltic Artistic Reactions to Social and Political Issues

Abstract

The proposed topic for the conference is research of the controversial and unique artist, educator, art critic and dievturis (name from Dievturiba - Latvian national religion) Jēkabs Bīnes (1895-1955) life and creative work in the first half 20th century in the context of historical, political and social events. The Bine case study shows the conditions under which the artists' creative activity was forced to submit in order to continue to work in their profession. At the conference, I would like to reveal the living and working conditions of the artist in the first five years of Soviet occupation.
The activities of the artists were strictly dependent on the organization of the Artists' Union of the Latvian SSR. After the war, the restriction, upbringing and regulation of creative activity rapidly became more and more strict and critical. An order was received to review the ranks of Artists Union members and candidate members. At the beginning of 1950, the first meeting was held to determine the compliance of each artist's activity with the status of Artists Union member. It was assessed whether the artist would remain a member of the organization or whether this status would be revoked or transferred to the candidates. The most important criteria were artistic achievement, activity, as well as political merit, and any mistakes that could be treated as an offence against Soviet rule. They wanted to expel Bīne from the organization for a wrong / non-ideologically read lecture, in which he explained the history of the ornament. The event confirms the ruthless attitude of the Soviet-era towards the free expression of personal thoughts.
In the report, I will focus on concrete examples and situations in which the Soviets strengthened their propaganda through the arts. Bīne created the governments commissioned works with externally dictated conditions and instructions, as there was no other way to work and survive at the time. At the same time, his earlier works were removed from museum collections and destroyed. During this time, the artist made commissioned propaganda works depicting communism as the promised utopian future of life and portrayed Stalin, Lenin and other heroes of the time. Fear and misunderstanding of the Soviet regime rules and restrictions on the creation of a new art persisted in Latvia.

Short Bio

My name is Agita Gritane. I hold Doctoral degree of Art history and Science (PhD) and Master degree of Laws (Mg. iur.). Currently, I am working as a Vice-Rector for Research and Head of Doctoral Study Programme at the Art Academy of Latvia, and as an associate professor for Art Management and Western Art history courses. I have published monographic research, organised an exhibition and defended my PhD dissertation (2022) on the one of the most controversial Latvian artists Jēkabs Bīne (1895-1955). I am interested in researching what was the artist's contribution and role in the making of the Latvian identity? How changes of political powers during the first half of the 20th century affected an artist who strongly believed in Latvia's identity. I am very proud to have my research published in various international journals and art reviews and to have the opportunity to participate in different conferences around Europe.
I regularly participate in scientific projects, conferences, and publications with research on the Latvian art environment in the context of social, political, and historical events in the first half of the 20th century.

Author

• Agita Gritane, Art Academy of Latvia