1944–1956

THE MOST DRAMATIC – THE STALINIST – PERIOD OF SOCIALIST REALISM. THOSE ARTISTS THAT DID NOT GO INTO EXILE AND WHO HAD DEVELOPED A REALISTIC STYLE IN THE LATE 1930S HAD TO CONTEND WITH THE DECISIONS OF THE Communist Party of the Soviet Union DENOUNCING FORMALISM AND COSMOPOLITANISM AS WELL AS WITH OTHER DOCUMENTS REGULATING THE OFFICIAL LINE ON ART. FEAR, INSECURITY, INTRIGUE AND REVENGE BLOSSOMED IN ART CIRCLES. FOR A TIME THERE exists THE CURIOUS PHENOMENON OF “BRIGADE ART”. THE FEW INDEPENDENTLY MINDED PEOPLE ARE EXCLUDED. THERE IS THE DRAMATIC ARREST OF THE SO-CALLED “FRENCH GROUP” IN 1951 (PAINTER KURTS FRIDRIHSONS AND OTHERS).

THE OFFICIAL CREATIVE METHOD - SOCIALIST REALISM

Aleksandra Briede

Little Peter
1947. Bronze. 32,5x16x10

Džems Bodnieks

Document holder
1947. Silver, amber. 60x12x12
(Museum of Decorative Applied Art)

Eduards Kalniņš

Mangaļi ship repair yard
1949. Oil on canvas. 126,5×142,5

Ojārs Ābols

Country people
1957. Oil on canvas. 140×156

Leo Kokle

Midsummer
1957. Oil on canvas. 120×159

Voldemārs Valdmanis

Ilustration for the Vilis Lācis novel “To the New Shore”
1955. Paper, ink. 29×22

THE INHERITED TRADITION OF REALISM

Konrāds Ubāns

A street in the suburbs
1950. Oil on canvas. 68×92

Eduards Kalniņš

Fruits of the sea
1951. Oil on canvas. 60×70

Pēteris Upītis

Boat tarrers
1947. Paper, woodcut. 28×23

Aleksandrs Junkers

The small town
1954. Paper, woodcut. 25×41

Uga Skulme

With the herd
1945/46. Oil on cardboard. 81×97