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Rudolfs Pinnis
Landscape. 1956. Cardboard, oil. 61x70 cm. Signed
1939

$7,561.68List Price

About the Item

Around 1919-1920, he studied at the Lubāna Folk School. From 1919-1920, he studied at V. Tone's painting studio in Riga. From 1921-1922, he studied for one semester at the Latvian Academy of Arts. From 1927-1927, he traveled to: Poland, Austria, Italy, Turkey, Egypt, where he was imprisoned and deported for allegedly flirting with the English ambassador's wife. From 1929-1939, he lived and worked creatively in Paris, where he participated in exhibitions in the 1930s. From 1929-1935, he studied at the private Academie de la Grande chaumière in Paris. In 1935, he participated in the Salon d'Automne in Paris. From 1932 to 1934 he worked as an artist-designer of the Soviet Union pavilions at the International Trade Fairs in Paris, Lyon, and Marseille. In 1937 he participated in the design of the Latvian pavilion (under the leadership of R. Suta) at the International Art and Technology Exhibition in Paris. From 1940 to 1941 he was the head of the Fine Arts Department of the Latvian SSR Art Administration, and participated in the founding of the Artists' Union of the Latvian SSR. In 1945 he tried to get to Paris with his family, but was arrested and exiled to Siberia (7 months). Since 1946 he has been a member of the Latvian Artists' Union (in 1950 he was expelled and included in the list of candidates, but in 1954 he was readmitted). In 1977, he was elected a member of the board of the Union of Artists of the Latvian SSR, and serves on the Art Council of the Art Fund of the Latvian SSR. AWARDS 1971 – Honorary Certificate of the Ministry of Culture of the Latvian SSR. 1981 – Diploma and medal of the Union of Artists of the Latvian SSR for the most outstanding creative performance of the year, Honorary Certificate of the Presidium of the Supreme Council of the Latvian SSR. 1982 – Honorary Certificate of the Ministry of Culture of the Latvian SSR, Honorary Certificate of the Union of Artists of the Latvian SSR. 1984 – Laureate of the 6th Baltic Republican Painting Triennial (Vilnius), 1st prize. 1989 – awarded the title of People's Artist of the Latvian SSR. Rūdolfs Pinnis is a unique figure in Latvian art, as he had the longest and most active contact with modernist art processes and personalities of the 1930s (Georges Simenon, Albert Marquet, Maurice Brianchon, Fernand Léger, etc.) in Paris. Here he met his future wife Elvira, who had come to Paris as a correspondent for “Jaunākos žinņas”. She had studied in R. Suta’s workshop and also successfully decorated interiors in Paris, as well as created small terracotta figurines. R. Pinnis sought his own approach to the expression of modernist stylistics and found it most in Fauvism, where artistic images are created with bright colors, emphasized form and movement, which express emotional experience. In the 1950s, a return to the impressionistic brushstroke appears in Piņnis's painting, which was probably a certain compromise option for how to stay in the art life of that time. In choosing genres, he still chose still lifes and landscapes, which were not valued significantly at that time. A new generation had entered Latvian art: E. Iltners, I. Zariņš, B. Bērziņš, V. Ozols, R. Valnere, etc., and later also Dž. Skulme, O. Ābols, B. Baumane, in whose work, more or less, inspirations from the harsh style are noticeable. Painters moved away from the precise depiction of form and materiality, taking impressions from the art of the 1920s-1930s. R. Pinnis also became more monumental during this time, forest images appeared – the form is stylized, there is no longer an impressionistic brushstroke, mainly landscapes are painted (often in the open air), less often still lifes, and even less often portraits. In 1959, when he held a solo exhibition, Pinnis was both praised and belittled, and remained misunderstood, for not depicting the reality of life, the overall landscape fragmented and mired in mannerism. However, he stuck to his main task – to create a vivid, emotional impression. In the 1960s, the images created by the artist become like objects – expressions of psychological, emotional moods, which were most often expressed in strong, joyful, exciting and uplifting colors. The space was created on a plane and the essential thing was not the accuracy of the depiction, but the feelings. In the 1960s and 1970s, the world of objects is increasingly reduced to a minimum. Black color appears as a force that contains his composition. He deliberately deforms, breaks, ignores the classical canons of beauty. In paintings where the artist strives for monumentality, the color scheme becomes more restrained. He breaks the notion of the romantic mood of Old Riga and denies clichés about sentimental memories, his Old Riga is monumental, heroic, powerful. After a trip to Paris in 1972, a nude figure appeared in his compositions as an image or silhouette, often similar to how modernist artists depicted them in their workshops. It is noteworthy that in 1973, the exhibition “Sculptures and Paintings” at the State Art Museum of the Latvian SSR (now the LNMM), which Rūdolfs Pinnis created together with his wife and sculptor Elvīra Pinnis, was closed on the opening day, citing the absence of the First Secretary of the Central Committee of the Latvian SSR as the reason. Sometimes in the 1960s-1980s, for various reasons (most often, party or leading institution functionaries (now we would say civil servants) had their own understanding of what the Soviet public should see), exhibitions were created, but they were not opened to the public. In the 1980s, or appears in paintings nament, textures, small and slightly nervous strokes. He mixes colors both using a palette and by applying one on top of another, sometimes taking several shades with one brush stroke. Compositions, similar to Henri Matisse, are created from color areas, combining them in complex configurations using the principle of collage. Rūdolfs Pinnis had a rich baggage of world culture, always elegant, and his paintings, shining in bright colors in the style of modernism, encourage us to think about the wide range of human feelings.

Creator:
Rudolfs Pinnis (1902 - 1992, Latvian)
Creation Year:
1939
Dimensions:
Height: 24.02 in (61 cm)Width: 27.56 in (70 cm)Depth: 0.4 in (1 cm)
Medium:
Oil,Cardboard
Movement & Style:
French School
Period:
1650-1659
Condition:
Gallery Location:
Riga, LV
Reference Number:
1stDibs: LU1437217737082

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About the Item

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Rudolfs Pinnis
Landscape. 1956. Cardboard, oil. 61x70 cm. Signed
1939