The story "face to face: the brightest portraits of the last century in the art of Latvia" tells the story of painter Auseklis Bauschenekis – an artist whose life lasted almost a century and whose strange portraits are an integral part of the art of the second half of the 20th century in Latvia.
"I think Auseklis Baušķenieks is one of the most authentic Latvian artists, because his language of expression is not like anybody. His distinctiveness is clearly visible and indisputable," says art scientist Diana Barčevska.
By the end of February of the following year, the National Art Museum of Latvia will host an ambitious portrait exhibition that will bring together a number of brighter portraits of Latvian artists throughout the century, with more than a thousand works altogether. However, Latvian Radio continues to show you a selection of ten portraits of this report.
Barcevski underlines the ability of Baušķenieks in his works to speak softly the language of Aziz or "between the ranks". "It was very difficult for the Soviet bailiffs to deal with him because he had such a playful expression, and the paintings look somewhat humorous illustrations, and it is like disarming viewers and art writers, but at the same time, it is clear that there is something is said more than what we see, "says Barchevsky.
The painter "Antipasportress", painted in 1969, is a good show of his daring hooligans, who at the time were not so typical of so many artists, the researcher said. "Baušķenieks has turned to us in this work, has put his head between his legs and is looking at us through an empty painting frame.This attitude is a good proof of the fact that he is able to examine situations in life, in art completely disparate, from the "wrong" side.He characterizes his way of thinking, who appears in paintings.It is a specialist who cooks with us all the time.However, when he learns his art in the wider context, it is clear that he is Thinking about age and there is almost infinitely critical tone.And not in such a mess, but with joking and ironizing for many negatives.And of course this was the way in which he could expose his works in exhibitions because the Soviet art critic was already very careful that only art was not critical of Soviet power.Therefore, many of his works were, however, part of these presentations.I think that's why the world loved it because it was a the voice of the people that allowed him to say what the hell Erin people do not enjoy the public, "says Dina Bartsefska.
However, Auseklis Baušķenieks himself, in an interview with Latvian radio journalist, art historian Aija Osa in 1986, rejects the assumption that his art is deliberately ironic.
"I do not agree with this approach that I would ironize something, maybe it comes out what can be done there, just with my eyes and ears, I live with life, see what happens and how it affects my ability to portray. I like the beautiful clouds and the fallen leaves, although there are some pictures for me. I like the facts, the environment and the conditions in which I live, and I want to show it, "said Baušķenieks.