The Turaida Museum Reserve is currently hosting two distinct exhibitions that highlight the evolution of Latvian cultural heritage: a retrospective on photographer Mārtiņš Buclers and a display of animal sculptures by Teodors Zaļkalns.
Mārtiņš Buclers: The Industrialization of Latvian Photography
Mārtiņš Buclers (1866-1944) transformed photography from a niche craft into a widespread professional industry in Latvia. According to the Turaida Museum Reserve, Buclers opened his first workshop in Sigulda in 1897 after obtaining his professional certification. His early work focused on the landscapes of Sigulda, Līgatne, and Turaida, producing postcards that are now considered rare collectibles.
In 1902, he opened a photo equipment store at Aleksandra (Brīvības) Street 36 in Riga. He later moved into manufacturing, creating “Rekordplates” (photographic plates) in 1903 and “Bromrekords” photo paper in 1914.
Did you know? Buclers’ Rekordplates earned international recognition, winning awards in Kyiv (1908, 1911), Liepāja (1909), Jelgava (1910), Riga (1910), and Tambov (1911).
Buclers published professional literature in the Latvian language and founded the Latvian Photographic Society to promote exhibitions and formal training. He is buried in the Sigulda cemetery, near the site of his first workshop.
Teodors Zaļkalns and the Ethics of Animal Sculpture
While Buclers captured the visual reality of the land, sculptor Teodors Zaļkalns focused on the plastic potential of the creatures inhabiting it. The exhibition “Eight-Legged Companions” features nine animal sculptures from the Latvian National Museum of Art, including cats, lambs, rabbits, and mice.
Zaļkalns is noted for treating animal subjects with the same artistic weight as traditional sculpture genres. Art historian Edvarda Šmite states that Zaļkalns’ approach avoids “childish naivety” or “sentimentalism,” reflecting instead the perspective of someone raised in the countryside. This is most evident in his studies of pigs, which he viewed as powerful plastic forms rather than mere farm animals.
In a 1930 letter, Zaļkalns described his process of “improving the piggy,” studying the animal’s poses, movements, and mass to ensure the work wasn’t “just a fantasy.” He even visited his nephew’s farm to find a “more expensive” pig that offered a higher “plastic ascent.”
Comparing Two Pillars of Latvian Cultural Identity
Buclers used the emerging technology of the camera to document disappearing landscapes and ethnographic objects. Zaļkalns used the permanence of sculpture to elevate the rural experience into high art.
| Feature | Mārtiņš Buclers | Teodors Zaļkalns |
|---|---|---|
| Primary Medium | Photography / Manufacturing | Sculpture (Bronze, Granite, Porcelain) |
| Key Focus | Ethnography & Landscapes | Animal forms (Animalier) |
| Legacy | Professionalized photography in LV | Established animal sculpture as art |
The Intersection of Art and Music
The display includes the song “Pelēkas kā snaudā,” with music by composer Alfrēds Kalniņš and lyrics written by Zaļkalns himself. This collaboration, sourced from the Latvian National Literature and Music Museum, underscores the tight-knit circle of intellectuals shaping the country’s cultural landscape in the early 20th century.
Frequently Asked Questions
Who was Mārtiņš Buclers?
He was a pioneering Latvian photographer, publisher, and manufacturer who founded the Latvian Photographic Society and produced the award-winning Rekordplates.
Unlike sentimental depictions, Zaļkalns treated animals as concentrations of plastic form, avoiding “sentimentalism” and reflecting a grounded, rural ethical value system.
The exhibitions are hosted by the Turaida Museum Reserve, with sculptures sourced from the Latvian National Museum of Art.
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