{"id":43,"date":"2022-10-11T23:28:47","date_gmt":"2022-10-11T20:28:47","guid":{"rendered":"http:\/\/www.archiv.org.lv\/upitis\/?page_id=43"},"modified":"2022-11-01T11:15:08","modified_gmt":"2022-11-01T09:15:08","slug":"dailrade","status":"publish","type":"page","link":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/dailrade\/","title":{"rendered":"Dai\u013crades raksturojums"},"content":{"rendered":"\n

Savas rado\u0161\u0101s darb\u012bbas laik\u0101 P. Up\u012btis akt\u012bvi darbojies st\u0101jgrafik\u0101 kokdzeluma jeb kokgrebuma tehnik\u0101, kur tika veidoti tematiskie cikli, darin\u0101jis gr\u0101matz\u012bmes, ilustr\u0113jis gr\u0101matas un rakst\u012bjis par latvie\u0161u grafi\u0137iem un grafikas v\u0113sturi un teoriju.<\/p>\n\n\n\n

            Apl\u016bkojot P. Up\u012b\u0161a dai\u013cradi hronolo\u0123isk\u0101 aspekt\u0101, redzams, ka s\u0101kotn\u0113ji vi\u0146\u0161 piev\u0113rsies tu\u0161as z\u012bm\u0113jumiem un akvare\u013ciem, veidojot v\u0101ci\u0146us M\u0101lpils pro\u0123imn\u0101zijas sar\u012bkojumu programm\u0101m, ilustr\u0113jot skolas av\u012bzi, darinot dekor\u0101cijas skolas izr\u0101d\u0113m, bet p\u0113c tam s\u0101cis darin\u0101t spalvas z\u012bm\u0113jumus. Ar\u012b, m\u0101coties Latvijas M\u0101kslas akad\u0113mij\u0101, P. Up\u012btis rad\u012bjis spalvas z\u012bm\u0113jumus, kuri tika izst\u0101d\u012bti audz\u0113k\u0146u darbu izst\u0101d\u0113s. \u0160aj\u0101 tehnik\u0101 ar\u012b v\u0113l\u0101k, 20. gadsimta 30. gados tapu\u0161i vair\u0101ki darbi, piem\u0113ram, ilustr\u0101cijas latvie\u0161u tautas pasakai \u201dBr\u012bnumkoks\u201d (1932), k\u0101 ar\u012b  z\u012bm\u0113jumi, kuri tika izst\u0101d\u012bti Kult\u016bras fonda r\u012bkotaj\u0101s izst\u0101d\u0113s. P\u0113c iest\u0101\u0161an\u0101s M\u0101kslas akad\u0113mij\u0101 Riharda Zari\u0146a Grafikas meistardarbn\u012bc\u0101 1921. gad\u0101, P. Up\u012btis l\u012bdztekus studiju uzdevumiem, veica ar\u012b da\u017e\u0101dus papildus darbus iztikas nopeln\u012b\u0161anai, un \u0161aj\u0101 laik\u0101 tapu\u0161i z\u012bm\u0113jumi izdevumam \u201dLatvju raksti\u201d, pre\u010du noform\u0113jumi, piem., iepakojuma dizains \u0137\u012bmiski tehnisk\u0101s laboratorijas “Pikols” ra\u017eotaj\u0101m br\u012bnumsvec\u012bt\u0113m un Ziemassv\u0113tku svec\u012bt\u0113m, da\u017e\u0101di uzraksti, izk\u0101rtnes, piem., Ed. Roz\u012b\u0161a kr\u0101su fabrikas logo, J\u0101\u0146a Rozes gr\u0101matu veikala, spiestuves un z\u012bmogu darbn\u012bcas logo, dizains plak\u0101tiem, piem., R\u012bgas pils\u0113tas 3. \u012bpatn\u0113j\u0101s pamatskolas (v\u0113l\u0101k Me\u017ea skolas) r\u012bkot\u0101s izlozes plak\u0101ts u.c. M\u0101kslas akad\u0113mij\u0101 tika labi apg\u016bta litogr\u0101fija un as\u0113jums, rezult\u0101t\u0101 tapa P. Up\u012b\u0161a diplomdarbs \u201dLab\u012bbas ved\u0113js\u201d (1932) as\u0113juma tehnik\u0101. P\u0113c tam vi\u0146\u0161 sav\u0101 rado\u0161aj\u0101 darb\u012bb\u0101 piev\u0113rsies ar\u012b linogriezumam, ta\u010du, kop\u0161 kokdzelumam nepiecie\u0161amo darba r\u012bku ieg\u0101d\u0101\u0161an\u0101s un v\u0113lmes str\u0101d\u0101t ar ciet\u0101ku materi\u0101lu, par noteico\u0161o vi\u0146a dai\u013crad\u0113 k\u013cuva tie\u0161i \u0161\u012b tehnika.<\/p>\n\n\n\n

P. Up\u012b\u0161a ski\u010du klades z\u012bm\u0113jumi, 1920.-1930. gadi.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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Iepakojumu dizains<\/strong>. Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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P. Up\u012b\u0161a rad\u012bt\u0101 iepakojuma dizaina skices \u201cPikols\u201d ra\u017eotnes Ziemassv\u0113tku svec\u012bt\u0113m un br\u012bnumsvec\u0113m, 1927.-1930. gads.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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P. Up\u012b\u0161a darin\u0101t\u0101s \u201cGalkaroil\u201d logo skices, 1925.-1930. gads.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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P. Up\u012b\u0161a darin\u0101t\u0101s J\u0101\u0146a Rozes gr\u0101matu veikala, spiestuves un z\u012bmogu darbn\u012bcas logo skices, 1923.-1928. gads.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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Kokdzelums jeb kokgrebums ir grafikas augstspieduma tehnika, kur par pamatni izmanto no cieta koka – sk\u0101bar\u017ea, sam\u0161ita, bumbiera u.c. speci\u0101li sagatavotus gludus d\u0113l\u012b\u0161us. <\/strong><\/p><\/blockquote>\n\n\n\n

P. Up\u012btis sav\u0101 rakst\u0101 \u201dLatvie\u0161u kokdzeluma 100 gadi\u201d st\u0101sta: <\/p>\n\n\n\n

\u201dUzvaras g\u0101jiens s\u0101k\u0101s kokdzelumam p\u0113c pap\u012bra izgatavo\u0161anas un gr\u0101matu iespie\u0161anas m\u0101kas atkl\u0101\u0161anas un apg\u016b\u0161anas. Latvie\u0161u grafikas pirms\u0101kums un visvec\u0101kie paraugi mekl\u0113jami veco gr\u0101matu rot\u0101jumos. 1588. gad\u0101 k\u0101ds Antverpenes gr\u0101matu iespied\u0113js Nikl\u0101vs Mollins atver spiestuvi R\u012bg\u0101, un ap to pa\u0161u laiku tiek iek\u0101rtota spiestuve Jelgav\u0101, tas ir 148 gadi p\u0113c gr\u0101matu iespie\u0161anas atkl\u0101\u0161anas. \u0160ie divi centri ir tie, no kuriem vispla\u0161\u0101ki izv\u0113r\u0161as reproduc\u0113jo\u0161\u0101 m\u0101ksla. Iespiesto gr\u0101matu rot\u0101\u0161anai titullapas, vinjetes un ilustr\u0101cijas iespieda no var\u0101 vai kok\u0101 izgatavot\u0101m kli\u0161ej\u0101m. [..] Par m\u016bsu pirmo \u012bsto grafi\u0137i un kokdzeluma pamatlic\u0113ju skait\u0101ms mazsalacietis Augusts Daugulis (1830-1899). [..] Ap gadsimtu miju savu spo\u017eo uzvaras g\u0101jienu s\u0101ka cinkogr\u0101fisk\u0101 kli\u0161eja, kas piln\u012bgi nob\u012bd\u012bja pie malas l\u012bdz\u0161in\u0113jo kokdzelumu. Tam s\u0101k\u0101s da\u017e\u0101di jauni mekl\u0113jumi, jauni uzdevumi, kuri \u201datbr\u012bvoja kokdzelumu no atdarin\u0101\u0161anas un pal\u012bdz\u0113ja palikt piln\u012bgi patst\u0101v\u012bgam, neatkar\u012bgam, apjaust koka dabu un rad\u012bt t\u0101das m\u0101kslas v\u0113rt\u012bbas, kas iesp\u0113jamas tikai ar dzeli un pa\u0161a m\u0101kslinieka patieso p\u0101rdz\u012bvojumu\u201d.<\/em><\/p>\n\n\n\n

M\u016bslaiku kokgrebuma tehniku atkl\u0101ja 18. gadsimta ang\u013cu m\u0101kslinieks Tomass Bj\u016biks (Thomas Bewick<\/em>). Pamat\u0101 ir t\u0101da d\u0113l\u012b\u0161a jeb kli\u0161ejas pagatavo\u0161ana, kur\u0101 \u0161\u0137iedras ir perpendikul\u0101ras t\u0101 virsmai. Str\u0101d\u0101jot ar asiem dze\u013ciem, var pan\u0101kt \u013coti bag\u0101tu un smalku tehnisku izpild\u012bjumu. Grafi\u0137is uz d\u0113l\u012b\u0161a atst\u0101j tikai t\u0101s vietas, kuras p\u0113c p\u0101rkl\u0101\u0161anas ar kr\u0101su un nospie\u0161anas uz pap\u012bra dod v\u0113lamo z\u012bm\u0113jumu. Vietas, kuras z\u012bm\u0113jum\u0101 v\u0113las atst\u0101t baltas, izgrebj. <\/em>(Latvie\u0161u padomju grafika. R\u012bga: Latvijas Valsts izdevniec\u012bba, 1960. \u2013 273. lpp.) <\/em>P. Up\u012btis uzsver, ka \u201dkokdzelum\u0101 noteico\u0161\u0101 ir balta l\u012bnija un att\u0113la tonalit\u0101te, gaism\u0113na\u201d.<\/em> (P. Up\u012btis \u201dKsilogr\u0101fija\u201d. 1964. gada 18. marts.)<\/p>\n\n\n\n

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P. Up\u012btis 1954. gada pavasar\u012b. Foto: Voldem\u0101rs Caune. Avots: LNA_LVA_F1839.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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P. Up\u012btis darba proces\u0101. 1969. gads. Avots: LNA_LVA_F1839.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Sav\u0101s piez\u012bm\u0113s par ksilogr\u0101fiju vi\u0146a vad\u012btaj\u0101m lekcij\u0101m M\u0101kslas akad\u0113mij\u0101 P. Up\u012btis sniedz detaliz\u0113tu kokdzeluma darba rad\u012b\u0161anas procesa aprakstu: <\/p>\n\n\n\n

\u201dViens no visvienk\u0101r\u0161\u0101kajiem z\u012bm\u0113juma p\u0101rne\u0161anas veidiem uz galdi\u0146a ir sekojo\u0161s. Ar m\u012bkstu z\u012bmuli izgatavotais z\u012bm\u0113jums tiek uzlikts otr\u0101di uz galdi\u0146a un no otras puses to pier\u012bv\u0113-pieberz\u0113 ar nor\u012bv\u0113jamo kauli\u0146u, zobu birstes k\u0101ti\u0146u vai met\u0101la karoti. Z\u012bmulis no pap\u012bra vienm\u0113r gandr\u012bz piln\u012bgi p\u0101riet uz galdi\u0146a, p\u0113c tam to p\u0101rz\u012bm\u0113 ar tu\u0161u. Ieg\u016bstot dzelum\u0101 zin\u0101mu praksi, v\u0113l\u0101k nav vajadz\u012bba vienm\u0113r p\u0101rnesto z\u012bm\u0113jumu izpild\u012bt ar tu\u0161u. [..] Ja vienk\u0101r\u0161s melnbalts z\u012bm\u0113jums izgatavots uz pl\u0101na, caursp\u012bd\u012bga pap\u012bra, tad p\u0101rne\u0161anu uz galdi\u0146a var izdar\u012bt sekojo\u0161i: viegli ar olu baltumu vai kartupe\u013cu miltu kl\u012bsteri nozie\u017e galdi\u0146u un uzliek z\u012bm\u0113jumu otr\u0101di (a\u010dg\u0101rni) un viegli ar roku nogludina. P\u0113c nop\u016b\u0161anas galdi\u0146a z\u012bm\u0113jumu grebj kop\u0101 l\u012bdz ar pap\u012bru. Uz sagatavot\u0101 galdi\u0146a z\u012bm\u0113jumu var uznest ar z\u012bmuli, og\u013cpap\u012bru, tu\u0161u, melno kr\u0101su, bet t\u0101 k\u0101 parasti z\u012bm\u0113jums j\u0101uznes otr\u0101di, tad ir vair\u0101ki p\u0101rne\u0161anas pa\u0146\u0113mieni. Sare\u017e\u0123\u012bt\u0101ku z\u012bm\u0113juma p\u0101rne\u0161anu var izdar\u012bt sekojo\u0161i: uz caursp\u012bd\u012bga p\u0101rveduma pap\u012bra ar \u0137\u012bmisko litogr\u0101fijas tu\u0161u uznes z\u012bm\u0113juma kont\u016bras, p\u0113c tam to apgrie\u017e otr\u0101di, uzliek uz galdi\u0146a un z\u012bm\u0113jumu no mugurpuses pier\u012bv\u0113. Jaun\u0101k\u0101 laik\u0101 viens no iecien\u012bt\u0101kiem z\u012bm\u0113juma p\u0101rne\u0161anas pa\u0146\u0113mieniem uz galdi\u0146a ir sekojo\u0161s. \u0145em biez\u0101ku celof\u0101na pap\u012bru vai celulo\u012bda, visbie\u017e\u0101k silt\u0101 \u016bden\u012b un ar ziep\u0113m nomazg\u0101tas rentgena uz\u0146\u0113muma plates uzliek uz vajadz\u012bg\u0101 z\u012bm\u0113juma un ar asu adatu vi\u0146\u0101 ieskr\u0101p\u0113 z\u012bm\u0113juma kont\u016bras. Ar k\u0101si mazliet iekas\u012btos l\u012bniju asumus viegli nogludina un piespie\u017e ar sang\u012bnu. Sagatavoto kont\u016bras z\u012bm\u0113jumu uzliek uz galdi\u0146a a\u010dg\u0101rni un no mugurpuses to pier\u012bv\u0113. Visi ieberztie eso\u0161ie sang\u012bnas putek\u013ci pie\u0137ersies galdi\u0146a pamatnei, t\u0101 p\u0101rnesdami vajadz\u012bgo z\u012bm\u0113jumu uz galdi\u0146a. [..] Da\u017ei m\u0101kslinieki savus z\u012bm\u0113jumus uzfotograf\u0113 uz koka, tom\u0113r ieteicams tas nav, jo tas padara darbu nedz\u012bvu un neat\u013cauj izv\u0113rsties jaunradei.\u201d<\/em> <\/p>\n\n\n\n

Ksilogr\u0101fijas metode.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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Dokument\u0101l\u0101 filma par P\u0113teri Up\u012bti. Re\u017eisors K\u013cavi\u0146\u0161 Valdis. 1982. gads. Filma velt\u012bta grafi\u0137a P\u0113tera Up\u012b\u0161a dai\u013cradei. P\u0113teris Up\u012btis sav\u0101 darba kabinet\u0101, pie sien\u0101m redzamas grafikas. M\u0101kslinieks veido kokdzelumu, st\u0101sta par sevi un savu darbu, ar spiedi veido kokdzelum\u0101 izveidot\u0101 darba grafikas nospiedumu. Run\u0101 par savu skolot\u0101ju Rihardu Zari\u0146u, utt. Avots: Latvijas Valsts kinofotofonodokumentu arh\u012bvs.<\/figcaption><\/figure>\n\n\n\n

20. gadsimt\u0101 kokgrebums k\u013cuva par patst\u0101v\u012bgu grafikas nozari. A. C\u012bru\u013ca, I. Zeberi\u0146a, J. Kazaka, A. Pl\u012btes-Pleitas, E. Stendera, E. Z\u012bvarta u.c. m\u0101kslinieku darb\u012bba sekm\u0113ja kokgrebuma pla\u0161\u0101ku att\u012bst\u012bbu jau l\u012bdz I Pasaules karam. P\u0113ckara gados daudzi jaunie m\u0101kslinieki s\u0101ka akt\u012bvi darboties linogriezuma un kokgrebuma tehnik\u0101. Latvie\u0161u kokgrebuma att\u012bst\u012bb\u0101 liela noz\u012bme bija R\u012bgas Tautas augstskolas z\u012bm\u0113\u0161anas un glezno\u0161anas studijai, no kuras n\u0101ca virkne talant\u012bgu grafi\u0137u kokgrebuma meistaru: A. Junkers, J. Pl\u0113pis, O. \u0100bel\u012bte, K. Bu\u0161s, P. \u0160terns u.c. \u0160o tehniku pla\u0161i pielietoja ar\u012b gr\u0101matu ilustr\u0113\u0161anai. <\/em>(Latvie\u0161u padomju grafika. R\u012bga: Latvijas Valsts izdevniec\u012bba, 1960. \u2013 11., 12. lpp.) <\/em>Ar\u012b Latvijas M\u0101kslas akad\u0113mij\u0101 p\u0113c 1935. gada var\u0113ja apg\u016bt kokgrebuma tehniku.<\/p>\n\n\n\n

1977. gad\u0101 intervij\u0101 uz Saulcer\u012btes Vieses jaut\u0101jumu, kas licis P. Up\u012btim izv\u0113l\u0113ties str\u0101d\u0101t tie\u0161i grafik\u0101, vi\u0146\u0161 atbild: <\/p>\n\n\n\n

\u201dTas, kas \u0161\u016bpul\u012b ielika talantu. Jo tas, kas sp\u0113l\u0113 klavieres, nevar b\u016bt vijoles virtuozs. M\u0101c\u012bjos glezno\u0161anu pie Purv\u012b\u0161a, atceros vi\u0146a aizr\u0101d\u012bjumus. Reiz vi\u0146\u0161 nolika priek\u0161\u0101 vara katlu un burk\u0101nu sai\u0161\u0137\u012bti. Gleznoju. Purv\u012btis aizr\u0101da: \u201dJums tur nav \u201db\u013cika\u201d. P\u0101rgleznoju p\u0113c vi\u0146a nor\u0101d\u012bjumiem. Atkal nav sp\u012bda. P\u0113c tre\u0161\u0101s reizes Purv\u012btis pa\u0146\u0113ma \u0161pahteli, nokas\u012bja manu sp\u012bdu un uzlika sav\u0113jo. Es jutu \u2013 nav man kr\u0101su dot\u012bbu, neaizrauj. Glezniec\u012bba varb\u016bt vair\u0101k ir sird\u012b, grafika \u2013 galv\u0101 vai varb\u016bt starp sirdi un galvu, vid\u016b. Man person\u012bgi vislab\u0101k pat\u012bk griezums kok\u0101, jo tur var izdab\u016bt visdv\u0113sel\u012bg\u0101k\u0101s p\u0101rdz\u012bvojuma st\u012bgas. Bet, lai cietais kokmateri\u0101ls b\u016btu gleznieciski pat\u012bkams, vajadz\u012bgs pac\u0113lums, j\u016btas. Bet tas atkar\u012bgs no t\u0101, kas ielikts \u0161\u016bpul\u012b. Ar\u012b paciet\u012bba. Kad biju z\u0113ns, \u013coti grib\u0113j\u0101s iet skol\u0101, jo tur var\u0113ja atp\u016bsties no m\u0101jas darbiem un pien\u0101kumiem. Bet cik nu t\u0101s \u201datp\u016btas\u201d. Sestdien\u0101, atgrie\u017eoties \u201d\u010co\u010duros\u201d, t\u0101pat viss iekav\u0113tais bija j\u0101padara. Tas iem\u0101c\u012bja iztur\u012bbu. Paciet\u012bbu. Varb\u016bt tikai t\u0101p\u0113c varu dzelt koku, kur vajadz\u012bga liela paciet\u012bba. Un d\u012bvaini \u2013 str\u0101d\u0101t tikai t\u0101d\u0101 kok\u0101, kas izr\u0101da t\u0101du pa\u0161u pretest\u012bbu k\u0101 akmens.\u201d<\/em> (Saulcer\u012btes Vieses intervija ar P. Up\u012bti. \u201dDa\u017ei br\u012b\u017ei kop\u0101 ar P\u0113teri Up\u012bti\u201d. 1977. gada 17. apr\u012blis. \u201dC\u012b\u0146a\u201d. Nr. 89.)<\/p>\n\n\n\n

1938. gad\u0101 tapa P. Up\u012b\u0161a pirmais kokgrebums \u201dFant\u0101zija\u201d, kas tapis krievu m\u0101kslinieka Dmitrija Mitrohina ietekm\u0113, p\u0113c vi\u0146a darba \u201dZvejnieku kolhozs. T\u012bklu l\u0101p\u012b\u0161ana\u201d mot\u012bviem. (Zeile P. P\u0113teris Up\u012btis. Gr\u0101matz\u012bmes. R\u012bga: Avots, 1989). Kriti\u0137i m\u0101kslinieka debiju kokgrebuma tehnik\u0101 v\u0113rt\u0113ja pozit\u012bvi. 1939. gad\u0101 P. Up\u012b\u0161a darin\u0101to kokgrebumu \u201dLatgale\u201d nopirka R\u012bgas Pils\u0113tas m\u0101kslas muzejs. M\u0101kslinieka pirmo piecu gadu kokgrebumos p\u0101rsvar\u0101 domin\u0113ja Latgales mot\u012bvi. Ar\u012b v\u0113l\u0101k P. Up\u012btis konsekventi piev\u0113rsies ainavu un lauku darba dz\u012bves t\u0113lojumam, kur\u0101 v\u0113rojama cilv\u0113ka un dabas sasaiste, dzimtenes m\u012blest\u012bba, radot vair\u0101kus grafikas ciklus. Pirmais no tiem 1945. gad\u0101 tapa \u201dTukuma cikls\u201d, tad sekoja cikls \u201dLatvijas zvejnieki\u201d (1947), kas turpm\u0101kajos gados k\u013cuva par vienu no popul\u0101r\u0101kajiem P. Up\u012b\u0161a cikliem, it \u012bpa\u0161i s\u0101kot ar 1955. gadu, kad tas ik gadu tika ekspon\u0113ts da\u017e\u0101d\u0101s izst\u0101d\u0113s, ar\u012b \u0101rpus Padomju Savien\u012bbas robe\u017e\u0101m. Taj\u0101 m\u0101kslinieks piev\u0113rs\u0101s latvie\u0161u zvejnieku ikdienas gait\u0101m, da\u017e\u0101diem \u0161\u012b darba aspektiem un deta\u013c\u0101m, uzsverot t\u0113lot\u0101 saikni ar dabu. No 1949. gada l\u012bdz 1952. gadam tematiskie cikli netika rad\u012bti, savuk\u0101rt p\u0113c tam galvenok\u0101rt darin\u0101tas ainavas. P. Up\u012btis atzinis: <\/p>\n\n\n\n

\u201d\u2026dabu taisot, es vienm\u0113r atgrie\u017eos sav\u0101s ganu gait\u0101s \u201d\u010co\u010duru\u201d nor\u0101s un ezeri\u0146os. Vis\u0101s man\u0101s grafik\u0101s ien\u0101k \u0136\u0113\u010di. Lai k\u0101das kr\u0101sas ar\u012b katram b\u016btu, mums visiem ir s\u0101kums b\u0113rn\u012bbas zem\u0113.\u201d<\/em> (Saulcer\u012btes Vieses intervija ar P. Up\u012bti. \u201dDa\u017ei br\u012b\u017ei kop\u0101 ar P\u0113teri Up\u012bti\u201d. 1977. gada 17. apr\u012blis. \u201dC\u012b\u0146a\u201d. Nr. 89.) <\/p>\n\n\n\n

LNA Latvijas Valsts arh\u012bva glab\u0101\u0161an\u0101 nodotas P. Up\u012b\u0161a darin\u0101to da\u017e\u0101du grafikas ciklu skices.<\/strong> 20. gs. 50.-60. gadi.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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Visos darbos, p\u0113c P. Up\u012b\u0161a dom\u0101m, svar\u012bgs ir nians\u0113ts z\u012bm\u0113jums, ar\u012b gatavojot savus studentus darbam kokdzeluma jom\u0101, vi\u0146\u0161 lielu noz\u012bmi pie\u0161\u0137\u012bra tie\u0161i z\u012bm\u0113jumam, prasot, lai tas tiktu r\u016bp\u012bgi izstr\u0101d\u0101ts un iesp\u0113jami piln\u012bg\u0101k atspogu\u013cotu kokdzelum\u0101 iecer\u0113to. Tas viss redzams ar\u012b pa\u0161a P. Up\u012b\u0161a darin\u0101tajos grafikas ciklos, t\u0101dos k\u0101 \u201dLauku darbi\u201d, \u201dC\u012b\u0146a par augstu ra\u017eu\u201d, \u201dAtjauno\u0161anas darbi Latvij\u0101\u201d, \u201dLirika\u201d, \u201dPurvu neb\u016bs\u201d, \u201dM\u0113s ce\u013cam\u201d, \u201dGauja\u201d, \u201dDarba duna\u201d, \u201dEzera son\u0101te\u201d, \u201dDruvas\u201d, \u201dNorv\u0113\u0123ija\u201d, \u201dKarpati\u201d, \u201dBuh\u0101ras cikls\u201d u.c. \u0160iem cikliem nebija hronolo\u0123iska ierobe\u017eojuma, tie turpin\u0101j\u0101s visu P. Up\u012b\u0161a dai\u013crades laiku. Braucienos pa Latvijas laukiem, k\u0101 ar\u012b \u0101rzem\u0113s P. Up\u012btis darin\u0101ja skices, saskatot \u012bpa\u0161o, sev noz\u012bm\u012bgo un tuvo apk\u0101rtn\u0113, lai p\u0113c tam to p\u0101rnestu sav\u0101s grafik\u0101s. M\u0101kslinieki, kuru darbus P. Up\u012btis stud\u0113jis, bija, piem., Rihards Zari\u0146\u0161, \u010dehu grafi\u0137is Makss \u0160vabinskis (Max<\/em> \u0160vabinsk\u00fd<\/em>), fran\u010du m\u0101kslinieks Ogists-Luijs Lep\u0113rs (Auguste<\/em>–Louis Lep\u00e8re), krievu grafi\u0137i Vladimirs Favorskis un Aleksejs Krav\u010denko.<\/em> Daudz ierosmju deva \u0101rzemju ce\u013cojumos g\u016bt\u0101s studijas. <\/em>M\u0101kslas zin\u0101tniece Genoveva Tidomane P. Up\u012b\u0161a grafikas stila tehnisko pusi raksturo \u0161\u0101di: \u201dP\u0113terim Up\u012btim rakstur\u012bga nians\u0113m bag\u0101ta, pat filigr\u0101na dze\u013cu izteiksmes iesp\u0113ju atkl\u0101sme un \u013coti ener\u0123isks, aprauts dzelums.\u201d<\/em> (Tidomane G. P\u0113teris Up\u012btis, R\u012bga: Liesma, 1975)<\/p>\n\n\n\n

Fragments no kino\u017eurn\u0101la \u201cPadomju Latvija\u201d Nr. 26. Latvijas PSR Tautas m\u0101ksliniekam, grafi\u0137im P\u0113terim Up\u012btim 80 gadu. 1979. gads. Operators Band\u0113ns Gun\u0101rs, Boikovs Igors. Avots: Latvijas Valsts kinofotofonodokumentu arh\u012bvs.<\/figcaption><\/figure>\n\n\n\n

P. Up\u012btis z\u012bm\u0113jis ar\u012b ilustr\u0101cijas da\u017e\u0101diem liter\u0101rajiem darbiem. 1943. gad\u0101 P. Up\u012btis darin\u0101jis ilustr\u0101cijas Antona Austri\u0146a gr\u0101matai \u201dPui\u0161kans\u201d, ta\u010du t\u0101 netika izdota. Kokdzeluma tehnik\u0101 tika darin\u0101tas ar\u012b ilustr\u0101cijas Aleksandra Pu\u0161kina po\u0113mai \u201dVara j\u0101tnieks\u201d 1946. gad\u0101 (atk\u0101rtoti izdota 1949. gad\u0101, otrajam izdevumam vi\u0146\u0161 p\u0101rstr\u0101d\u0101 vair\u0101kas vinjetes un ar\u012b 6 ilustr\u0101cijas). V\u0113l\u0101k, 1967. gad\u0101, tapa ilustr\u0101cijas J\u0101\u0146a Jaunsudrabi\u0146a gr\u0101matai “Ar mak\u0161\u0137eri” (“\u016aden\u012b”) un 1977. gad\u0101 gr\u0101matai \u201dT\u0101 pasaule paiet\u2026\u201d Visos \u0161ajos darbos redzams P. Up\u012btim rakstur\u012bgais stils, izteiksm\u012bga kompoz\u012bcija un l\u012bnijas, radot nians\u0113tu t\u0113lojumu.<\/p>\n\n\n\n

P. Up\u012b\u0161a ilustr\u0101ciju skices A. Austri\u0146a gr\u0101matai “Pui\u0161kans”, 1943. gads.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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P. Up\u012b\u0161a darin\u0101t\u0101s ilustr\u0101cijas Pu\u0161kina po\u0113mai “Vara j\u0101tnieks”, 1946. gads.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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P. Up\u012b\u0161a darin\u0101t\u0101s ilustr\u0101ciju skices J. Jaunsudrabi\u0146a gr\u0101matai “Ar mak\u0161\u0137eri, \u016aden\u012b”, 1966. gads.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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P. Up\u012b\u0161a darin\u0101t\u0101s ilustr\u0101cijas J. Jaunsudrabi\u0146a gr\u0101matai \u201dT\u0101 pasaule paiet\u2026\u201d, 1977. gads.<\/strong> Avots: LNA_LVA_F1839.<\/p>\n\n\n\n

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Sav\u0101 rado\u0161aj\u0101 darb\u012bb\u0101 P. Up\u012btis piev\u0113rsies ar\u012b rakstniec\u012bbai, tapu\u0161i da\u017e\u0101di raksti par grafikas v\u0113sturi un teoriju, \u012bpa\u0161i piev\u0113r\u0161oties latvie\u0161u m\u0101kslinieku darin\u0101to gr\u0101matz\u012bmju v\u0113sturei, apkopoti materi\u0101li par da\u017e\u0101diem latvie\u0161u grafi\u0137iem, padzi\u013cin\u0101ti veicot p\u0113t\u012bjumus par Rihardu Zari\u0146u, Teodoru \u016aderu, J\u0101ni Pl\u0113pi.<\/p>\n\n\n\n

Paral\u0113li visam iepriek\u0161 min\u0113tajam P. Up\u012btis kop\u0161 1955. gada darin\u0101ja gr\u0101matz\u012bmes jeb ekslibrus.<\/p>\n","protected":false},"excerpt":{"rendered":"

Savas rado\u0161\u0101s darb\u012bbas laik\u0101 P. Up\u012btis akt\u012bvi darbojies st\u0101jgrafik\u0101 kokdzeluma jeb kokgrebuma tehnik\u0101, kur tika veidoti tematiskie cikli, darin\u0101jis gr\u0101matz\u012bmes, ilustr\u0113jis gr\u0101matas un rakst\u012bjis par latvie\u0161u grafi\u0137iem un grafikas v\u0113sturi un teoriju.             Apl\u016bkojot P. Up\u012b\u0161a dai\u013cradi hronolo\u0123isk\u0101 aspekt\u0101, redzams, ka s\u0101kotn\u0113ji vi\u0146\u0161 piev\u0113rsies tu\u0161as z\u012bm\u0113jumiem un akvare\u013ciem, veidojot v\u0101ci\u0146us M\u0101lpils pro\u0123imn\u0101zijas sar\u012bkojumu programm\u0101m, ilustr\u0113jot … <\/p>\n

Read more “Dai\u013crades raksturojums”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-43","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/pages\/43","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/comments?post=43"}],"version-history":[{"count":54,"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/pages\/43\/revisions"}],"predecessor-version":[{"id":898,"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/pages\/43\/revisions\/898"}],"wp:attachment":[{"href":"https:\/\/www.archiv.org.lv\/upitis\/index.php\/wp-json\/wp\/v2\/media?parent=43"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}