The work of photographer Egons Spuris stands out not only as the great achievement of Latvian photography of his time but also as an outstanding example of realism in the second half of the 20th century international visual art.
The photography historian Pamela Brown states that “Spuris’ coherent body of work is steeped in modernist tendencies. These range from: the aesthetic explorations of of Neue Sachlichkeit of the Weimar Republic ..to Hungarian André Kertész’ compositions, remarkable vantage points and unorthodox camera angles .. American Walker Evans’ subjective documentary style and American Ralph Eugene Meatyard’s ephemeral and contemplative photography of the 1960s to name just few. What makes Spuris so exceptional is that
in the midst of Soviet isolationism he employs and practices a mode and vernacular of photography that, in my opinion, ranks equal with recognised international photographers who have secured their place within the history of photography.”
The album of Egons Spuris’ photographs (compiled by photographer Andrejs Grants) includes two theoretical essays – by Professor Eduards Kļaviņš and art historian Pamela Brown. It is a concise and at the same time comprehensive view on the master’s oeuvre which defines his place in the Latvian culture and the world photography context.