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.
Text in Latvian and English.