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{{Short description|Latvian textile artist}}
{{Short description|Latvian textile artist}}
⚫
{{Infobox artist
{{Copy edit|date=May 2024}}
| name = Ljuba Monastirskaja
⚫
{{Infobox person
| name = Ljuba Monastirskaja
| image = Ljuba-Monastirskaja.jpg
| image = Ljuba-Monastirskaja.jpg
| image_size =
| caption = Ljuba Monastirskaja circa 1926
| alt =
| caption = Ljuba Monastirskaja c. 1926
| birthname =
| birth_date = {{birth date|1906|09|25|df=y}}
| birth_date = {{birth date|1906|09|25|df=y}}
| birth_place = [[Riga]], [[Russian Empire]]
| birth_place = [[Riga]], [[Russian Empire]]
| death_date = {{death date and age|1941|11|30|1906|09|25|df=y}}
| death_date = {{death date and age|1941|11|30|1906|09|25|df=y}}
| death_place = [[Rumbula massacre|Rumbula]]
| death_place = [[Rumbula massacre|Rumbula]]
| education =
| resting_place =
| resting_place_coordinates =
| occupation =
| nationality = [[Latvia|Latvian]]
| education = [[Bauhaus]] 1926–1930
| field = [[Textile design]], [[weaving]]
| notable_works =
| style =
| movement =
| spouse = Natan Kirsh
| children =
| father =
| mother =
| memorials =
| website =
}}
}}


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==Biography==
==Biography==
She was born into an secular Jewish family. Her father was a merchant who had moved to Riga from [[Chernihiv]], [[Russian Empire]] (today [[Ukraine]]) to escape the new wave of [[pogrom]]s.<ref name="ZO">{{cite web |access-date=23 May 2024 |date=2023 |first=Zane |language=lv |last=Onckule |work=Arterritory |title=(Ne)būt pie stellēm: Bauhaus, "dārgās niecības" un gal Ļuba |url=https://arterritory.com/lv/vizuala_maksla/raksti/26880-nebut_pie_stellem_bauhaus_dargas_niecibas_un_gal_luba/}}</ref>
Monastirskaja was born into a secular Jewish family. Her father was a merchant who had moved to Riga from [[Chernihiv]], [[Russian Empire]] (today [[Ukraine]]) to escape the [[Pogroms_in_the_Russian_Empire#1903–1906|1903–1906 wave of pogroms]].<ref name="ZO">{{cite web |access-date=23 May 2024 |date=2023 |first=Zane |language=lv |last=Onckule |work=Arterritory |title=(Ne)būt pie stellēm: Bauhaus, "dārgās niecības" un gal Ļuba |url=https://arterritory.com/lv/vizuala_maksla/raksti/26880-nebut_pie_stellem_bauhaus_dargas_niecibas_un_gal_luba/ |archive-date=22 April 2024 |archive-url=https://web.archive.org/web/20240422080926/https://arterritory.com/lv/vizuala_maksla/raksti/26880-nebut_pie_stellem_bauhaus_dargas_niecibas_un_gal_luba/ |url-status=live }}</ref>


Her upbringing in Riga during the later parts of 1910s was affected by events like [[World War I]].<ref name="Angrick Klein">{{cite book |date=2009 |first=Andrej |first2=Peter |isbn=978-1-84545-608-5 |last=Angrick |last2=Klein |location=New York |publisher=Berghahn Books |title=The "Final Solution" in Riga: Exploitation and Annihilation, 1941–1944}}</ref> As a teenager, Monastirskaja studied at the Jewish secular school in Riga, where she graduated in 1924.<ref name="ZO"/> Approximately two years later, in October 1926, she began studies at the [[Bauhaus]] School of Art, Design and Architecture in [[Dessau]], where she had teachers such as [[Josef Albers]], [[Gunta Stölzl]], [[Marcel Breuer]] and [[Georg Muche]].<ref>{{cite web |access-date=23 May 2024 |work=Yad Vashem: the World Holocaust Remembrance Center |title=Ljuba Kirsh |url=https://collections.yadvashem.org/en/names/15027940}}</ref>
Her upbringing in Riga during the late 1910s was affected by dramatic events related to [[Eastern Front (World War I)|World War I]].<ref name="Angrick Klein">{{cite book |date=2009 |first1=Andrej |first2=Peter |isbn=978-1-84545-608-5 |last1=Angrick |last2=Klein |location=New York |publisher=Berghahn Books |title=The "Final Solution" in Riga: Exploitation and Annihilation, 1941–1944}}</ref> As a teenager, Monastirskaja studied at the Jewish secular school in Riga, where she graduated in 1924.<ref name="ZO"/> Two years later, in October 1926, she began studies at the [[Bauhaus]] School of Art, Design and Architecture in [[Dessau]]. Her teachers included [[Josef Albers]], [[Gunta Stölzl]], [[Marcel Breuer]] and [[Georg Muche]].<ref>{{cite web |access-date=23 May 2024 |work=Yad Vashem: the World Holocaust Remembrance Center |title=Ljuba Kirsh |url=https://collections.yadvashem.org/en/names/15027940 |archive-date=17 May 2024 |archive-url=https://web.archive.org/web/20240517171135/https://collections.yadvashem.org/en/names/15027940 |url-status=live }}</ref>


Like most other female students at Bauhaus, she was put in the [[weaving]] workshop. There she could develop both her craft skills as well as new industrial weaving techniques developed for mass production, largely inspired by [[constructivism (art)|constructivism]].<ref name="Angrick Klein"/> She was photographed many times during her time at Bauhaus. One well-known photograph shows female students standing in a staircase of the Bauhaus building. Monastirskaja can be seen in the background beside Gunta Stölzl and just above [[Otti Berger]].<ref>{{cite web |access-date=23 May 2024 |language=de |work=Kunst-Archive |title=Die Weberinnen auf der Bauhaustreppe, Gunta Stölzl, Meister der Weberei, mit ihren Studierenden |url=https://www.kunst-archive.net/de/wvz/t_lux_feininger/works/gunta_stoelzel_meister_der_weberei_mit_ihren_studierenden_bauhaustreppe/type/all |archive-date=29 April 2024 |archive-url=https://web.archive.org/web/20240429094103/https://www.kunst-archive.net/de/wvz/t_lux_feininger/works/gunta_stoelzel_meister_der_weberei_mit_ihren_studierenden_bauhaustreppe/type/all |url-status=live}}</ref> A few of her creations are still in existence, such as three work samples held by the [[Textile Museum (Tilburg)|Textile Museum]] in [[Tilburg]], Netherlands.<ref>{{Cite web |title=Collectie - TextielMuseum |url=https://textielmuseum.nl/collectie/objecten?diw-id=brabantcloud_textielmuseum-objecten_08711a=c |access-date=2024-06-21 |website=textielmuseum.nl |language=nl |archive-date=2024-06-21 |archive-url=https://web.archive.org/web/20240621210449/https://textielmuseum.nl/collectie/objecten?diw-id=brabantcloud_textielmuseum-objecten_08711a=c |url-status=live }}</ref>
Like most other female students at Bauhaus, she was placed at the textile factory. There she could develop her skills with textiles and industrial weaving techniques adapted for mass production and a more modern way, mostly inspired by constructivism.<ref name="Angrick Klein"/>


⚫
Once she had completed her education, Monastirskaja started working for two well known German textile producers, first in [[Mössingen]] and then in [[Żagań|Sagan]]. A certificate of 18 April 1932 stated that her job responsibilities included the preparation of the artistic designs of "decorative and padding fabrics in formal and technical terms".<ref name="ZO" /> Her ambition was to continue to live and work in Germany, but the [[Adolf Hitler's rise to power|rise to power of the Nazis]] would stop that. In 1933, she was arrested and deported to Latvia.<ref name="Pourchier-Plasseraud">{{cite journal |date=2015 |first=Suzanne |issn=1570-7121 |journal=Arts and a Nation: The Role of Visual Arts and Artists in the Making of the Latvian Identity, 1905–1940 |last=Pourchier-Plasseraud |location=Leiden |publisher=Brill Rodopi |title=The Authoritarian Regime (1934–1940)}}</ref>
[[File:Oskar Schlemmer Webereiklasse auf der Bauhaustreppe 1927.jpg |thumb|150px|right|[[Bauhaus]], 1927. Ljuba Monastirskaja (front) with other students]]
Ljuba Monastirskaja can be seen in a well known photograph which shows female students standing on the stairwell inside the Bauhaus building, she can be seen standing besides Gunta Stölzl and Otti Berger.<ref>{{cite web |access-date=23 May 2024 |language=de |work=Kunst-Archive |title=Die Weberinnen auf der Bauhaustreppe, Gunta Stölzl, Meister der Weberei, mit ihren Studierenden |url=https://www.kunst-archive.net/de/wvz/t_lux_feininger/works/gunta_stoelzel_meister_der_weberei_mit_ihren_studierenden_bauhaustreppe/type/all}}</ref>


A short time after returning to Latvia, she married architect Natan Kirsh in 1934, who also had a Jewish upbringing.<ref name="Pourchier-Plasseraud" /> Following the [[1934 Latvian coup d'état|Ulmanis coup d'état]], Monastirskaja had trouble establishing her practice as a textile producer. Her modern designs were not high in demand as the new nationalist regime promoted Latvian specific designs based on [[Culture_of_Latvia#Folklore|folkloristic]] traditions. Furthermore, she belonged to two minorities which were marginalised in 1930s Latvia: both Russian-speaking and Jewish.<ref name="ZO" />
⚫
After her years of studies, she started working for two well known textile producers firstly in [[Mössingen]] and then [[Żagań|Sagan]]. Her ambition was to continue to live and work in Germany, but the Nazi power rise in 1933 would hinder that, she was later arrested and deported to Latvia.<ref name="Pourchier-Plasseraud">{{cite journal |date=2015 |first=Suzanne |issn=1570-7121 |journal=Arts and a Nation: The Role of Visual Arts and Artists in the Making of the Latvian Identity, 1905–1940 |last=Pourchier-Plasseraud |location=Leiden |publisher=Brill Rodopi |title=The Authoritarian Regime (1934–1940)}}</ref>


⚫
In 1941, once Nazi Germany had [[German occupation of Latvia during World War II|invaded Latvia]], the persecution of Latvian Jews begun. Monastirskaja was placed along with over 40,000 Jews in the specially built [[Riga Ghetto]]. Her husband had earlier been abducted and taken to [[Bikernieki Memorial|Biķernieki]].<ref name="Angrick Klein" />
A short time after returning to Latvia, she married architect Natan Kirsh in 1934, who also had a Jewish upbringing.<ref name="Pourchier-Plasseraud"/> Following political unrest in Latvia, she had trouble establishing herself and her career as a textile producer; since she was Russian-speaking and Jewish, she belonged to a minority that was marginalised by the regime in Latvia. Another reason was her education from Germany.<ref name="ZO"/>

⚫
In 1941, after the Nazi invasion of Latvia a persecution of Latvian Jews had begun, Monastirskaja was placed along with over 40,000 Jews in a specially made ghetto. Her husband had earlier been moved to [[Biķernieki]].<ref name="Angrick Klein"/>


==Death==
==Death==
On 30 November 1941, she along with 12,000 others were moved from the ghetto to Rumbula to a forest ten kilometres south of Riga where she was forced down into a [[mass grave]] and shot dead during the [[Rumbula massacre]]. This massacre was done by the Nazi Einsatzgruppe A.<ref name="Angrick Klein"/>
On 30 November 1941, Monastirskaja, along with 12,000 others, was moved from the ghetto to a forest ten kilometres southest of Riga. Here she was forced into a [[mass grave]] and shot dead in an atrocity that would later become known as the [[Rumbula massacre]]. The massacre was carried out by the Nazi [[Einsatzgruppe A|''Einsatzgruppe'' A]] with the help of local collaborators of the [[Arajs Kommando]].<ref name="Angrick Klein"/> All of her belongings and artistic works were destroyed or lost.

After Monastirskaja had been moved to the ghetto in Riga and killed in Rumbula, most of her belongings and artistic works were destroyed or lost. This was part of Nazi Germany extermination of culture, books, and arts, and memories of the people who made it.<ref>{{cite book |date=2013 |first=Anders |last=Rydell |location=Stockholm |pages=8–29 |publisher=Ordfront förlag|title=Plundrarna: hur nazisterna stal Europas konstskatter}}</ref>


==References==
==References==
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{{DEFAULTSORT:Monastirskaja, Ljuba}}
{{DEFAULTSORT:Monastirskaja, Ljuba}}

[[Category:1906 births]]
[[Category:1906 births]]
[[Category:1941 deaths]]
[[Category:1941 deaths]]

Latest revision as of 05:55, 28 June 2024

Ljuba Monastirskaja
Ljuba Monastirskaja c. 1926
Born(1906-09-25)25 September 1906
Riga, Russian Empire
Died30 November 1941(1941-11-30) (aged 35)
Rumbula
NationalityLatvian
EducationBauhaus 1926–1930
Known forTextile design, weaving
SpouseNatan Kirsh

Ljuba Monastirskaja (25 September 1906 – 30 November 1941) was a Latvian textile artist. She was a victim of the Rumbula massacre in 1941.

Biography

[edit]

Monastirskaja was born into a secular Jewish family. Her father was a merchant who had moved to Riga from Chernihiv, Russian Empire (today Ukraine) to escape the 1903–1906 wave of pogroms.[1]

Her upbringing in Riga during the late 1910s was affected by dramatic events related to World War I.[2] As a teenager, Monastirskaja studied at the Jewish secular school in Riga, where she graduated in 1924.[1] Two years later, in October 1926, she began studies at the Bauhaus School of Art, Design and Architecture in Dessau. Her teachers included Josef Albers, Gunta Stölzl, Marcel Breuer and Georg Muche.[3]

Like most other female students at Bauhaus, she was put in the weaving workshop. There she could develop both her craft skills as well as new industrial weaving techniques developed for mass production, largely inspired by constructivism.[2] She was photographed many times during her time at Bauhaus. One well-known photograph shows female students standing in a staircase of the Bauhaus building. Monastirskaja can be seen in the background beside Gunta Stölzl and just above Otti Berger.[4] A few of her creations are still in existence, such as three work samples held by the Textile Museum in Tilburg, Netherlands.[5]

Once she had completed her education, Monastirskaja started working for two well known German textile producers, first in Mössingen and then in Sagan. A certificate of 18 April 1932 stated that her job responsibilities included the preparation of the artistic designs of "decorative and padding fabrics in formal and technical terms".[1] Her ambition was to continue to live and work in Germany, but the rise to power of the Nazis would stop that. In 1933, she was arrested and deported to Latvia.[6]

A short time after returning to Latvia, she married architect Natan Kirsh in 1934, who also had a Jewish upbringing.[6] Following the Ulmanis coup d'état, Monastirskaja had trouble establishing her practice as a textile producer. Her modern designs were not high in demand as the new nationalist regime promoted Latvian specific designs based on folkloristic traditions. Furthermore, she belonged to two minorities which were marginalised in 1930s Latvia: both Russian-speaking and Jewish.[1]

In 1941, once Nazi Germany had invaded Latvia, the persecution of Latvian Jews begun. Monastirskaja was placed along with over 40,000 Jews in the specially built Riga Ghetto. Her husband had earlier been abducted and taken to Biķernieki.[2]

Death

[edit]

On 30 November 1941, Monastirskaja, along with 12,000 others, was moved from the ghetto to a forest ten kilometres southest of Riga. Here she was forced into a mass grave and shot dead in an atrocity that would later become known as the Rumbula massacre. The massacre was carried out by the Nazi Einsatzgruppe A with the help of local collaborators of the Arajs Kommando.[2] All of her belongings and artistic works were destroyed or lost.

References

[edit]
  1. ^ a b c d Onckule, Zane (2023). "(Ne)būt pie stellēm: Bauhaus, "dārgās niecības" un gal Ļuba". Arterritory (in Latvian). Archived from the original on 22 April 2024. Retrieved 23 May 2024.
  2. ^ a b c d Angrick, Andrej; Klein, Peter (2009). The "Final Solution" in Riga: Exploitation and Annihilation, 1941–1944. New York: Berghahn Books. ISBN 978-1-84545-608-5.
  3. ^ "Ljuba Kirsh". Yad Vashem: the World Holocaust Remembrance Center. Archived from the original on 17 May 2024. Retrieved 23 May 2024.
  4. ^ "Die Weberinnen auf der Bauhaustreppe, Gunta Stölzl, Meister der Weberei, mit ihren Studierenden". Kunst-Archive (in German). Archived from the original on 29 April 2024. Retrieved 23 May 2024.
  5. ^ "Collectie - TextielMuseum". textielmuseum.nl (in Dutch). Archived from the original on 2024-06-21. Retrieved 2024-06-21.
  6. ^ a b Pourchier-Plasseraud, Suzanne (2015). "The Authoritarian Regime (1934–1940)". Arts and a Nation: The Role of Visual Arts and Artists in the Making of the Latvian Identity, 1905–1940. Leiden: Brill Rodopi. ISSN 1570-7121.
[edit]
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