The Monumental Sculptural Work of Kārlis Zāle (1888–1942): the Brothers' Cemetery, 1924–1936, and the Freedom Monument, 1931–1935

Kārlis Zāle had a tumultuous life, full of passion, artistic endeavors and their realization. He grew up in Liepāja where he helped his father who was a stone mason, learning about building principles and materials from a young age. He first studied at Kazan Art School and was later drawn to the socialist realism of Matvey Manizer and Stepan Erzia. In 1915 Zāle went to St Petersburg to further his studies, and in 1917 he experienced the Russian Revolution and participated in the Lenin’s Monumental Propaganda initiative. Returning to Latvia at the proclamation of independence in 1918, opportunities for the monumental work he was drawn to were not readily available, which prompted Zāle to go to Berlin. Here, he was exposed to Italian Futurism, Russian Constructivism, German Functionalism, and other socially motivated art movements. His skill was tried and tested and won high acclaim in the arts publications of the time. He himself launched the only contemporary arts journal in Latvian “Laikmets” (Epoch), together with Aleksandrs Dzirkalis, and was included in the Congress of International Progressive Artists held in Düsseldorf in 1922. When he heard about the competition to create the Brothers’ Cemetery in 1923, he returned to Latvia again.

After winning the prestigious competition, he started the work which would be unveiled in 1936. Simultaneously and in parallel, Zāle also won the competition for the Freedom Monument, which was built in only four years, between 1931–1935. He lectured in Sculpture at the Art Academy of Latvia until his death at the age of 53. Zāle’s monuments are admired for the humanity portrayed in his figures, which are relatable and leave a lasting impression.

The Brothers’ Cemetery or Cemetery of the Brethren, sometimes referred to in English as the Common Graves, is the final resting place for and tribute to the soldiers killed in the First World War and those fighting for Latvia’s independence at this time. About 3000 soldiers are buried here, of which 300 are unknowns. Entering the cemetery, one is met by the towering figure of Mother Latvia in the distance, her fallen sons at her feet. From the terrace on the opposite side, where the eternal flame burns, there is a view over the entire cemetery. Wounded and grieving horsemen, forefathers and freedom fighters flank the sides and mark the entrance. Kārlis Zāle himself was buried here after his death in 1942, watched over by Two Brothers. The development and stylistic trajectory of the sculptor can be traced through the sculptural elements spanning the 12 years of construction. The artistry of the Brothers’ Cemetery is in its architectural design and surrounding natural elements as well as the sculptural figures. There is a feeling of peace and serenity here. It is an oasis in the city that inspires reflection and remembrance.

The Freedom Monument has a dominating presence in downtown Rīga. Well-proportioned, it stands perfectly placed in between the Old Town and the modern city. Built in three tiers, the monument consists of different sculptural groups that can be seen from all directions, topped by the symbolic figure of Latvia holding three stars, symbolizing the three historic regions of Latvia: Vidzeme, Kurzeme, and Latgale. The figure is made of iron while the base of the obelisk is clad in travertine. The sculptural assemblages, made of red and gray Finnish granite, are all deeply symbolic national themes: the Apotheosis of Latvia (man with a sword and shield), Chain Breakers, Vaidelotis (a pagan priest), Lāčplēsis (the Bearslayer), Guards of the Fatherland, Work (consisting of a fisherman, a craftsman and a farmer), Scholars, and Family (a mother and her two children). Two travertine reliefs on the base of the monument portray the Russian Revolution of 1905 and the Battle against the Bermontians on the Iron Bridge. Two others at the back side show the Latvian Riflemen and Latvian People: The Singers. The monument presents the history of the Latvian people and is an embodiment of common memory. It was funded by individual donations from the people, who felt a great need for a patriotic symbol and a place to gather together in times of celebration and in times of hardship. Inscribed with the words “Fatherland and Freedom”, it represents the pride of the nation and the importance of freedom and independence.

Agnese Cebere