Looking for the Professor and Defining Estonian 166 Academic Art History

Eero KANGOR Estonian Academy of Arts, Tallinn

LOOKING FOR THE PROFESSOR AND DEFINING ESTONIAN 166 ACADEMIC ART HISTORY

Key words: Estonian art historiography, academic art history, nation-building, Tor Helge Kjellin, Josef Strzygowski, Johnny Roosval, Adolph Goldschmidt, Heinrich Wölfflin.

This article revises a passage in the narrative of the established in it, were the important locus for (re) history of Estonian academic art history1 hoping generation of art historical knowledge, as Donald that by introducing archival materials that has not Preziosi has described it.3 It is generally believed

ALIJOS, METODOLOGIJOS been used or considered in earlier writings it is pos- that these institutions were established in the 19th sible to deconstruct the narrative. Neglecting of the century, mostly by German scholars.4 The aca- archival material was caused by practical but also demic art history was considered a national acti- discursive reasons due to censorship in Soviet times vity throughout Europe in conjunction with the when the first articles on this topic were published. protection of heritage and art museums.5 On the Based upon archival research I propose an alterna- other hand, the discipline is essentially internatio- tive conceptual viewpoint and suggest that the elec- nal, especially if we consider how much the map of tion process of the Professor of Art History at the Europe has changed (e.g. in the last century). After

E: RAIDA, PERSON E: RAIDA, University of Tartu during the years 1919–1921 is the First World War, in the newly established states a way to define Estonian academic art history. The in Europe, art and its history were valuable means word “define” is used here in a broad sense. By defi- for the nation-building process and essential for the ning, a certain set of objects, ideas and tenets are construction of national discourse. Art history had encircled and at the same time the others are left been taught at the the Czarist University of Tartu outside. However, the “inhabitants” of the imme- in the 19th century up until 1918. But a specialized diate borderland keep transgressing and liquefying chair for Art History was only founded in 1919.6 In the solid core of a definition and open up a dialogue. the 1920s, the person, holding the chair of Art His- I conceive the ideas and visions of the founders of tory at the University of Tartu, acquired an impor- the Estonian National University as the solid core tant role in shaping the perception of this discipline of the definition. By introducing the candidates and for the whole Estonian society. their background I aspire to open up the context The interest for the questions of art historiography and show the possible alternatives and the ways they has been increasing in Estonia since the 1970s.7 Sten could have opened. Finally I ask how these possi- Karling, a professor in Tartu in 1933–1941, publis- ble choices and the final choice made in the election hed an article for the international community in could have affected the understanding of Estonian 1988 where he gave an overview of art historical academic art history and Estonian art. The whole research in Estonia from the end of the 19th century process shows the symptoms of changing vision, untill the 1980s.8 The knowledge of Estonian art his- values and habits of the community.2 toriography has been shaped by publications written

MENOTYRA VIDURIO IR RYTŲ EUROPOS ŠALYS EUROPOS MENOTYRA IR RYTŲ VIDURIO The university and the institutions of art history, on the jubilees of the “first” Estonian art historians Voldemar Vaga (1899–1999), Sten Karling (1906– yet M. Eller as well as another Estonian art histo- 1987), Armin Tuulse (1907–1977) and Villem Raam rian, Juta Keevallik,20 have both made a distinction (1910–1996).9 Estonian art historian Krista Kodres between art history and academic art history (Kuns- has been especially productive and published seve- twissenschaft). To be exact, it was classical archae- ral articles. She has also written an analysis of the ology that was taught at the Czarist University of theoretical influences on the research of Sten Kar- Tartu in the 19th century up until 1918. What is the 167 ling.10 The 1920s have not received similar attention difference between art history at the beginning and since the 1980s.11 Currently three graduate students at the end of the 19th century? How did this change at the Estonian Academy of Arts and the Institute of happen? One of the best studies on these issues ART HISTORY IN THE MIDDLE AND EAST EUR History of Tallinn University are writing their doc- regarding art historians Wilhelm Vöge and Adolph toral theses on Estonian art historiography of the Goldschmidt is written by Kathryn Brush.21 19th-20th century under Krista Kodres’s and Kersti Markus’s supervision respectively.12 PROTO-PARADIGMATIC, BALTIC GERMAN OR PRE-REPUBLICAN ART HISTORY? The starting point for this article is a passage from a 1980 article of the Estonian art historian Mart Eller13: Donald Preziosi says fluently that “the institutional “a year after Estonia declared independence on the space cleared for itself by academic art history [at 24th February 1918 it was decided that a National the end of the 19th century] both in Europe and University should be established on the foundations America was no tabula rasa, but an already densely of the former Czarist University of Tartu that was textured philosophical, epistemological and ideolo- liquidated in July 1918. The plan for the chairs of gical landscape.”22 The same can be said about Esto- the university also included a chair for “aesthetics nia where art history became an academic discipline and general art history.”14 At this time no suitable at the University of Tartu in 1922. The practice of art professor could be found in Estonia, so he had to history in the 19th century in Estonia lacked epis- be looked for abroad. As a result two years later an temological coherence. The fact that art history in election was held. M. Eller mentions Gerstenberg, Estonia in the 19th century was Baltic German cle- Knapp, Waldhaus15, Josef Strzygowski and W. Wor- arly correlates with their dominance in the society OPE: PROCESS, PERSONALITIES,OPE: PROCESS, METHODOLOGIES ringer as candidates from German universities and and culture as a whole. As Baltic Germans were an a professor from Sweden Tor Helge Kjellin. M. Eller ethnic minority a change had to happen after Esto- concludes that J. Strzygowski has won the election, nians declared their independence and constituted but did not come to Estonia, leaving the opportu- a Republic in 1918. The conflicting ideologies of the nity for the runner up in the election. H. Kjellin Baltic German minority and Estonian nation-buil- started to lecture in January 1922 as a professor of ders were following after a common philosophical “art history”.16 I wanted to develop further from pattern. Both sides recognized the importance of art this short list by asking simple questions. Who were historical knowledge as a tool of ideological power. these other candidates besides the already known The university is an essential locus for the genera- J. Strzygowski, W. Worringer and H. Kjellin? Why tion, distribution and recycling of knowledge and J. Strzygowski chose not to come to Estonia? Lars ideologies. In Estonia the University of Tartu had Berggren, who has written about J. Strzygowski’s already been established in 1632 by the Swedish 17 connection with Åbo Akademi in Turku, Finland, king Gustav II Adolf, which initiated the expan- encouraged me to find out more about the elections sion of the Swedish Empire and the Golden Age and to my surprise I could find some other famous of Sweden.23 It functioned until 1710 and attempts names among the involved: Erwin Panofsky, Hein- to re-open the university during the 18th century 18 rich Wölfflin and Adolph Goldschmidt. M. Eller under Russian rule could not be realized.24 In 1802 discussed the reasons why a suitable professor for the University of Tartu was re-established following art history could not be found in Estonia. Art his- the edict of Russian Czar Alexander I (1777–1825). 19 tory had been taught at the university before 1919, The next year the chair for “eloquence, classical philology, aesthetics and the history of literature and art” was occupied by Johann Karl Simon Mor- genstern (1770–1852).25 The title of the chair indi- cates an interdisciplinary approach to the history of art and reflects the wide range of interests of profes- 168 sor Morgenstern. Generally in the 19th century the history of art was taught in Tartu as classical archaeology, a discipline established by the famous Ger- man art historian and archaeologist Johann Joachim Winckelmann (1717–1768).

Parallel to the re-establishment of the University of Tartu in the whole of Europe the growth of national tendencies and the ascendance of the bourge- oisie proceeded.26 These circumstances prepared the ground for a modern discipline – art history (or academic art history) – which was laid in German- speaking universities starting from the 1860s–70s.27 In 1860 the first chair for art history with Anton Portrait of the professor Helge Kjellin

ALIJOS, METODOLOGIJOS Springer as the professor was founded at the Uni- versity of Bonn. In 1873 the first international con- gress of art history in Vienna stated, that art history the First World War, Russian Revolutions and the should become an integral part of university edu- resulting Wars of Independence.33 cation and specialized chairs should be founded. It was followed by setting up chairs for art history in When the Baltic German architect and art historian universities in Europe and the United States.28 This Wilhelm Neumann (1849–1919) stated in 1888, that development has been observed as the emergence a more varied art historical education was desired, E: RAIDA, PERSON E: RAIDA, of modern art history, as professionalization of art this was associated with the need for specialists who history and as a part of its institutionalization.29 The could research and restore local art heritage.34 This term academic art history has been used for dis- local art heritage included only the Baltic German tinguishing art history pursued in universities and heritage, which dated back to the beginning of the art historical discourse in other institutions (e.g. 13th century – “the dawn of the era of German museums).30 colonization in the Baltics”. Two years later, in 1890, Vladimir Malmberg (1860–1921) became professor Another consequence of a national self-identifica- of classical philology and archaeology at the Uni- tion in Western Europe was an increasing interest versity of Tartu and started lecturing on general art in the material remains of culture, which enabled history.35 On the other hand his election as profes- to construct a discourse about national heritage sor marks the era of Russification at the university.36 and national art history.31 A symptom of the reac- Unlike the former professors was Russian by natio- tion to the Russian chauvinist nationalism was that nality and not a Baltic German. He had studied in the Baltic Germans started to carry out research on Berlin University in 1886.37 But although he was the their history and heritage in the Baltic Provinces.32 first professor in Tartu who specialized on art his- The “awakening” of Estonian and Latvian nationa- tory, at the time of election he had actually not yet lism has been noticed in the second half of the 19th defended his dissertation. In need to replace Baltic century also. These three communities – Estonians, German professors with Russians the qualification Latvians and Baltic Germans – were the main forces norms required to hold a chair in a discipline were for the belligerent and mental struggles following

MENOTYRA VIDURIO IR RYTŲ EUROPOS ŠALYS EUROPOS MENOTYRA IR RYTŲ VIDURIO lowered, so that weaker candidates, even without a doctoral degree, could be elected. This was also the Even if W. Neumann had not died in 1919 he would case with V. Malmberg, who defended his doctoral not have been suitable, because he was a Baltic Ger- dissertation at the University of St. Petersburg in man. But what does the lack of native specialists 1904.38 exactly mean?

However this was hardly the outcome that W. Neu- VISIONS AND EXPECTATIONS 169 mann could have envisioned. He was the leading Baltic German art historian, who started to publish As I have mentioned before, it was J. Strzygowski articles on art history in 1886. He was also in the close

who got the most votes in the election for the profes- ART HISTORY IN THE MIDDLE AND EAST EUR connections with other German art historians. His sor of art history in 1921. On the other hand M. Eller research interests spanned from the Middle Ages to mentions, that the Faculty of Philosophy (where the contemporary art, from architecture to applied and chair of art history was established “mostly tried to figurative art executed by Baltic Germans and situa- avoid inviting professors from Germany and oriented in the territory of former Old Livonia that covers tated towards Finnish and Swedish universities. In modern Estonia and Northern Latvia. There was no several specialties the Finnish turned out to be the place for Estonian art(ists) in his discourse on Baltic best-suited since they were familiar with Estonian art history. His agenda could have been fulfilled in material and quite a few of them could lecture in the context of the Baltic German Landesuniversität Estonian.”41 Why did the board still elect a German- zu Dorpat, which was opened on the foundations of speaking J. Strzygowski from Vienna? M. Eller sug- the Czarist University of Tartu in September 1918. gests, that “apparently his election was influenced by With Karl Dehio as rector, the board of 33 German the fact that at this time he was already internatio- professors also included the art historian Wilhelm nally renowned for his research on early Christian 39 Worringer (1881–1965). The German university art.”42 These arguments are obviously contradic- could not function fully and was handed over to the tory. While Strzygowski was a (German-speaking) Estonian Provisional Government in December of Austrian born in Poland, he was not familiar with 1918. The Baltic Germans failed to maintain a status Estonian material in his research and says nothing quo.

of not being able to speak Estonian. It seems quite PERSONALITIES,OPE: PROCESS, METHODOLOGIES As I have briefly tried to demonstrate the political obvious, that his election had nothing to do with and ideological state of affairs in Estonia in the end straightforward nationalism, but rather was sho- of the 19th century and at the beginning of the 20th wing a progressive desire to give the best possible century was quite complex. As a historian of the education for the future Estonian intellectual elite.43 Soviet era M. Eller could not discuss national conf- Otherwise the Estonian, Mr. Konstantin Mikfeld, lict in a straightforward way and a national stand- who proposed his candidacy in 1919 with his Popu- point is presented implicitly. Why could not a suita- lar lectures on art history must have been the first ble professor be found from Estonia (or the Baltics)? and prominent preference.44 Because there were none! There were none, because In May 1919 the question of language was an impor- there were no native (i.e. Estonian) art historians tant subject during the establishment commission suitable for this post. On the other hand, M. Eller of the Estonian national university of Tartu.45 It was argues that there were no candidates with sufficient decided that the official language of the university education. At the University of Tartu “the history of would be Estonian. The question of language of stu- art as a whole, as a separate discipline – and, what dies was thoroughly debated, but finally it was resol- is especially important, art in Estonia – had been ved that it would also be Estonian. Yet it was clear left out of the university curricula and the sphere of that it would have been impossible to find specialists 40 interest of the professor [of classical archaeology]” for all the foreseen chairs from Estonia. Therefore therefore no local specialists in art history could German and Russian were chosen as auxiliary langu- have been educated before the establishment of the ages to be used during the first years until Estonian chair of “aesthetics and general art history” in 1919. graduates would become suitable to hold the chairs. and practical considerations as they usually migra- At the same time it was agreed, that scientists and ted with families and their private libraries. Some professors would be invited from Germany, Russia, German professors who had been elected in 1919 Finland and elsewhere. The local Baltic Germans and 1920 did not come to Tartu due to the diffi- were not rejected, but they had to prove their loy- culties with transport. The university was poorly 170 alty to the Estonian government.46 Nationalism was supplied with relevant instruments, equipment and pragmatically combined with common sense. On literature for study and teaching. The means for sta- the other hand, the usage of foreign help was seen ying in contact with homeland and the scholarly as temporary. What the commission could not have community could have appeared poor and influen- foreseen was that the availability and the willingness ced the choices of the elect. The university govern- of scholars with sufficient academic qualifications ment provided at least some solution in June 1920, were scarce at least in the preferred countries. when it decided that costs would be compensated for the transport, an extra 60% of the salary would POSSIBILITIES, PROBABILITIES AND be paid to foreign professors and extra money for COINCIDENCES their families.49 It was just after this decision was The institutionalization of art history started in Ger- made that the Faculty of Philosophy was confident many, where it acquired such rigidity and status that enough to send out letters to the foreign professors it became a standard for other Western countries. It to nominate candidates for the post.

ALIJOS, METODOLOGIJOS was the Germanic nature of the discourse of Kuns- In July letters were sent to Adolph Goldschmidt in twissenschaft, which caused problems in accep- Berlin, Heinrich Wölfflin in Munich, Osvald Sirén50 ting and adjusting to certain traits of the German in Stockholm, Ewert Wrangel51 in Lund and Johan model.47 The emergence of art history as an acade- J. Tikkanen in Helsinki.52 They were informed that mic discipline was parallel to the establishment of the lecturing workload of the professor would be a German state and its expansion later. The tools of six hours a week. It was anticipated that a specia- the discipline could be adopted and applied to dif- lized institute was founded by the chair of art his- ferent ideologies and locations either consciously or tory. As an extra task the professor was to hold the E: RAIDA, PERSON E: RAIDA, unconsciously. It is clear, that art history had already post of Research Fellow at Tartu Art Museum.53 The accumulated a tradition during the time the Esto- Faculty of Philosophy hoped to arrange the election nian university-builders have foreseen a need for art in August 1920, so that the chair could start functio- history education. In this regard perhaps it is not so ning in the autumn and the first lectures be given in surprising, that the Faculty of Philosophy appealed January 1921. The process was to last much longer. to the most noted contemporary scholars in Europe. In the summer of 1920 the Faculty of Philosophy I suggest that when the counsellors suggested some received answers from J. J. Tikkanen, A. Goldsch- of their best students as candidates they did not act midt, H. Wölfflin and possibly from E. Wrangel. without an agenda. The realization of the ideas and Art history was quite a new field of study in Finland. ideologies was equally influenced by practical mat- Johan Jacob Tikkanen (1857–1930) had just become ters and conditions.48 the first professor of art history in Finland in April As the Estonian War of Independence was still 1920. Only eight Finnish graduates had defended being fought, contact with the foreign professors their doctoral theses in art history between 1878– had to be established through Estonian intermedia- 1920.54 Most of them were already employed in Fin- ries abroad. Useful contacts were further enhanced land or abroad. J. J. Tikkanen suggested the 33-year- when the newly elected foreign professors arrived old Onni Okkonen (1886–1962) as candidate for the in Tartu. This happened gradually, when the war in chair in Tartu.55 Okkonen had written a dissertation Estonia had ended and the Estonian Republic gai- on renaissance art.56 However, in 1920 Okkonen ned international recognition. The elected foreign was occupied both at the University of Helsinki and MENOTYRA VIDURIO IR RYTŲ EUROPOS ŠALYS EUROPOS MENOTYRA IR RYTŲ VIDURIO professors were especially concerned about financial the Technical University of Helsinki. There was little chance he would have had the opportunity to come student Tor Helge Kjellin (1885–1984). Kjellin had to Tartu although “as a Finn it would have been easy studied in Uppsala University under Johnny Roos- for him to study the Estonian language quickly.”57 val and then in Lund University, where he defended his dissertation on the 19th century Swedish painter The renowned German art historian Adolph Uno Troili. He had taken part in research work at Goldschmidt (1863–1944) had a much wider choice churches in Gotland, Skåne, Uppland and Wärm- 171 for possible candidates. During his professorship land and contributed to the famous Sveriges kyrkor in Berlin he supervised nearly a hundred docto- series that was first published in 1912. In 1920 he ral dissertations.58 He proposed his students Kurt was an associate professor of art history and theory ART HISTORY IN THE MIDDLE AND EAST EUR Gerstenberg (1886–1968) and Erwin Panofsky in Lund. His research field was medieval church art, (1892–1968).59 The 34 year old K. Gerstenberg had especially medieval funerary painting.67 studied in Berlin and defended his dissertation on German Special Gothic under of H. Wölfflin.60 Later The next step in the procedure after receiving these he worked as H. Wölfflin’s assistant in Munich. He letters was to contact the candidates. The Faculty of had habilitated in Halle University with his study Philosophy seems to have been in a hurry. In the on Claude Lorraine61 and was currently working summer of 1920 the Baltic German classical archa- there as a lecturer in 1919. A. Goldschmidt was eologist Oskar Waldhauer (1883–1935) was visi- very fascinated of his talented post-doctoral stu- ting Tartu and he was invited to occupy the post.68 dent E. Panofsky. He had defended his dissertation O. Waldhauer has studied classical archaeology with on Dürer’s oeuvre in Freiburg62 and habilitated in Adolf Furtwängler in Munich and defended his Hamburg with work on Michelangelo in 1920. thesis in 1903. After that he worked at the Antique E. Panofsky was also a member of the famous Aby Department of the Hermitage in St. Petersburg. In Warburg circle in Hamburg, which gathered famous 1918 he became the head of this department repla- library in Warburg’s. A. Goldschmidt surmised that cing the Baltic German Eugen Pridik.69 O. Wald- it would be easier for the unmarried K. Gerstenberg hauer has stated several conditions: first he wanted to immigrate to Estonia as E. Panofsky was already to remain a classical archaeologist although the married and had two children. chair was assigned for aesthetics and art history. O. OPE: PROCESS, PERSONALITIES,OPE: PROCESS, METHODOLOGIES Waldhauer demanded from the university to make The Swiss art historian Heinrich Wölfflin (1864– efforts for regaining the collections of the University 1945) also had a lot of students. He presented three Art Museum, which still were in Voronezh. First and candidates: the already mentioned Kurt Gerstenberg, foremost he saw the tradition of the teaching and Fritz Knapp (1874?–1938?)63 and Martin Wackerna- studying of classical archaeology as essential. These gel (1881–1962).64 The 46-year-old Fritz Knapp had conditions could not be fulfilled. The field of clas- studied in Basle, Switzerland under of Jacob Burck- sical archaeology was already covered by another hardt (1818–97) and defended his dissertation on chair. There were also great difficulties with getting the Italian Renaissance under of H. Wölfflin. After back the collections from Voronezh where the col- working in the Royal National Gallery in Berlin he lections were evacuated during the war and where moved to Greifswald where he founded the Institute they remain to this day.70 The negotiations with O. of Art History.65 From 1907 he was the art history Waldhauer were discontinued. It is not quite clear, if professor in Würzburg. Martin Wackernagel had his Baltic German origin had any influence on this defended his dissertation in Berlin in 1905. In 1920 decision. It is more probable, that his lack of exper- he was an associate professor in Leipzig and his tise in general art history and contemporary art was main interest was Renaissance art patronage.66 an obstacle. The correspondence with O. Waldhauer Ewert Wrangel (1863–1940) was the professor of sheds light upon the general ideas of the board of aesthetics, literature and art history and mainly a the Faculty and their expectations from a professor literary scholar. I have not found his letter in the of art history. It also brings to light the difficulties of archives, but it is obvious that he suggested his pursuing such a discipline in Tartu in the 1920s. 172 ALIJOS, METODOLOGIJOS Karja Church in Saaremaa, 1924. People who participated in the restoration works: (from the left) engineer Nikolai Paulsen, Georges Liedemann (art history student), Ilmer Wöhrmann, Helmi Saarmann (art history student), Professor Helge Kjellin, Elsbet Markus (Parek) (art history student), Hilda Sule (art history student), Rudolf Wöhrmann, artist Heinrich Hein

Although the academic education in art history at from famous 17th century Dutch painters such as that time was comprehensive enough to enable a Frans Hals, A. van Dyck and others. However, R. E: RAIDA, PERSON E: RAIDA, scholar to pursue research on different material from von Liphart had started to export his collection after various epochs the research interests of the candida- the 1905 Russian Revolution and continued to do so tes show a general inclination towards Renaissance until most of his collection was taken out of Estonia and Baroque art. A scholar definitely needs collecti- at the beginning of the 1920s. The government hesi- ons to work with, be it either works of art or archi- tated and took no action to prevent it.72 This was a tecture themselves or reproductions – graphic or great loss, especially if we consider how much effort photographic. The University of Tartu had lost most and money the American Ivy League universities of its precious collections due to the evacuation spent on accumulating good collections of Euro- in 1915–17. The collections of the University Art pean art during the very same period.73 Museum and the collections of 16th–19th century The existence of art reproductions and photographs graphic art at the university library were retrieved and a specialized library were important issues for during the next few years.71 In the city of Tartu the the candidates in connection with the teaching of society of Estonian avant-garde artists Pallas also art history. For some candidates the lack and scar- owned some good collections of paintings, graphics city of collections was crucial for changing their and photographs. There were also the art collections minds, probably because they knew the amount of of the Baltic Germans. The collection of Reinhold investment needed to build up the collections were von Liphart at Raadi mansion, which was mainly beyond the financial capacity of the University. For accumulated by the famous art collector Karl Edu- others who were willing to bring their own collecti- ard von Liphart, was the most valuable, it contained ons with them it was to become a practical question

MENOTYRA VIDURIO IR RYTŲ EUROPOS ŠALYS EUROPOS MENOTYRA IR RYTŲ VIDURIO 15th and 16th century Italian paintings and works of transportation and storage. After rejecting O. Waldhauer’s candidature the place nearby, in Turku (Åbo), Finland. A chair of art Faculty in November 1920 made contact with the history was founded at the Åbo Akademi in 1919 proposed candidates by sending letters to Dr. K. through the donation of Consul Victor Hoving.82 Gerstenberg, Dr. E. Panofsky, Prof. Fr. Knapp, Prof. At this time Joseph Strzygowski has already made M. Wackernagel and Dr. Helge Kjellin.74 The res- contact with several Scandinavian art historians ponse from Fritz Knapp has not been preserved and was planning to move his art history institute 173 in the archive, but it seems that he had agreed to from Vienna to Sweden. For several reasons discus- become a candidate.75 Erwin Panofsky declined sed by L. Berggren in his article, instead of Sweden, politely.76 Martin Wackernagel seemed enthusiastic he started to make plans to build up the institute in ART HISTORY IN THE MIDDLE AND EAST EUR and wanted to find out more about “the political, the newly founded Åbo Akademi. The reality at the economic and cultural conditions in Estonia” before Akademi was less impressive than J. Strzygowski had he made his decision.77 He also asked about facilities expected and his plans were not fulfilled because of for teaching art history. “Is there any [specialized] the lack of finances. literature and, above all, are there any diapositives to J. Strzygowski has been in Åbo almost a year, when show in lectures or finances that the Ministry could he received information about the planned chair for allocate for them in sufficient [my emphasis] quan- art history in Tartu from Arne Michael Tallgren,83 tities? Has there ever been a chair for art history in his friend, and newly-elected professor of Estonian Tartu? Or does the does the teaching apparatus have and Scandinavian Archaeology at the University of to be built up from scratch have to be built up from Tartu. 84 Their correspondence was quite revealing scratch?”78 In response the Faculty tried to persu- the practical concerns which J. Strzygowski had ade that Tartu was a safe place for foreign (inclu- concerning the possible tenure in Tartu. “I would ding German) scholars as the one’s already arrived be very glad to follow the invitation [...] if I could seemed to allude. However, the representative of the be sure that those sums that they offer in Tartu Faculty, Mr. Oldekop, answered in his letter: “in ear- would be sufficient to provide for the family. I have lier times, when Löschcke and others were teaching heard that the Estonian mark is worth less than the here, art history was no more than an appendage Finnish. You write that the foreigners will receive (Anhängsel) of the chair of classical philology.”79 He PERSONALITIES,OPE: PROCESS, METHODOLOGIES an extra £10 a month. But is it sufficient enough stressed that the chair of art history would have to to buy books and photos and to travel? I fear the reckon with modern art and said that the means for costs of moving and the presumable lack of lodging that were available. However, M. Wackernagel must in Tartu. Has [the university] thought about the have been better informed about the capacity and important problems of living conditions? I am sorry finances it would require to build up the collecti- to put the material questions in first place, but alas ons. During 1905-1910 he had worked with Arthur currently this is the issue when you are encumbered Haseloff, the secretary of the Royal Prussian History with children.”85 The man who had made extensive Institute in Rome (Königlich Preußischen Histo- and expensive travels to the East before the First rischen Institut), on an expedition to South Italy, World War became very careful about financial where they took over 3,200 photographs on glass matters after it. After 1918 he turned his attention plates and nitrocellulose.80 Later the ever-incre- to northern art, partly, he claimed, because postwar asing need for funds was required for building up poverty prevented him from extending his percep- the collection of Estonian art and architectural heri- tual cognizance of oriental forms.86 tage (mainly photographs) that H. Kjellin, launched stressful discussions with the university council in In this light it is not surprising that when J. Strzy- 1923 that might have brought about his departure in gowski was informed of his election as professor a 87 August 1924.81 month later he announced his agreement to take the post.88 He wanted to visit Tartu on 1st Septem- The clash of enthusiasm and reality can be obser- ber before making his final decision.89 However, the ved in a parallel concatenation of events that took university council decided in June that “the chair of art history has already been unfilled for a long time values of the Third Reich, but also because of his and in the coming semester it should start with a personal character.94 J. Strzygowski attacked mostly full programme. We regret, that it is not possible philological Classical humanist establishment by to have him [Strzygowski] here.”90 On 20th June H. making great play of the Oriental origins of late- Kjellin was appointed professor of art history by the antique and medieval art, which he linked to Aryan 174 Minister of Education.91 In August H. Kjellin agreed and Nordic tendencies, as opposed to those of the to take the post. The fact that he promised to start Mediterranean.95 His insistence on the importance lecturing only in January 1922 must have been a of the border-lands of the West like Nordic countries disappointment for the Faculty.92 It seems that the and the Orient also made him a preferable figure in University Council was in a hurry just as they were the Baltic context. On the other hand J. Strzygowski when they contacted O. Waldhauer. Perhaps some was also the precursor of object-oriented research pressure was exerted from the Ministry to make a and writing of art history. This approach was very decision about the chair otherwise it would have important when dealing with those objects of rese- been abolished. This was to happen in 1926 – two arch accompanied by little or no relevant textual years after H. Kjellin had left Tartu.93 evidence. This was exactly the case with the early history of Nordic and Baltic countries. The object- OUTCOMES AND IMPLICATIONS oriented approach also meant a convergence of art history, archaeology, heritage protection and resto- When the founders of the National University ration from which the research of art history greatly ALIJOS, METODOLOGIJOS of Tartu have foreseen a chair for “aesthetics and profited. It is in this context that the close connection general art history” they were first of all following between Nordic archaeology and art history should the model of the university structure in Scandina- be stressed. As I revealed in my article the informa- via. They were applying an ideologically acceptable tion about the election was passed on to J. Strzy- choice. The fact that the Scandinavian model itself gowsky through the Finnish archaeologists. The two had been inspired by the German, did not have very influential figures in Swedish art history at the significance for them initially. same period – Johnny Roosval and Sigurd Curman

E: RAIDA, PERSON E: RAIDA, They wanted to create a national university, but they – were also in close contact with J. Strzygowski. did not want an academia of national dilettantes. Helge Kjellin represents the first generation of Swe- When they had an application of a mediocre Esto- dish art historians which was educated at the time nian lecturer at their disposal they did not hesitate when significant changes were happening in the to neglect it and turn to the best foreign professors study and teaching of art history. It was very much in of the discipline. The reality was that the discipline accordance with the ideas of Strzygowsky when the of art history had a German tradition and the best researchers of Swedish art history started to build candidates for the professorship could only be found up their discourse on archaeological and architec- in Germany. Yet it is significant that they eventually tural archaeological material. The idea of the Nordic chose J. Strzygowski as professor and it was seemin- countries as being “special” in the history of Europe gly only by accident that the professor who started was added to this. This was also the starting point working in Tartu – Tor Helge Kjellin – came from for J. Roosvals Nordic-Baltic arte-dominium. In the Sweden. 19th century art history in Sweden has been clo- The explanation for electing J. Strzygowski as pro- sely connected with literary studies and became an fessor might be following. J. Strzygowsky was an independent discipline during H. Kjellin’s university important though controversial figure of Western studies.96 H. Kjellin took part in the Sveriges kyrkor art historical discourse starting from the fin de project first as a student and then as a head of a rese- siècle until the end of the Second World War. After arch group. Later he attempted to launch a similar the war he was generally excluded from the histories project with comparable ambitiousness on a smaller

MENOTYRA VIDURIO IR RYTŲ EUROPOS ŠALYS EUROPOS MENOTYRA IR RYTŲ VIDURIO of art-historical thought, because of his sympathy to scale in Estonia. Considering the changes in Sweden perhaps it is not study of medieval architecture and art was only the so surprising that the name of the chair in Tartu was first step to promote a new discourse on Estonian abbreviated from “aesthetics and general art his- art. It was his Die Kirche zu Karja98 and Die Hallen- tory” to “art history” sometime between 1919 and kirchen Estlands und Gotland99 published in Sweden 1922. M. Eller suggested that it happened before in 1928 that was met with a sharp critical reaction H. Kjellin became professor, but I would suggest it in Estonia, especially from the Baltic German art 175 was after [my italics]. The changed name approves historian O. Freymuth. The debate was a part of a the above mentioned changes that were “imported” more general dispute between German and Scandi- to Estonia by Kjellin. Whereas the art and architec- navian art historians in the 1920s–30s.100 H. Kjellin ART HISTORY IN THE MIDDLE AND EAST EUR ture of the Middle Ages in Sweden was “national” it was an acolyte of Johnny Roosval – the inventor was “Baltic German” in Estonia. As Kjellin was not of the notion of the Nordic-Baltic art region that to abandon his preferred field of study it was preci- according to him had existed in the Baltic Sea area sely this reason, which promoted a discussion about in the Middle Ages. In Roosval’s system the island of the definition of Estonian art. Gotland was crucial. It is not surprising that it was the art connections between Gotland and Saaremaa At the same time the strong divide between Baltic that H. Kjellin was most keen to prove disregarding and Estonian art was also the reason why it was all other artistic influences. Where the Baltic Ger- necessary to study the history of Estonian art as it man art historians saw influences from the German was understood then – the art production of Esto- motherland, he detected a total dominance of the nian national artists. One of the reasons for starting “masters” from Gotland. The focus was drawn from the election process was a need to meet the strong one extreme to the other and Estonian art historians interest of the students who wanted to have lectures were forced to redefine Estonian art to embrace Bal- on contemporary art. Indeed the art life at that time tic art. In 1932, in his History of Estonian Art Alfred in Tartu as well as in the rest of Estonia was quite Waga proposed a territorial definition suggesting intense. Many Estonian artists had a direct contact that Estonian art should include “everything born with the latest developments in contemporary art, throughout time in the field of art in our home- but they were also the generation who had actively land.”101 It was to remain a cry in the wilderness and PERSONALITIES,OPE: PROCESS, METHODOLOGIES contributed to the nation-building process. Many would only be applied after the Second World War. of them had also spent shorter or longer periods residing and working in Scandinavia. The Faculty of Philosophy wanted to satisfy these interests and I suppose they hoped that the elected professor would facilitate that. Notes

When H. Kjellin came to Tartu in January 1922 he 1 The term “academic art history” refers to the origins held a lecture on the art connections of Estonian of art history as Kunstwissenschaft and has been used by medieval art with Scandinavia. He started to collect Anglo-American scholars (see also footnote 28). 2 Anderson, Benedict. Imagined communities: reflec- materials on the same subject and founded the Ins- tions on the origin and spread of nationalism. London, titute of Art History for this purpose. His choice on New York: Verso, 2006. 3 Preziosi, Donald. Introduction to Part III. Institution- concentrating on medieval church art ( = Baltic Art) alizing art history. In: The Early Years of Art History in the might have been one of the reasons for developing United States / Ed. C. H. Smyth & P. M. Lukehart. Princ- the confrontation with the University Council. The eton, New Jersey: Princeton University, 1993, p. 147. 4 Holly, Michael Ann. Panofsky and the Foundations relations between him and the Council were tense of Art History. Ithaca (N.Y.), London: Cornell University from the very beginning.97 Press, 1984, p. 21. 5 Vorwort der Herausgeber. In: Die Kunsthistoriogra- I suggest that the activities of H. Kjellin helped to phien in Ostmitteleuropa und der nationale Diskurs / Hrgs Born, Robert. Janatková, Alena. Labuda, Adam S. Berlin: bring about a change in the definition of Estonian Gebr. Mann Verlag, 2004, s. 9. art. The creation of the research collection for the 6 The first to write about art historians at the University of Tartu in 1919–1940 was Mirjam Peil (Peil, Mirjam. future. In: Baltic Journal of Art History. 2009, Autumn, p. Kunstiteadlased Tartu Ülikoolis 1919–1940 [Art Histo- 153–178). rians at the University of Tartu 1919–1940]. In: Tartu 12 Bome, Helen. Study, Teaching and Popularization of Ülikooli ajaloo küsimusi VII, 1979, p. 118–126. Estonian Medieval Art: Past, present and future. Tallinn 7 Eller, Mart. Kunstiajaloo uurimine [Art History University, History Institute, supervisor Prof. Kersti Research]. In: Leninlik etapp Eesti ajalooteaduses. Histo- Markus. Kangor, Eero. Researching and teaching art his- riograafilisi artikleid [Leninian Period in Estonian His- tory at the University of Tartu in the 1920–30s. Estonian 176 torical Research] / Compiled and edited by Endel Laul, Academy of Arts, supervisor Prof. Krista Kodres. Jõekalda, Tallinn: Eesti Raamat, 1970, p. 252–282. Kristina. Baltic-German and Estonian art history writing 8 Karling, Sten. Kunsthistorische Forschung in Estland. in the 19th and early 20th century: conflicting national- Eine Übersicht. In: Beiträge zur Geschichte der baltischen ist intentions. Estonian Academy of Arts, supervisor Prof. Kunst / Böckler, Erich (Hrsg.). Giessen: Wilhelm Schmitz Krista Kodres. Verlag, 1988, s. 13–28. 13 Eller, Mart. Tartu Ülikooli osast eesti kunstiteaduses 9 Eesti kunstiteadus ja –kriitika 20. sajandil. Konverents 1920-1930-ndail aastail I [The Role of the University of prof Voldemar Vaga 100. sünniaastapäeva tähistamiseks Tartu in Estonian Art History in the 1920–1930s, Part Tallinnas, 21-22. okt. 1999 [Estonian Art History and Art I]. In: Kunstiteadus. Kunstikriitika, 1983, Nr. 5, p. 60–75 Criticism in the 20th Century. The Conference in Celebra- (typically to the times the article was written in 1980, but tion of the 100th Birthday of Professor Voldemar Vaga in got published only 3 years later). Tallinn, 21st-22nd October 1999]. Tallinn: Eesti Kun- 14 M. Eller mentions that the name of the chair was stiakadeemia toimetised, 2002, Nr. 9. Sten Karling and Bal- shortened to “art history” the same year, but I suggest that tic art history / Editors Krista Kodres, Juhan Maiste, Vappu the change was made by H. Kjellin in 1922. Vabar. Tallinn: Teaduste Akadeemia Kirjastus, 1999. Art 15 This was presumably a misreading and/or misprint of and the church: religious art and architecture in the Baltic “Waldhauer”. Region in the 13th-18th centuries: conference dedicated to 16 Eller, op. cit., 1983, p. 64. the centenary of Sten I. Karling in Tallinn, Sept. 6-9, 2006 17 Lars Berggren. Josef Strzygowski – en främmande fågel / Edited by Krista Kodres, Merike Kurisoo. Tallinn: Eesti i Finland [Josef Strzygowski – a Fleeting Stranger in Fin- ALIJOS, METODOLOGIJOS Kunstiakadeemia, 2008. Kuhu lähed, Eesti kunstiteadus? land]. In: The Shaping of Art History in Finland. Kunst- Pühendatud Armin Tuulse 100. sünniaastapäevale. [Quo historiska studier 36 / Ed. Renja Suominen-Kokkonen, vadis, Estonian Art History? Contributed to the 100th Birt- Helsinki: Taidehistorian Seura, 2007, p. 84–98. day of Armin Tuulse] – In: Kunstiteaduslikke Uurimusi, 18 The involvement of these art historians with Estonian 2008/3(17). Muinsuskaitse ja restaureerimise ajaloost: academic art history has not been mentioned before by pühendatud Villem Raami 100. sünniaastapäevale [About earlier researchers on this topic. the History of Heritage Protection and Restauration: Con- 19 The first to write about art historians at the Univer- tributed to the 100th Birtday of Villem Raam]. In: Kun- sity of Tartu in 1919–1940 was Mirjam Peil (Peil, Mirjam. stiteaduslikke Uurimusi, 2009/3-4(18). Villem Raam 100. Kunstiteadlased Tartu Ülikoolis 1919–1940 [Art Historians In: Baltic Journal of Art History. 2010, Spring. It is symp- at the University of Tartu 1919–1940]. In: Tartu Ülikooli

E: RAIDA, PERSON E: RAIDA, tomatic that the jubilee of the first professor of art history ajaloo küsimusi VII, 1979, p. 118–126). at the University of Tartu – Helge Kjellin (1885–1984) has 20 Keevallik, Juta. Kunstikogumine Eestis 19. sajandil. never been celebrated. Kunstiteadus Eestis 19. sajandil [Art Collecting in Estonia 10 Kodres, Krista. “Lünka täites”: katse analüüsida Sten in the 19th Century. Art History in Estonia in the 19th Cen- Karlingi kunstiteoreetilisi vaateid [“Filling the Blank”: tury]. Tallinn: Eesti Teaduste Akadeemia Ajaloo Instituut, an Attempt to Analyze the Art Theoretical Views of Sten 1993. Karling]. In: Kuhu lähed, Eesti kunstiteadus? Pühendatud 21 Brush, Kathryn. The Shaping of Art History. Wilhelm Armin Tuulse 100. sünniaastapäevale. Kunstiteaduslikke Vöge, Adolph Goldschmidt, and the Study of Medieval Art. Uurimusi, 2008/3(17). p. 42–59. Kodres, Krista. Freedom Cambridge: Cambridge University Press, 1996. from theory? An attempt to analyse Sten Karling’s views on 22 Preziosi, op. cit., 1993, p. 147. (Estonian) art history. In: Journal of Art Historiography. 23 In fact the history of Swedish rule in Estonia became 2010/3, p. 1–17. Kodres, Krista. Our own Estonian art his- an important topic after Estonia declared independ- tory: Changing Geographies of Art-Historical Narrative. In: ence in 1918. It was relevant in the rhetoric of commu- Kunstiteaduslikke Uurimusi. 2010/3-4(19), p. 11–25. nication between Estonia and Sweden in the 1920s and 11 H. Kjellin’s activities in Estonia have not been thor- 1930s when close economic and cultural relations were oughly researched until 2005/6, when Ragnar Nurk developed. It was also in this connection that the Swed- started the research for his bachelor thesis on heritage ish professor candidates were willing to come to Tartu as protection in Estonian Republic in the 1920s–30s (an arti- there was a common history to be researched. So it is not cle was published in 2008: Nurk, Ragnar. Muinsuskaitsest surprising that when S. Karling became professor in 1933, Eesti Vabariigis 1920–1930. aastatel Tallinna keskaegsete his first article was about the history of the buildings of linnakindlustuste näitel [On the History of Heritage Protec- the Swedish Academia Gustaviana (Karling, Sten. Tartu tion in the Republic of Estonia in the 1920s–1930s on the universitets byggnadhistoria under den svenska tiden [The Example of the Middle Age Town Fortifications of Tallinn]. Building History of the University Of Tartu During The In: Vana Tallinn. 2008, Nr. XIX (XXIII), p. 78–116) and I Swedish Times]. In: Svio-Estonica, 1934/1, s. 29–67). started to work on my master’s thesis (an article was pub- 24 Universitas Tartuensis 1632–2007 / Toimetajad Too- lished in 2009: Kangor, Eero. Art Historical Photograph mas Hiio ja professor Helmut Piirimäe. Tartu: Tartu Collection of the University of Tartu : from the past to the Ülikool, 2007, p. 15–105. 25 MENOTYRA VIDURIO IR RYTŲ EUROPOS ŠALYS EUROPOS MENOTYRA IR RYTŲ VIDURIO Keevallik, Juta. op. cit., 1993, p. 92. 26 In fact it was the Russian czar Paul I that first launched Tartu 1918–1929]. Tartu, 1929, p. 12–13. See also: Hiio, the idea to establish a university in the Baltic Provinces Piirimäe, op. cit., 2007, p. 289. so that the Baltic German educated youth would not be 47 E. g. in France the German art history writing was contaminated by the ideas of French revolution. (Hiio, generally neglected until the 1930s when Henri Focillon Piirimäe, op. cit., p 110). made use of the methodology of German scholars. (http:// 27 Mansfield, Elizabeth.Art history and modernism. In: www.dictionaryofarthistorians.org/focillonh.htm [visited Art History and its Institutions: foundation of a discipline 27 01 2011]) / Ed. Elizabeth Mansfield. London, New York: Routledge, 48 Latour, Bruno. Reassembling the social : an introduc- 177 2002, p. 11–18. See also: Belting, Hans. Art History after tion to actor-network-theory. Oxford, New York: Oxford Modernism. Chicago: The University of Chicago Press, University Press, 2007. 2003. 49 Põld, op.cit., 1929, p. 50. See also: Väljaläinud kirjade

28 Brush, Kathryn. op. cit., 1996, p. 19. raamat [The Books of Outgoing Mail]. EHA. F. 2100, ap. 5, ART HISTORY IN THE MIDDLE AND EAST EUR 29 Mansfield, Elizabeth C.Introduction: making art his- b. 959, l. 11. tory a profession. In: Making art history: a changing disci- 50 Osvald Sirén (1879–1966) was a Finnish-born Swed- pline and its institutions / Ed. Elizabeth C. Mansfield Lon- ish art historian, a student of J. J. Tikkanen, who defended don, New York: Routledge, 2007, p. 3–7. Dilly, Heinrich. his doctoral dissertation at the University of Stockholm Kunstgeschichte als Institution: Studien zur Geschichte einer in 1900. After that he held the J. A. Berg Professorship of Disziplin. Frankfurt am Main: Suhrkamp, 1979. Michael the History and Theory of Art there during 1906–1923. Ann Holly has suggested a later emergence for modern art (Vakkari, Johanna. J. J. Tikkanen and the Teaching of Art history during 1885–1899 when systematic principles of History. In: The Shaping of Art History in Finland. Kun- art historical investigation were being elaborated (Holly, sthistoriska studier 36 / Ed. Renja Suominen-Kokkonen, op. cit., p. 21). Helsinki: Taidehistorian Seura, 2007, p. 70.). 30 Brush, op. cit., 1996, p. 1. Mansfield, op. cit., 2002, p. 11. 51 Ewert Henrik Gabriel Wrangel (1863–1940) was a 31 Born, Janatková, Labuda, op. cit., 2004, s. 11. Swedish professor of literature and art history. His schol- 32 Kodres, Krista. Our own Estonian art history: Chang- arly contribution can be classified under theory and his- ing geographies of art-historical narrative. In: Kunstitead- tory of aesthetics and literature and cultural history. uslikke Uurimusi. 2010/3–4(19), p. 22. 52 Väljaläinud kirjade raamat [The Books of Outgoing 33 The territory inhabited by Estonians was not united Mail]. EHA. F. 2100, ap. 5, b. 959, l. 11. until 1917. Before this the area of current South Estonia 53 This probably meant the duty to arrange the depart- together with Northern Latvia formed the Livonian pro- ment of art history at the Estonian National Museum. vince. 54 Suominen-Kokkonen, op. cit., 2007, p. 232–235. 34 Neumann, Wilhelm. Die Erhaltung unserer Denkmä- 55 Kirjavahetus õppejõuks kandideerijatega [Corre- ler. In: Baltische Monatsschrift, Bd. 35, 1888, s. 354. (Cited spondence with the Candidates for Academic Posts]. EHA. in Keevallik, op. cit., 1993, p. 168.) F. 2100, ap. 5, b. 257, l. 40. 35 Keevallik, op. cit., 1993, p 169. 56 Okkonen, Onni. Melozzo da Forli und seine Schule. 36 Hiio, Toomas. Tartu Ülikooli venestamine [Russifica- Helsinki: Suomalaisen Kirjallisuuden Seuran Kirjapainon tion of the University of Tartu]. In: Universitas Tartuensis Osakeyhtio, 1910. PERSONALITIES,OPE: PROCESS, METHODOLOGIES 1632–2007 / Toimetajad Toomas Hiio ja professor Helmut 57 Kirjavahetus õppejõuks kandideerijatega [Corre- Piirimäe. Tartu: Tartu Ülikool, 2007, p. 131–135. spondence with the Candidates for Academic Posts]. EHA. 37 Keevallik, op. cit., 1993, p. 169. F. 2100, ap. 5, b. 257, l. 40. 38 In: http://mirimen.com/co_beo/Mal-mberg-Vladimir- 58 Brush, op. cit., 1996, p. 98. Konstantinovich-227B.html [visited 22 01 2011]. 59 Kirjavahetus õppejõuks kandideerijatega [Correspond- 39 Loodus, Rein. Kunstielust Eestis aastail 1918–1944 ence with the Candidates for Academic Posts]. EHA. F. [Art Life in Estonia in 1918–1944]. Tallinn: Teaduste Aka- 2100, ap. 5, b. 257, l. 42. deemia kirjastus, 1999, p. 9. 60 Gerstenberg, Kurt. Das Wesen der deutschen Sonder- 40 Eller, op. cit., 1983, p. 61. gotik. München: Delphin-Verlag, 1913. 41 Ibid. 61 Gerstenberg, Kurt. Claude Lorrain und die Typen der 42 Ibid, p. 64. idealen Landschaftsmalerei. Berlin: Eberling, 1919. 43 Certainly the context is even more complex as 62 His 1914 dissertation Dürers Kunsttheorie: vornehm- Suzanne L. Marchand has shown in her article on the art lich in ihrem Verhaltnis zur Kunsttheorie der Italiener was historian J. Strzygowski (Marchand, Suzanne L. The Rhet- published the following year in Berlin as Die Theoretische oric of Artifacts and the Decline of Classical Humanism: Kunstlehre Albrecht Dürers. the Case of Josef Strzygowski. In: History and Theory, Vol. 63 I was not able to clarify the exact dates of birth and 33, No. 4, Theme Issue 33:Proof and Persuasion in His- death. tory (Dec. 1994), p. 106–130). I would like to thank Kaire 64 Kirjavahetus õppejõuks kandideerijatega [Corre- Tooming for this reference. spondence with the Candidates for Academic Posts]. EHA. 44 Väljaläinud kirjade raamat [The Books of Outgoing F. 2100, ap. 5, b. 257, l. 44. Mail]. Estonian Historical Archives (EHA). F. 2100, ap. 5, 65 Lissok, Michael. Ein kurzer Abriss der einhundertjäh- b. 959, l. 3. rigen Geschichte des Lehrstuhls für Kunstgeschichte an der 45 The “nationality” of the university meant most impor- Ernst-Moritz-Arndt-Universität Greifswald. Greifswald: tantly that the lectures and study should be carried out in Caspar-David-Friedrich-Institut, 2007, s. 1. Estonian language. 66 His most renowned work Der Lebensraum des Küns- 46 Põld, Peeter. Tartu Ülikool 1918–1929 [University of tlers in der Florentinischen Renaissance (Leipzig: E. A. See- man, 1938) was also translated into English in 1981 (The World of the Florentine Renaissance Artists: Projects and Summen, die in Tartu gezahlt werden, auch zum Leben Patrons, Workshop and Art Market. Princeton: Princeton mit Familie ausreichen. Ich höre, dass die estnische Mark University Press, 1981). tief unter finnischen steht. Sie schreiben, die Ausländer 67 Kjellin, Helge. EHA. F. 2100, ap. 2, b. 353, l. 2-22. bekommen dazu 10 £ monatlich? Aber reicht es selbst 68 Kirjavahetus õppejõuks kandideerijatega [Corre- dann? Wenn man Bücher und Photographien kaufen und spondence with the Candidates for Academic Posts]. EHA. reisen soll. Ich fürchte am meisten die Kosten der Übe- F. 2100, ap. 5, b. 257, l. 53. siedlung und die Wohnungsnot, die wohl auch in Tartu 178 69 Eugen Pridik was brother of Heinrich Alexander herschen wird. Ist für diese wichtigsten Lebensfragen Pridik who was the professor of classical archaeology at irgendwie versorgt? Verzeihen Sie diese Voranstellung the University of Tartu. der materiellen Fragen, die sind heute leider wirklich die 70 Utter, Õie. Tartu Ülikooli kunstivarade ajaloost [The Hauptsache, wenn man wie ich mit Kinder behaftet ist.” History of the Art Assets of the University of Tartu]. In: (Kirjavahetus õppejõuks kandideerijatega [Correspondence Tartu Ülikooli ajaloo küsimusi. I. 1975, p. 71–78. with the Candidates for Academic Posts]. EHA. F. 2100, ap. 71 Keevallik, Juta. op. cit., 1993, p. 42–44. 5, b. 257, l.) 72 Keevallik, Juta. op. cit., 1993, p. 17–24. 86 Marchand, op. cit., p. 126. 73 Brush, op. cit., 1996, p. 19, Mansfield, op. cit., 2002, p. 87 The election was held on 28th April 1921. J. Strzy- 12. gowski received 16, H. Kjellin 14, Fr. Knapp 12, K. Ger- 74 Väljaläinud kirjade raamat [The Books of Outgoing stenberg 5 and O. Waldhauer 1 vote in the first round. In Mail]. EHA. F. 2100, ap. 5, b. 959, l. 14. the second J. Strzygowski got 15, H. Kjellin 11 and Knapp 75 A letter has been sent on the 16th of December where 6 votes. (Kjellin, Helge. EHA. F. 2100, ap. 2, b. 353, l. 23). Fr. Knapp was asked to send his curriculum vitae and 88 Kirjavahetus õppejõuks kandideerijatega [Correspond- publications. (Väljaläinud kirjade raamat [The Books of ence with the Candidates for Academic Posts]. EHA. F. Outgoing Mail]. EHA. F. 2100, ap. 5, b. 959, l. 17.) 2100, ap. 5, b. 257, l. 91. 76 Kirjavahetus õppejõuks kandideerijatega [Corre- 89 Strzygovski, Jos. EHA. F. 2100, ap. 2, b. 1142, l. 4. spondence with the Candidates for Academic Posts]. EHA. 90 Ibid, l. 4. Yet J. Strzygowski visited Tartu in March F. 2100, ap. 5, b. 257, l. 64. 1925, when he held public lectures at the University of ALIJOS, METODOLOGIJOS 77 Kirjavahetus õppejõuks kandideerijatega [Corre- Tartu. (Die kunstgeschichtlichen Schüler an der Univer- spondence with the Candidates for Academic Posts]. EHA. sität zu Dorpat. Riksarkivet in Stockholm, Sweden. Helge F. 2100, ap. 5, b. 257, l. 63. Kjellins baltiska sammling. Vol. 2.: Uppgifter om stude- 78 “Jedoch müsste ich auch wissen wie es mit dem Lehr- rande i konsthistoria [Information on the Art History Stu- mitteln für Kunstgeschichte dort steht, ob einige Bestände dents]). in Kunstgeschichtliche Literatur und vor allem ob Licht- 91 Kjellin, Tor Helge. EHA. F. 2100, ap. 2b, b. 35, l. 9. bilder-Diapositive für der Vorführung von Bildern ins 92 Kjellin, Helge. EHA. F. 2100, ap. 2, b. 353, l. 29. Vorlesungen vorhanden sind oder Mittel zur Anschaffung 93 Eller, op. cit., 1983, p. 65 von solchen mir in ausreichende Maner von Ministerium 94 Marchand, op. cit., p. 121. zugerechnet wird könnten. Hat überhaupt eine Kunstge- 95 Elsner, Jás. The Birth of Late Antiquity: Riegl and Strzy-

E: RAIDA, PERSON E: RAIDA, schichtliche Professur schon bisher in Dorpat bestanden? gowski in 1901. In: Art History, Vol. 25, No. 3, June 2002, Oder müsste ein Lehrmittelapparat völlig neu angelegt p. 361. werden?” (Kirjavahetus õppejõuks kandideerijatega [Cor- 96 Petterson, Hans. Konsthistoria som universitetsdisci- respondence with the Candidates for Academic Posts]. plin. [Art History as an Academic Discipline]. In: Johans- EHA. F. 2100, ap. 5, b. 257, l. 63.) son, Britt-Inger. Petterson, Hans. 8 kapitel om konsthisto- 79 “In alter Zeit, als Löschcke u. andere hier lehrten, war riens historia i Sverige. Raster Förlag, 1999, p. 69. Kunstgeschichte in Dorpat nicht mehr wie ein Anhäng- 97 Kangor, op. cit., 2009, p. 158. sel der Katheders für klassische Philologie.” (Kirjavahe- 98 Kjellin, Helge. Die Kirche zu Karja auf Oesel und ihre tus õppejõuks kandideerijatega [Correspondence with Beziehungen zu Gotland. Lund: C. W. K. Gleerup, 1928. the Candidates for Academic Posts]. EHA. F. 2100, ap. 5, (270 pages and 68 photographic plates). b. 257, l. 66). 99 Kjellin, Helge. Die Hallenkirchen Estlands und Got- 80 http://www.ub.uni-kiel.de/ausstellungen/haseloff/ land. Lund: C. W. K. Gleerup, 1928. (38 pages, 16 plates). index.html [visited 27 01 2011]. 100 Markus, Kersti. Kultuuriregiooni probleem eesti 81 Kangor, op. cit., 2009. vanema kunsti uurimisel. Rootsi ja Saksa kunstiajaloolaste 82 Berggren, op. cit., 2007, p. 88. seisukohtade erinevusest 1920.–1940. aastatel [The Prob- 83 Letter from J. Strzygowski to A. M. Tallgren on 16th lem of Cultural Regions in the Research of Older Estonian April 1921 from Åbo. (Kirjavahetus õppejõuks kandideeri- Art. The Different Standpoints of Swedish and German Art jatega [Correspondence with the Candidates for Academic Historians in the 1920s–1940s], Tallinn: Eesti Teaduste Posts]. EHA. F. 2100, ap. 5, b. 257, l.) Akadeemia Toimetised, 1993, p. 301. 84 A. M. Tallgren was elected professor in May 1920 101 Waga, Alfred. Eesti kunsti ajalugu I. Keskaeg [History (Väljaläinud kirjade raamat [The Books of Outgoing of Estonian Art I. Middle Ages]. Tartu: Eesti Kirjanduse Mail]. EHA. F. 2100, ap. 5, b. 959, l. 10). Selts, 1932, p. 5. See also Kodres, Our own Estonian art 85 “Mit tausend Freuden würde ich dem Rufe folge lei- history..., op. cit., 2010. sten, wenn [...] ich mich versichert halten könnte dass die MENOTYRA VIDURIO IR RYTŲ EUROPOS ŠALYS EUROPOS MENOTYRA IR RYTŲ VIDURIO Eero KANGOR Estijos dailės akademija, Talinas

DĖSTYTOJŲ PAIEŠKA IR ESTŲ AKADEMINĖS MENO ISTORIJOS APIBRĖŽTYS 179 Reikšminiai žodžiai: Estijos meno istoriografija, akademinė meno istorija, tautiškumo formavimas, Tor Helge Kjellin, Josef Strzygowski, Johnny Roosval, Adolph Goldschmidt, Heinrich Wölfflin. ART HISTORY IN THE MIDDLE AND EAST EUR

Santrauka

1920–30 metais Estijoje meno istorijos (menotyros) mokslo pagrindus padėjo Tartu Universiteto meno istorijos dėstytojai. Būtent ši mokslo kryptis atliko svarbų vaidmenį formuojantis nacionaliniam diskursui visame Vakarų pasaulyje. Priimta manyti, kad vokiečių mokslininkai buvo įtakingiausi akademinės meno istorijos kūrėjai. Savo tyrimuose jie išplėtojo meno istorijos metodologijas, kurios buvo perimtos, pritaikytos ir daugiau ar mažiau modi- fikuotos kai kuriose kitose šalyse. Universitetai tapo meno istorijos žinių kaupimo, skleidimo ir apytakos centrais. Estijos nacionalinis universitetas taip pat tapo šios sistemos dalimi, nepaisant įvairių nesklandumų. Estijos universiteto įkūrėjai norėjo sukurti universitas, į kurį būtų įtrauktas ir meno istorijos mokymas ir siekė užtikrinti šios krypties tęstinumą. Kadangi stigo vietinių specialistų, buvo nuspręsta dėstytojų ieškoti užsienyje, – ypač pagelbėjo garsiausių Europos meno istorikų – H. Wölfflino ir A. ldschmidtoGo – patarimai. Tad tarp pakviestų kandida- tų buvo jau žinomas meno istorikas J. Strzygowski‘s bei vėliau išgarsėję – E. Panofsky`s, M. Wackernagelis ir O. Okkonenas. Filosofijos fakulteto prioritetas buvo suteikti visuotinės meno istorijos žinias, tačiau buvo svarbu, jog dėstytojai domėtųsi ir modernaus meno naujovėmis, kadangi modernizmas tuometinėje Estijos visuomenėje jau buvo gyvybingas. Todėl O. Waldhauer`io iš Sankt Peterburgo Ermitažo, klasikinių pažiūrų archeologo, kandidatūra nebuvo priimta. Buvo sukliudyta galimybei plėtoti šią discipliną ir jos garbingas tradicijas Tartu, kai į Voronežą buvo išgabentos kolekcijos ir buvo neįmanoma jų atgauti. Tartu kaip ir kituose Centrinės Europos universitetuose trūko

šios disciplinos dėstymui reikalingų priemonių. Nedidelį dėstančio personalo skaičių galėjo lemti tiek pragmatinės, PERSONALITIES,OPE: PROCESS, METHODOLOGIES tiek ir asmeninės priežastys. Žinoma, kandidatams buvo labai svarbu, kad būdami Estijoje jie galėtų plėtoti savo mokslinius interesus, tačiau vietinės meno kolekcijos nebuvo tam labai tinkamos. Todėl neturėtų stebinti tai, kad Estijos viduramžių architektūra pasirodė pakankamai vertinga Helge Kjellinui, kuris tapo meno istorijos dėstytoju Tartu universitete. Tačiau Estijos viduramžių architektūros palikimo problemas perprasti ir išspręsti užtruko visą tarpukario periodą. Tai buvo Baltijos germanų ir iš dalies baltų, o ne estų meno istorijos palikimas, taip pat ženklinęs 700 metų vergovę ir Baltijos germanų dominavą Estijoje. Ši H. Kjellino mokslinė ir pedagoginė veikla veikiausiai at- vedė iki Estijos meno ir meno istorijos laipsniškos integracijos į Skandinavijos meną ir meno istoriją ir kartu įgalino naujai apibrėžti Estijos menotyrą.

Gauta 2011 02 22 Parengta spaudai 2011 05 30