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Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era. -
Wiiralti Kataloog 0.Pdf
Eduard Wiiralti galerii Eesti Rahvusraamatukogus The Eduard Wiiralt Gallery in the National Library of Estonia Tallinn 2015 Koostaja / Compile by Mai Levin Teksti autor / Text by Mai Levin Kujundaja / Designed by Tuuli Aule Toimetaja / Edited by Inna Saaret Tõlkija / Translated by Refiner Translations OÜ Endel Kõks. Eduard Wiiralti portree. Foto / Photograph: Teet Malsroos Esikaanel / On the front cover Tagakaanel / On the back cover Kataloogis esitatud teosed on digiteeritud Eesti Rahvusraamatukogu digiteerimiskeskuses. Works published in the Catalogue have been digitized by the National Library of Estonia. ISBN Autoriõigus / Copyright: Eesti Rahvusraamatukogu, 2015 National Library of Estonia, 2015 Eesti Autoriteühing, 2015 Estonian Authors’ Society, 2015 Trükkinud / Printed by Saateks FOREWORd Kristus pidulaua ääres, palvetava naise even started discussing this work as a pre- Mai Levin Mai Levin vari jt.), ent eelkõige haarab stseeni monition of war. Cabaret (initially titled dünaamilisus, ennastunustava naudingu The Dance of Life) was completed in 1931 1996. a. septembris avati Eesti Rahvus- In September 1996, the National Library ja iharuse atmosfäär. in Strasbourg, executed in the same tech- raamatukogus Eduard Wiiralti galerii – of Estonia opened the Eduard Wiiralt Eduard Wiiralt (1898–1954) sündis nique as its twin Inferno. The leading motif suure eesti graafiku teoste alaline ekspo- Gallery in the building – an extensive dis- Peterburi kubermangus Tsarskoje Seloo of Cabaret is sensuousness, triumphing sitsioon. See sai võimalikuks tänu Harry play of the great Estonian graphic artist. kreisis Gubanitsa vallas Robidetsi mõisas over everything intellectual. Here we can Männili ja Henry Radevalli Tallinna linnale This was made possible thanks to dona- mõisateenijate pojana. 1909. a. naases also notice symbolic details (the sleeping tehtud kingitusele, mis sisaldas 62 tions by Harry Männil and Henry Radevall perekond Eestisse, kus kunstniku isa sai Christ at the table, the shadow of a pray- E. -
Claes-Göran Holmberg
fLaMMan claes-Göran holmberg Precursors swedish avant-garde groups were very late in founding their own magazines. in france and Germany, little magazines had been pub- lished continuously from the romantic era onwards. a magazine was an ideal platform for the consolidation of a new movement in its formative phase. it was a collective thrust at the heart of the enemy: the older generation, the academies, the traditionalists. By showing a united front (through programmatic declarations, manifestos, es- says etc.) you assured the public that you were to be reckoned with. almost every new artist group or current has tried to create a mag- azine to define and promote itself. the first swedish little magazine to embrace the symbolist and decadent movements of fin-de-siècle europe was Med pensel och penna (With paintbrush and pen, 1904-1905), published in Uppsala by the society of “Les quatres diables”, a group of young poets and students engaged in aestheticism and Baudelaire adulation. Mem- bers were the poet and student in slavic languages sigurd agrell (1881-1937), the student and later professor of art history harald Brising (1881-1918), the student of philosophy and later professor of psychology John Landquist (1881-1974), and the author sven Lidman (1882-1960); the poet sigfrid siwertz (1882-1970) also joined the group later. the magazine did not leave any great impact on swedish literature but it helped to spread the Jugend style of illu- stration, the contemporary love-hate relationship with the city and the celebration of the intoxicating powers of beauty and deca- dence. -
Collecting Art in the Turmoil of War: Lithuania in 1939–1944 Collecting Art in the Turmoil of War: Lithuania in 1939–1944
Art History & Criticism / Meno istorija ir kritika 16 ISSN 1822-4555 (Print), ISSN 1822-4547 (Online) https://doi.org/10.2478/mik-2020-0003 Giedrė JANKEVIČIŪTĖ Vilnius Academy of Arts, Vilnius, Lithuania Osvaldas DAUGELIS M. K. Čiurlionis National Museum of Art, Kaunas, Lithuania 35 COLLECTING ART IN THE TURMOIL OF WAR: LITHUANIA IN 1939–1944 COLLECTING ART IN THE TURMOIL OF WAR: LITHUANIA IN 1939–1944 IN LITHUANIA WAR: OF TURMOIL THE IN ART COLLECTING Summary. The article deals with the growth of the art collections of the Lithuanian national and municipal museums during WWII, a period traditionally seen as particularly unfavourable for cultural activities. During this period, the dynamics of Lithuanian museum art collections were maintained by two main sources. The first was caused by nationalist politics, or, more precisely, one of its priorities to support Lithuanian art by acquiring artworks from contemporaries. The exception to this strategy is the attention given to the multicultural art scene of Vilnius, partly Jewish, but especially Polish art, which led to the purchase of Polish artists’ works for the Vilnius Municipal Museum and the Vytautas the Great Museum of Culture in Kaunas, which had the status of a national art collection. The second important source was the nationalisation of private property during the Soviet occupation of 1940–1941. This process enabled the Lithuanian museums to enrich their collections with valuable objets d’art first of all, but also with paintings, sculptures and graphic prints. Due to the nationalisation of manor property, the collections of provincial museums, primarily Šiauliai Aušra and Samogitian Museum Alka in Telšiai, significantly increased. -
Estonian Art 1/2013 (32)
Estonian 1/2013Art 1 Evident in Advance: the maze of translations Merilin Talumaa, Marie Vellevoog 4 Evident in Advance, or lost (and gained) in translation(s)? Daniele Monticelli 7 Neeme Külm in abstract autarchic ambience Johannes Saar 9 Encyclopaedia of Erki Kasemets Andreas Trossek 12 Portrait of a woman in the post-socialist era (and some thoughts about nationalism) Jaana Kokko 15 An aristocrat’s desires are always pretty Eero Epner 18 Collecting that reassesses value at the 6th Tallinn Applied Art Triennial Ketli Tiitsar 20 Comments on The Art of Collecting Katarina Meister, Lylian Meister, Tiina Sarapu, Marit Ilison, Kaido Ole, Krista Leesi, Jaanus Samma 24 “Anu, you have Estonian eyes”: textile artist Anu Raud and the art of generalisation Elo-Hanna Seljamaa Insert: An Education Veronika Valk 27 Authentic deceleration – smart textiles at an exhibition Thomas Hollstein 29 Fear of architecture Karli Luik 31 When the EU grants are distributed, the muses are silent Piret Lindpere 34 Great expectations Eero Epner’s interview with Mart Laidmets 35 Thoughts on a road about roads Margit Mutso 39 The meaning of crossroads in Estonian folk belief Ülo Valk 42 Between the cult of speed and scenery Katrin Koov 44 The seer meets the maker Giuseppe Provenzano, Arne Maasik 47 The art of living Jan Kaus 49 Endel Kõks against the background of art-historical anti-fantasies Kädi Talvoja 52 Exhibitions Estonian Art is included All issues of Estonian Art are also available on the Internet: http://www.estinst.ee/eng/estonian-art-eng/ in Art and Architecture Complete (EBSCO). Front cover: Dénes Farkas. -
Schools of Estonian Graphic Art in Journalism in the 1930S
SCHOOLS OF ESTONIAN GRAPHIC ART IN JOURNALISM IN THE 1930S Merle Talvik Abstract: The basis for the development and spread of graphic design in the 1920s and 30s in Estonia was the rapid progress of the country’s economy and commerce. The rise in the number of publications led to a greater need for designers. The need for local staff arose in all fields of applied graphics. In the 1930s, graphic artists were trained at two professional art schools – the State Applied Art School (Riigi Kunsttööstuskool) in Tallinn and the Higher Art School (Kõrgem Kunstikool) Pallas in Tartu. The present article focuses on the analyses of the creative work of the graphic artists of both schools, trying to mark the differences and similarities. The State Applied Art School was established in 1914. In 1920, Günther Reindorff started working as a drawing teacher. His teaching methods and the distinguished style of his creative work became an inspiration for an entire generation of Estonian graphic designers. The three well-known students and followers of G. Reindorff were Johann Naha, Paul Luhtein and Hugo Lepik. The teachers and students of the State Applied Art School shaped greatly the appearance of magazines printed in Tallinn. Of modern art movements, art deco found most followers. National ornament became a source for creative work. Distinct composition and beautifully designed legible script are also the features that resulted from the systematic education of the State School of Applied Art. The curriculum of the Higher Art School Pallas, established in 1919, was based on western European art experience. -
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Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p. -
Laura Põld Education Selected Solo and Duo-Exhibitions
CV Laura Põld Artist, b. Oct. 25, 1984 in Tallinn, Estonia, currently living and working in Tallinn and Vienna. Education 2018 – 2019 The University of Art and Design Linz, Department of Sculptural Conceptions / Ceramics 2007 – 2010 University of Tartu, Department of Painting, MA 2003 – 2007 Estonian Academy of Arts, Department of Ceramics, BA Selected Solo and Duo-Exhibitions 2019 Laura Põld / Katrin Väli. Burrows. An Elegy, Gallery Hobusepea, Tallinn, Estonia (upcoming) 2018 Artists in Collections: Laura Põld x Kunda Cement Museum, Kunda, Estonia, curated by Maarin Ektermann and Mary Talvistu 2017 So small it could be mine, Atelierhaus Höherweg e. V., Düsseldorf, Germany 2016 Laura Põld / Johna Hansen. Serving Makes Place. Gallery Maebashi Works, Japan; Laura Põld / Johna Hansen. Awilda on a drift. Fireboat Tripitaka, Christianshavn, Copenhagen, Denmark; Hundreds of Illusions Charted as Land, Tartu Art Museum, Estonia, curated by Peeter Talvistu 2015 Road To Silver Mine, Gallery Chemin du Bonheur, Hokuto-shi, Yamanashi, Japan 2014 The Night Your Mate Danced Like A Tree, Gallery Hobusepea, Tallinn, Estonia; Laura Põld / Titania Seidl. a walk, a wall, some mountains, Showroom Galerie Hrobsky, Vienna, Austria; Ruins, Tartu Art House, Monumental gallery, Tartu, Estonia; To go to bed by day, Kunstkabinett Kunstverein Bayreuth, Germany; Castle, Gallery Vaal, Tallinn, Estonia 2013 Sigita Daugule / Laura Põld, Galerie Ulrike Hrobsky, Vienna, Austria; Attempts to stage a landscape, Tallinn Art Hall Gallery 2012 Carolina Cyclone, Showroom for Young Art, Galerie Ulrike Hrobsky, Vienna, Austria 2011 Lost & Found, Tallinn City Gallery, Estonia 2010 Conversations with the Curtain, Tartu Art House, Estonia; Adrijana Gvozdenovič / Laura Põld, Hope You Dance, bm:ukk exhibition space, Vienna, Austria Selected Group Exhibitions 2019 Fiskars Village Art & Design Biennale, exhibition “Beings with”, curated by Jenni Nurmenniemi, Fiskars, Finland 2018 Ascending from the Liquid Horizon, Le Lieu Unique, Nantes, France, curator Kati Ilves; How to: Live. -
Utvalda ”Mästerverk” Då Och Nu EN STUDIE AV TVÅ KONSTUTSTÄLLNINGAR
Utvalda ”Mästerverk” då och nu EN STUDIE AV TVÅ KONSTUTSTÄLLNINGAR Författare: Carina Henriksson© Magisteruppsats i konstvetenskap Vårterminen 2016 30 hp Handledare: Johan Eriksson 15 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Carina Henriksson Titel och undertitel: Utvalda ”Mästerverk” då och nu En studie av två konstutställningar Engelsk titel: Chosen “Highlights” then and now A study of two exhibitions Handledare Johan Eriksson Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2016 The chosen exihibitions in this study are Highlights. Famous and forgotten Art Treasures from Nationalmuseum from 2014 and the earlier one from 1941 My best artwork which is chosen artworks from private collectors in Stockholm. It is a compare of the two exhibitions about artists and their artworks. Even a discussion of what a artwork is if it is called master- peice and the importance of a curator at the museum has in the situation of organize an ex- hibition. Besides that the study discuss two private collections in the first decade of 1900. Innehållsförteckning 1. Inledning................................................................................................................................... 1 1.1 Bakgrund ......................................................................................................................... 1 1.2 Syfte och frågeställning ............................................................................................... 1 1.3 Avgränsningar................................................................................................................ -
100 År Av Svensk Modernism
Porto B Betalt Les Ballets Suedois dans L’Art Contemporain FAHLNAES Newsletter Den Svenska Baletten med dess skapare och drivkraft Rolf de Maré verkade inom en period då svensk och fransk konst och kultur sjuder av inspiration och vitalitet. Där skaparkraften inte har några gränser Höstutställning Nr.5 Hösten 2009 och där framgångarna skall komma att avlösa varandra genom ett fruktbart samarbete mellan några av avantgardets främsta företrädare inom måleri, musik och dans. Här förenas konstarterna som fullkom- 100 år av svensk modernism ligt exploderar i en av dåtidens mest spännande och djärva satsningar Som vi aviserat i tidigare nyhetsbrev kom- som någonsin gjorts inom svenskt konstliv. Framgångarna skall dock mer vi under hösten visa en utställning för kantas av vissa motgångar, misstänksamhet och förtal, inte minst från att fira minnet att det i år är över 100 år svensk press. På operan i Stockholm var avundsjukan stor då flera sedan några av de främsta konstnärerna av deras främsta dansare hoppat av för att ansluta sig till Svenska inom den svenska modernismen hade sin baletten i Paris. Under de år som svenska baletten existerar (från ok- första gemensamma utställning på Hallins tober 1920 till den sista föreställningen i mars 1925) har 24 baletter konsthandel i Stockholm. visats 2768 gånger. Man har turnerat i länder som Italien, Spanien, Flera museer har under året visat utställ- England, Belgien, Tyskland, Österrike, Ungern, Sverige, Norge och Jenny Hasselquist 1916 ningar till minnet av 1909 års män. Bl.a i Amerika. Balettens största stjärnor; Jean Börlin, Jenny Hasselquist på Säfstaholms slott. Året 1909 anses och Carina Ari uppträdde på teatrar och scener av yppersta världsklass som La Scala i Milano, Metro- allmänt vara startskottet för modernis- politan i New York. -
2020–Jan 2021
ART EXHIBITIONS SEPT 2020–JAN 2021 Totalt antal konstnärer i KONST Konstkalenderns lexikon: 14 918 KALENDERN Konstkalendern har funnits sedan 1993, men statistik är endast bevarad från 2005 ARTGUIDE SWEDEN Vilka konstnärer ställer ut oftast? No. / Sept – Jan Statistiken omfattar hela landet åren 2005 till och med idag och de INNEHÅLL utställningsarrangörer som medverkar i Konstkalendern. Malmö 4 Skåne & Blekinge 7 Småland & Öland 11 54 Halland 14 Göteborg 15 Västergötland & Bohuslän 21 Dalsland & Värmland 24 Gotland & Östergötland 25 Närke & Södermanland 27 Stockholm city 29 Maria Friberg, foto: Knut Koivisto Djurgården, Lidingö & Frihamnen 38 53 Maria Friberg 40 Maria Miesenberger 23 Stockholm Södermalm & Gamla Stan 50 49 Jan Håfström 32 Madeleine Pyk 23 (South & Old Town) 40 24 27 45 Stockholm 29 Roland Persson 30 Bianca Maria Barmen 22 Stockholm County (South Of Stockholm) 45 24 Lena Cronqvist 29 Helene Billgren 22 Stockholm County (North Of Stockholm) 49 21 Astrid Sylwan 29 Cecilia Edefalk 22 Uppland & Västmanland 50 14 11 Peter Johansson 28 Gittan Jönsson 22 Gästrikland & Dalarna 53 Klara Kristalova 28 Lars Tunbjörk 22 Norrland 54 7 Göteborg 15 Max Book 27 Björn Wessman 22 Konstnärsregister / Artist Index 57 Örjan Wikström 27 Dan Wolgers 22 Arrangörsregister / Organisers Index 60 Malmö 4 Eva Zettervall 27 Sara Vide Ericson 21 OMSLAGSBILD // COVER IMAGE: Helena Blomqvist 26 Lisa Jeannin 21 »Catwalk i Paris« Utställning med Vivienne Westwoods haute coutore på Millesgården, Ann Edholm 26 Julia Peirone 21 Lidingö, öppnar 10 mars. // »Catwalk in Paris« Fredrik Lindqvist 26 Ernst Billgren 20 Exhibition with Vivienne Westwood's haute Charlotte Gyllenhammar 25 Carl Johan De Geer 20 coutore at Millesgården, Lidingö, opens on March 10. -
Newsweek the INTERNATIONAL NEWSMAGAZINE SPECIAL ADVERTISING SECTION
Newsweek THE INTERNATIONAL NEWSMAGAZINE SPECIAL ADVERTISING SECTION ESTONIA Forging a Path to Prosperity SPECIAL ADVERTISING SECTION Estonia: Forging a Path to Prosperity "EESTI ^ JSRAAMATUKOGU AR J A Return to Independence ™5^?^ - ^5T~" Estonia leads the Baltics in its economic transformation stonia is the new powerhouse of the merce," he says. "The commercial well-educated labor force, Baltics, outstripping the other deve instincts are returning rapidly. Trade a liberal market economy loping economies of the former Soviet with the West is more important and an excellent geo republics. That transformation is built on a tra than aid. Aid can create dependency, graphic position." dition of business and trade closer to that found but trade sustains long-term growth." A number of large multi- in the Nordic countries to its north than to its The evidence of Estonia's rapid nationals have already former comrades in the U.S.S.R. transition to a free-market economy | staked their claims in Estonia re-established its independence in a is visible even to the most casual ~ Estonia, including the bloodless revolution on Aug. 20, 1991, after half observer. Shipping traffic is 1 Coca-Cola Company, a century as part of the Soviet Union. Since then, booming off the Estonian coast. I' Swiss-Swedish engineering it has emerged as a leader among the Baltic Some 11 million tons of cargo were i giant ABB Group and states—becoming the first "former Soviet republic shipped in and out of Estonia in 1 Swedish appliance manu- to issue its own currency, doubling exports, more 1992; Peeter Palu, the general 5 facturer Electrolux.