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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. -
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. -
Estonian Art Manifesto
Estonian Art Manifesto the New Art" implies somehow an opposition against the old, which in the light of the shortness of Estonian art history strikes as a somewhat grotesque implication. The memoirs of one of the founding members of the Group, Eduard Ole contain an amount of opposition, where the expressionism, which was popular in Pallas appears in the role of the old. However, it is probably a bare necessity derived from the modernist rhetoric that demands a con struction of the enemy. Through the fabric of modernism that with minor or ma The stable political situation in Europe and Estonia re jor cuts has a century long history in Estonia, there runs a spectively calms the artists down and the manifesto of particular continuous pattern: manifesto! manifesto! man the Group remains the only early bird during the pre-war ifesto! Manifesto is not simply a phenomenon that belongs period. After the Second World War, during the period of to the documentalistics of cultural history, but it is also a Stalinist socialist realism, an artists credo or, even more, specific avant garde genre: thesis-based in its format, es manifesting the pursuits of an entire group were totally sentially young and idealistic towards the future and ni out of the question. So, the next art manifesto dates back hilistic towards the present. "Manifesto is the weapon of to the times of the Khrushchev Thaw, to the year 1960 modernists"1 as Tiit Hennoste, a manifestologist concluded when a group of young artists known as the Tartu Com the manifest as a genre, "a programme declaration of a pany (Tartu Sõpruskond) presented their works in a new radicals' group"2. -
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. -
Paul Reets Kui Kunstikriitik
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Tartu University Library Tartu Ülikool Filosoofiateaduskond Ajaloo ja arheoloogia instituut Kunstiajaloo õppetool Paul Reets kui kunstikriitik Bakalaureusetöö Koostanud: Gertrud Kikajon Juhendaja: Tiiu Talvistu Tartu 2013 Olen bakalaureusetöö kirjutanud iseseisvalt. Kõigile töös kasutatud teiste autorite töödele, põhimõttelistele seisukohtadele ning muudest allikaist pärinevatele andmetele on viidatud. Autor: Gertrud Kikajon ................................................................... (allkiri) ....................................................................... (kuupäev) 2 Sisukord Sissejuhatus ........................................................................................................................................ 4 1. Biograafia ....................................................................................................................................... 7 1.1 Tallinn ja noorus ...................................................................................................................... 7 1.2 Saksa sõjavägi 1943–1945 ....................................................................................................... 8 1.3 Bonni ülikool ............................................................................................................................ 9 1.4 Ameerika ja Harvardi ülikool ................................................................................................. 10 -
Eesti Kunstimuuseumi Toimetised Proceedings of the Art Museum of Estonia
4 [9] 2014 EESTI KUNSTIMUUSEUMI TOIMETISED PROCEEDINGS OF THE ART MUSEUM OF ESTONIA 4 [9] 2014 Naiskunstnik ja tema aeg A Woman Artist and Her Time 4 [9] 2014 EESTI KUNSTIMUUSEUMI TOIMETISED PROCEEDINGS OF THE ART MUSEUM OF ESTONIA Naiskunstnik ja tema aeg A Woman Artist and Her Time TALLINN 2014 Esikaanel: Lydia Mei (1896−1965). Natalie Mei portree. 1930. Akvarell. Eesti Kunstimuuseum On the cover: Lydia Mei (1896−1965). Portrait of Natalie Mei. 1930. Watercolour. Art Museum of Estonia Ajakirjas avaldatud artiklid on eelretsenseeritud. All articles published in the journal were peer-reviewed. Toimetuskolleegium / Editorial Board: Kristiāna Ābele, PhD (Läti Kunstiakadeemia Kunstiajaloo Instituut, Riia / Institute of Art History of Latvian Academy of Art, Riga) Natalja Bartels, PhD (Venemaa Kunstide Akadeemia Kunstiajaloo ja -teooria Instituut, Moskva / Research Institute of Theory and History of Arts of the Russian Academy of Arts, Moscow) Dorothee von Hellermann, PhD (Oxford) Irmeli Hautamäki, PhD (Helsingi Ülikool ja Jyväskylä Ülikool / University of Helsinki and University of Jyväskylä) Sirje Helme, PhD (Eesti Kunstimuuseum, Tallinn / Art Museum of Estonia, Tallinn) Ljudmila Markina, PhD (Riiklik Tretjakovi Galerii, Moskva / State Tretyakov Gallery, Moscow) Piotr Piotrovski, PhD (Adam Mickiewiczi Ülikool, Poznan / Adam Mickiewicz University, Poznan) Kadi Polli, MA (Tartu Ülikool / University of Tartu) Peatoimetaja / Editor-in-chief: Merike Kurisoo Koostaja / Compiler: Kersti Koll Toimetajad / Editors: Kersti Koll, Merike Kurisoo Keeletoimetaja -
Kadri Asmer LETTERS from the PAST: ARMIN TUULSE's ARCHIVE
219 Kadri Asmer LETTERS FROM THE PAST: ARMIN TUULSE’S ARCHIVE IN TARTU The creative legacy of Armin Tuulse (1907–1977, Neumann until 1936), the first Estonian art history professor and scholar of art and architecture, is meaningful in the context of Estonia, as well as Western and Northern Europe. He gained international recognition for his works on medieval architecture, in which he focused on the fortresses, castles and churches of the Baltic and Nordic countries. As a professor at the University of Tartu, and later at Stockholm University, he built a bridge between pre-war art history and its future researchers, and more broadly between Estonia and Sweden. Tuulse’s work and teachings became an important guide for his successors, who have continued and supplemented his research work on the Middle Ages. At the University of Tartu, this baton was handed off to Kaur Alttoa, who has been carrying it forward for decades. In 2015, the correspondence of Armin Tuulse, and his wife Liidia Tuulse (1912–2012) arrived at the Estonian Cultural History Archives from Sweden1 and currently needs to be put in order and systematised. Based thereon, it is very difficult to determine the exact size of the archive, but we can speak about hundreds of letters that were sent to Tuulse starting in 1944. A significant part of the archive DOI: https://doi.org/10.12697/BJAH.2017.13.10 Translated by Juta Ristsoo. 1 Estonian Cultural History Archives of the Estonian Literary Museum, Reg. 2015/53. 220 K ADRI ASMER ARMIN TUULSE’S ARCHIVE IN TARTU 221 NOTES ON ARMIN TUULSE AND THE TEACHING OF ART HISTORY IN TARTU In order to understand the importance of Armin Tuulse’s work, and more broadly, the developmental direction of art history as an independent discipline at the University of Tartu, one must go back to the last century, to the 1920s and 1930s. -
As of January 2012 Estonian Archives in the US--Book Collection3.Xlsx
Indexed by Title Estonian Archives in the US Book Collection Author Title Date Dewey # Collect Saar, J1. detsember 1924 Tallinnas 1925 901 Saa Eesti Vangistatud Vaba‐ dusvõitlejate 1. Kogud VII, 2. Kogud VIII‐XIII, 3. Kogud XIV‐XIX, 4. nd 323 Ees Abistamis‐ keskus Kogud XX‐XXV 1985‐1987 Simre, M1. praktiline inglise keele grammatika >1945 422 Sim DP Sepp, Hans 1. ülemaailmne eesti arstide päev 1972 610 Sep EKNÜRO Aktsioonikomitee 1.Tõsiolud jutustavad, nr. 1, 2. nr.2, 3. nr.3 1993 323 EKN Eesti Inseneride Liit 10 aastat eesti inseneride liitu: 1988‐1999 nd 620 Ees Reed, John 10 päeva mis vaputasid maailma 1958 923.1 Re Baltimore Eesti Selts 10. Kandlepäevad 1991 787.9 Ba Koik, Lembit 100 aastat eesti raskejõustikku (1888‐1988) 1966 791 Koi Eesti Lauljate Liit 100 aastat eesti üldlaulupidusid 1969 782 Ees Wise, W H 100 best true stories of World War II, The 1945 905 Wis Pajo, Maido 100 küsimust ja vastust maaõigusest 1999 305 Paj Pärna, Ants 100 laeva 1975 336.1 Pä Plank, U 100 Vaimulikku laulu 1945 242 Pla DP Sinimets, I 1000 fakti Nõukogude Eestist 1981 911.1 Si Eesti Lauljate Liit Põhja‐ Ameerikas 110.a. juubeli laulupeo laulud 1979 780 Ees 12 märtsi radadel 1935 053 Kak Tihase, K12 motiivi eesti taluehitistest 1974 721.1 Ti Kunst 12 reproduktsiooni eesti graafikast 1972 741.1 K Laarman, Märt 12 reproduktsiooni eesti graafikast 1973 741.1 La 12. märts 1934 1984 053 Kak 12. märts. Aasta riiklikku ülesehitustööd; 12. märts 1934 ‐ 12, 1935 053 Kak märts. 1935 Eesti Lauljate Liit Põhja‐ Ameerikas 120.a.