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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. Wiiralti estampi ja joonistust, läti kunst- to the city of Tallinn of 62 proof impres- mõisavalitseja koha Järvamaal Varangul. ing woman), yet it is the dynamic atmos- niku Reinholds Kalninši (1897–1968) sions and drawings by E. Wiiralt, a litho- Aastail 1915–1918 õppis Wiiralt Tallinna phere of oblivious pleasure and salacious- litoportree (1951) ja eesti kunstniku Endel graphic portrait (1951) by the Latvian art- Kunsttööstuskoolis, kust läks Vabadus- ness that dominates the scene. Kõksi (1912–1983) õliportree Wiiraltist ist Reinholds Kalninš (1897–1968) and sõtta. 1919. a. sügisel astus ta ühena esi- Eduard Wiiralt (1898–1954) was born (1953). Lisaks tööde eksponeerimiseks an oil painting of Wiiralt (1953) by the mestest kunstikooli „Pallas” Tartus, valides in the St Petersburg Governorate, Tsar- rajatud galeriile Rahvusraamatukogus Estonian artist Endel Kõks (1912–1983). erialaks skulptuuri, ent tehes selle kõrval skoye Selo province, Gubanitsa parish, as algatasid Männil ja Radevall Eduard In addition to founding the gallery for ka graafikat. Nii kõrg- kui ka sügav- the son of the servant at Robidets manor. Wiiralti preemia väljaandmise alates displaying Wiiralt’s works, Männil and trükitehnikaid oli ta katsetanud alates In 1909, the family returned to Estonia, 1998. aastast raamatukogus regulaarselt Radevall established the Eduard Wiiralt 1916.–1917. aastast kunsttööstuskoolis. where the artist’s father was employed in korraldatavatel nüüdisaegse eesti graafika prize in 1998, which is awarded during „Pallases” Ado Vabbe ja Dresdenist kut- Varangu, Järvamaa as the manager of the näitustel ning on seda toetanud. Kõik see exhibitions of contemporary printmak- sutud graafikaõppejõu Georg Kindi juhen- local manor. From 1915 to 1918, Wiiralt on tõstnud raamatukogu mainet ja täht- ing regularly held in the library. This has damisel omandasid studied at the Tallinn sust ka kunstikeskusena. Valdav osa töid contributed to establishing the national tema gravüürid juba Industrial Art School pärineb Henry Radevalli ema, 1946. a. library’s significance as a centre for art. üsna küpse ilme. before going to fight Stockholmis Wiiraltiga tutvunud ja tema Most of these works are originally from the 1922. a. märtsist in the Estonian War teoste suurimaks sõjajärgseks kollektsio- collection of Henry Radevall’s mother Nina 1923. a. septemb- of Independence. In nääriks kujunenud Nina Poomi (1909– Poom (1909–2006), who met Wiiralt in rini viibis Wiiralt 1919, he was one of 2006) kogust. 1946 in Stockholm and became one of the stipendiaadina the first students to Kingitud teostekogum võimaldab most prolific collectors of his work during Dresdenis, täien- enrol in the Pallas galerii kataloogi uusväljaande reprodukt- the post-war period. dades end sealses art school in Tartu – sioonide osa poolenisti välja vahetada. Iga This collection of works donated to the Kunstiakadeemias even though he stud- kunstniku loomingus on tippteoseid, mil- city makes it possible to renew the list of skulptor Selmar ied at the sculpture leta on raske ette kujutada mistahes välja- featured reproductions in the new version Werneri juures, studio, he was also annet temast. E. Wiiralti kuulsaimad teo- of the gallery’s catalogue. There are works viljeldes ühtaegu working with print- sed on kahtlemata „Põrgu” ja „Kabaree”, in each artist’s oeuvre that are so signifi- graafikat, nii sügav- making. He had mis kroonivad tema noorusaegset loomin- cant that they simply need to be included trükitehnikaid kui ka already been experi- gut, olles ühtlasi esimese Pariisi-perioodi whenever a publication of that artist is litograafiat. 1924. menting with relief (1926–1933) kõrgsaavutusteks. Neis aval- produced. The most remarkable works by aasta kevadel lõpetas printing and intaglio duvad tema varasem ekspressiivne, uus- Wiiralt are undoubtedly Inferno and Caba- Wiiralt „Pallase” kooli since 1916 during asjalikkusest ja art décost mõjutatud stiil ret, both from his first longer period in esimese lennu koos- his time at the indus- ja nägemuslik-groteskne elutunnetus Paris as a young man (1926–1933). These seisus skulptori ja trial art school. eriti küpsel ja sugestiivsel kujul. „Põrgu” two works display his earlier expressive, graafikuna. 1925. a. Under the guidance (1930–1932, ofort, vasegravüür) fan- Neue Sachlichkeit and Art déco influenced sai ta Kujutava Kunsti Sihtkapitali Valitsuse of Ado Vabbe and Georg Kind, a print- tastiline peadekogum assotsieerub kohe style and a visionary-grotesque sensibil- stipendiumi aastaseks enesetäiendamiseks making professor invited to teach at Pal- Pariisis tollal aktuaalse sürrealismiga; teost ity in a very mature and suggestive way. Pariisis, kuhu saabus 8. novembril. las from Dresden, Wiiralt’s engravings võibki pidada selle voolu silmapaistvaimaks The phantasmagorical collection of heads Ainus Pariisi-eelne estamp antud became increasingly mature. From March näiteks sõjaeelses eesti kunstis. Ühtaegu in Inferno (1930–1932, etching, copper töödekogumis on „Luuletaja August Alle 1922 to September 1923, Wiiralt was in kannab ta endas sümboolset tähendust, engraving) instantly reminds the viewer of portree” (1925, lito). Lito oli tehnika, dresden on a scholarship, studying with koondades ühiskondlikele ja üldinimlikele the Surrealist movement popular in Paris mida Wiiralt hakkas viljelema Dresdenis. the sculptor Selmar Werner at the local art pahedele viitavaid detaile (tulistav robot, at the time; in fact, Inferno could be con- A. Allest oli ta 1924. a. teinud portree academy, simultaneously working in print- lõhkev pea kindlusekujulise krooniga jt.). sidered the most noteworthy example of ofordis, ent litoportree demonstreerib making as well, both in intaglio and lithog- Pärast Teist maailmasõda hakati teoses this trend in Estonian art in the pre-war paremini Wiiralti häid portretistivõimeid. raphy. In spring 1924, Wiiralt graduated nägema koguni selle ettekuulutust. Samas period. It simultaneously carries a sym- A. Alle, kes tegutses tollal ka kunstikrii- from Pallas, being among the first to ever tehnikas „Kabaree”, esialgse nimetusega bolic meaning and brings together details tikuna, kuulus 1918. a. asutatud kunsti- do so, and received a degree in sculpture „Elu tants”, sündis „Põrgu” paarikuna that refer to vices within society and ühingusse „Pallas”, kuhu 1921. a. võeti and printmaking. In 1925, he received the 1931. a. Strasbourg’is. Selle juhtmotiiv human beings (the shooting robot, the vastu ka Wiiralt. Wiiralt oli töötanud pärast scholarship of the Commission of Visual on kõige vaimse üle triumfeeriv meelelisus. exploding heads with a castle-like crown lõpetamist aasta „Pallase” graafikaõpeta- Arts of the Estonian Cultural Endowment Siingi näeme sümboolseid detaile (magav etc.). After the Second World War some jana ning loodeti, et ta jätkab selles ametis to live and work in Paris for a year; and on pärast Pariisi, ent see lootus ei täitunud. 8 November Wiiralt arrived in Paris. tellimusi vastu, sest vajas niihästi tuntust trations for a number of small circulation Kunstnik jäi pärast stipendiumiaasta lõppe- The only pre-Paris proofs in this kui ka raha. Ent osalt tööpingest, osalt publications. The essay Supplement to the mist Pariisi, leides selle vajaliku olevat collection of works is the Portrait of writer boheemlikust eluviisist, osalt isiklikest Treatise of Concupiscence by Bossuet oma ande arendamiseks. August Alle (1925, lithography). Wiiralt suhetest tingitud emotsionaalsetest by François Mauriac features a portrait of Algus oli
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