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Anu Raudsepp EDUARD WIIRALT's UNKNOWN MATCHBOX PICTURE

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Anu Raudsepp EDUARD WIIRALT's UNKNOWN MATCHBOX PICTURE 259 Anu Raudsepp EDUARD WIIRALT’S UNKNOWN MATCHBOX PICTURE FROM VIENNA, 24 DECEMBER 1944 Eduard Wiiralt (1898–1954) has been the most internationally well- known Estonian artist of all time. The work of the talented artist has been systematically collected from the beginning, whereas the art collector Alfred Rõude was especially active.1 During almost 80 years, Wiiralt’s life and oeuvre have been introduced in many books2, exhibitions and museums. Therefore, from the viewpoint of art history, only some new and unknown work by Wiiralt may elicit any surprise. Inspired by Estonian art historian Kaur Alttoa’s interest in Eduard Wiiralt’s work, the main objective of this article is to introduce a work by Wiiralt, which is little known and belongs to a private collection – a matchbox picture created in Vienna on 24 December 1944.3 Wiiralt DOI: https://doi.org/10.12697/BJAH.2017.13.12 Translated by Juta Ristsoo. 1 Mai Levin, “Alfred Rõude sünnipäeval”, Sirp, 15.04.2011. 2 The books that have been published in Estonian include: Rasmus Kangro-Pool, Eduard Viiralt (Tallinn: Kirjastus O/Ü Kultuurikoondis, 1938); Eduard Wiiralt (Stockholm: Eesti Raamat, 1952); Eduard Wiiralt 1898–1954. Mälestusteos (Lund: Eesti Kirjanike Kooperatiiv, 1954); Eduard Viiralt 1898–1954, compiled by Hilja Läti (Tallinn: Eesti NSV Kunst, 1958); Eduard Wiiralt, compiled by Ott Kangilaski (Tallinn: Eesti Riiklik Kirjastus, 1959); Eduard Viiralt 1898–1954, Eduard Viiralti näituse kataloog, compiled by Mai Levin (Eesti NSV Riiklik Kunstimuuseum, 1976); Eduard Viiralt, compiled by Mai Levin (Tallinn: Kunst, 1985); Mai Levin, Eduard Wiiralt 1898–1954 (Tallinn: Eesti Kunstimuuseum, 1998); Mai Levin, Eduard Wiiralt (1898–1954) (Tallinn: Eesti Kunstimuuseum, 2015). 3 Anu Raudsepp’s private collection. 260 ANU R AUDSepp EDUARD WIIR ALT ’S UNKNOWN MATCHBOX PICTURE 261 spent most of his life away from Estonia, and lived the longest in Paris. During World War II, he was able to leave Estonia on 28 April 1944, at the end of the German occupation, thanks to an invitation from the Vienna Artistsʼ Society to organise a solo exhibition. The exhibition was open from June 17th to August 1st and included 60 works.4 Wiiralt was in Vienna from 30 April 1944 until 6 January 19455, when he went to Berlin. In addition to introducing the new work, the undersigned will also try to supplement the history of Estonian bookplate art, because Wiiralt’s matchbox picture was reproduced as a bookplate at the request of its owner. Among Estonian booklovers at home as well as abroad6, bookplates have always been valued as the signs of a book’s ownership. However, Hanno Lepik, a bookplate enthusiast, believes that Estonian art historians have yet to thoroughly analyse the development of bookplate art. Nevertheless, since 1898 about 50,000 bookplates have been created7 and the first Estonian artistic bookplates were made by the famous artist Kristjan Raud.8 THE RECEPTION OF EDUARD WIIRALT’S WORK IN OCCUPIED ESTONIA UNTIL THE END OF THE 1950S A common belief still exists today that “during the harsh Stalinist years, Wiiralt was declared to be non-existent for Estonia art and he was not spoken about publicly as an artist until after his death”.9 Upon closer examination it becomes clear that one cannot totally agree with this statement. It’s true that Wiiralt was not discussed in the media, and even on the occasion of his 50th birthday in 1948 nothing was written about him in the Estonian cultural press. After his departure from Estonia, his work was only introduced to the public on one occasion. Namely, Eduard Wiiralt’s Half- 4 Levin, Eduard Wiiralt (1898–1954), 89. 5 Levin, Eduard Wiiralt (1898–1954), 221. 6 See: Paul Ambur, Eesti kunstipärastest eksliibristest (Tallinn: Eesti Riiklik Kirjastus, 1958); Fig. 1. Eduard Wiiralt working (undated photo). Photo was found from the correspondence Richard Antik, “Eesti kunstipärane exlibris 76 must-valge ja värvilise reproduktsiooniga”, of Estonian art historian Armin Tuulse. National Archives of Estonia, Tartu. Raamatu valgusel, Richard Antik 100: artikleid ja bibliograafia (Tartu: Eesti Kirjandusmuuseum, 2001), 58–75. 7 Hanno Lepik, Eesti eksliibris arvudes (Tallinn: H. Lepik, 2010), 6. 8 Antik, “Eesti kunstipärane eksliibris 76 must-valge ja värvilise reproduktsiooniga”, 60. 9 Levin, Eduard Wiiralt (1898–1954), 7. 262 ANU R AUDSepp EDUARD WIIR ALT ’S UNKNOWN MATCHBOX PICTURE 263 Nude (drypoint, 1943) appeared in the Postimees newspaper on 6 called “Shift toward Realism. Graphic Art” in the art history May 1944. The publication of this picture (later known as Astrid) a programme included Wiiralt by name.18 Therefore, Wiiralt’s creative week after Wiiralt’s departure was a kind of farewell to the great achievements were publicly discussed with future art historians master. Although, despite the constraints of censorship, the Postimees and artists. Soon many of these students actively participated in fleetingly reporting on Estonian cultural events abroad, there was no publicly recognising Wiiralt, although this did not occur until artist reporting on the Wiiralt’s departure in connection with the opening had died in 1954. of art exhibition in Vienna. The approval for recognising Wiiralt as a bookplate artist had to Although Wiiralt was ignored in the Stalinist press, it did not mean come from Moscow. Starting in 1954, the art historians planned to that he was ignored in the art history being taught in three educational introduce Wiiralt at the Estonian SSR Art Decade in Moscow. On institutions. At the Tartu State University, the Department of Art History 14 May 1954, at a meeting of the art history section, there was a was headed by Voldemar Vaga from 1945 to 195010, who, among other discussion, among other things, about the author sheets, in which things, also lectured on Estonian art history, and the volume of which, Eduard Wiiralt was mentioned as one of the 15 artists. However, for example, was 104 hours in 1948.11 There is no reason to doubt that it’s true that the compiler of his author’s sheet was the only one Vaga dealt with the work of Eduard Wiiralt during these courses.12 that was still undecided.19 The next year, a thorough and approving Vaga also headed up the Department of Art History at the Tartu State article about Eduard Wiiralt appeared in the cultural newspaper Sirp Art Institute until the autumn of 1947,13 and was succeeded by graphic ja Vasar, which was authored by Enn Põldroos, who was a student artist Märt Pukits.14 In the file related to the 1949–1951 curricula, the at the Estonian State Art Institute at the time, but is a renowned following notes were included on an undated Estonian art history artist today.20 On 14 January 1956, the Tallinn State Art Museum programme called “Estonian Art under the Bourgeois Dictatorship”: again recommended to the Estonian SSR Ministry of Culture that “The Increasing Importance of Graphic Art: Viiralt. The Multifaceted the Wiiralt’s artwork be included in the series of author’s sheets to be Visage of his Work”.15 It is very possible that this programme was displayed at the Decade, and agreed to be the executor of the project.21 already prepared by Vaga. It is important to add that the Tartu State Art The fine arts exhibition at the Estonian SSR Art Decade in Moscow Institute was the former Higher Art School Pallas, the first graduates was open from 18 December 1956 to 6 January 195722, and included of which in 1924, included Eduard Wiiralt.16 18 works by Eduard Wiiralt.23 In the exhibition catalogue, Wiiralt Estonian art history was taught at the Tallinn State Institute of was praised as someone whose work had received international Applied Art17 by Associate Professor Leo Soonpää. And the subject recognition.24 Only then was the first exhibition of Wiiralt’s work organised in Estonia, and this took place at the Tartu State Art 10 See more: Mari Nõmmela, Stiiliajaloolise ja marksistliku käsitluse konflikt Voldemar Vaga Museum in March of 1957.25 In 1957, through the writing of Irina kunstiajalookirjutuses 20. sajandi II poolel (Tartu: Tartu Ülikooli Kirjastus, 2013). 11 Estonian Historical Archives [Ajalooarhiiv, EAA], 5311-5-44, 19. 12 To date, the author has been unable to find the art history programme for the Tartu State 18 ERA, R-1696-1-29, 48, 62, 81. (The calendar schedules, reports, etc. of the Department of University at the time. It was not among the programmes for the Department and History and Art History, at the Tallinn State Institute of Applied Art, 1946–1950.) Linguistics. 19 ERA, R-1665-1-162. (The minutes of the Art History Section of the Artists’ Union of the 13 National Archives of Estonia [Rahvusarhiiv, ERA], R-1973-1-1. (The minutes for the Estonian SSR, 22 December 1951–10 April 1954.) meetings of the Council of the Tartu State Art Institute from 5 December 1944 to 15 May 1948.) 20 Enn Põldroos, “Eduard Viiralti loomingust”, Sirp ja Vasar, 13.05.1955. 14 ERA, R-1973-1-1; ERA, R-1973-1-40. (The minutes for the meetings of the Council of the 21 ERA, R-1797-1-270, 43. (Correspondence related to the organisation of the All-Soviet Tartu State Art Institute from 2 June 1948 to 23 November 1950.) Agricultural Exhibition and Estonian Art Decade 11 January–1 December 1956.) 15 ERA, R-1973-1-56, 140–141. (Programmes for the specialities at the Tartu State Art 22 ERA, R-1797-1-270, 210–211. Institute 1949–1951.) 23 Выставка Эстонского изобразительного исскусства (Москва, 1956), 50–51. 16 Tiina Nurk, Pallas 1919–1940 (Tartu: Eesti Kunstimuuseum, Tartu Kunstimuuseum, 2004), 63–66. 24 Выставка Эстонского изобразительного исскусства, 7.
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