Authors Contents Richard Antik, Toronto, Canada Director of the Estonian Centra/ Archi­ ves in Canada. Graduated from the Uni­ versity of Tartu. Studied at the Karlovy University in Prague. Subjects: archiva/ and library sciences and history of art. Author of 10 special works, inc/uding "The Estonian Book 1535-1935", Tartu 1936. Arranged Estonian art exhibitions, one in Denmark at the Roya/ Danish Academy of Arts and several others in Canada. Owner of an Art Ga/lery in Cana­ da. Has worked as an art critic and is known as the author of several articles on Estonian art and cu/ture. Eevi End, Stockholm, Sweden Art history studies at Tartu University, Estonia, 1934-1939. Employed by the 10 Estonian Art in Sweden Estonian National Museum ofArts 1939- 18 Eesti kunstnikest Rootsis 43. Reviewed Estonian Art Exhibitions ja Euroopas. 19 71-1980. Articles on the work of Eevi End Estonian artists. 26 Estonian Art in Canada Paul H. Reets, Boston, USA 28 Eesti kunstnikest ja kunstist Art history studies at Bonn University Kanadas. 1945-1950, F reiburg University 1948, Richard Antik MA-Degree Harvard University 1951-53. Published over 90 articles, reviews and 32 Estonian Art in USA aforisms. 34 Eesti kunst USA-s. Pau/ H. Reets Valdemar Vilder, Sydney, Australia Studied art in Ta/linn under prof. V. 44 Estonian Art in Australia Mellik and in Perth under lvor Hunt, 46 Eesti kunst Austraalias. humanities and librarianship at the uni­ Valdemar Vilder versities of Western Australia, Sydney, 53 Bibliograafia. and New South Wales. Librarian of the Ende/ mks Museum of App/ied Arts and Sciences in Sydney for thirteen years. Author of 61 Lühibigliograafia numerous historical and biographical Austraalia eesti kunstnike kohta. articles, art reviews, contributions to refe­ Valdemar Vilder rence works, bibliographies and a pictorial album "Australian Estonians 1978". Autorite kirjaviis muutmata Ilme Simmul, Australia, Untitled, acrylic, 1978, 46 x 61 cm Epp Ojamaa, USA, Untitled, oit, 1978, 122 x 213 cm Vaike Liibus, Austra/ia, Combat, oit Olev Muska, Australia, Desecration of the Square. acrylic on canvas, 1974, 75x80cm Estonian ~ ~'f tr~~~' \l.\\>(h Art inSweden Eevi End ESTO 80 in Stockholm launches three art tions of man's subjective psyche. Mats exhibitions. One of them is a separate Loosrne brought a breath of fresh air into display arranged by Swedish authorities our relatively conservative art with his at the capital's House of Culture. Apart surrealistic paintings. Loosme operates from Estonian artists of the oid and with surprising metamorphoses and unex­ established generation (i.e. Grünberg, pected confrontations in his explorations Haamer, JtJesaar, KtJks, Luts, NtJmmik, into man's subconsciousness. Leida Rives Ole, Talvik) there will be a number of and Ville Tops represent the non-figurative younger artists who have studied in this art to which the first-named is entirely country and have already won a consider­ committed, the latter to some extent only. able recognition by the Swedes themselves. Rives divides her creative power between These are Enno Hal/ek, Mart Org, Olev three genres; oil paintings, large-scale Mikiver, sculptress Maire Männik (now carpet patterns and silk-screen printings. living in Paris), Leida Org and textile Here everything is based on a non-figura­ designer Mai Wellner. Allthese names are tive basis. ln her latter production she has well-known to our public from previous applied the hard edge principle with a exhibitions and illustrated articles in our smoother finish. Tops reveals symbolic cultural magazines "Tulimuld" and subjects by means of a somewhat non­ "Mana". figurative design. His characteristics are a Therefore, the primary aim of this semi-geometrical approach and a uniform article is to present exhibitors outside the coating. He seems to have halted at Swedish House of Culture - artists who geometrical abstractions in which his Iive in this country and other parts of conception of artistic experience is a Europe. Estonian artists from overseas will triangle and a square. An important part be presented by Estonian art critics of of his works comprise collages in clean their respective countries. vivid colours. Arnold Eres has developed into a skilful VidaJuse now living on lbiza, formerly landscape-painter whose dominating warm in London, paints abstractedly and figura­ and yellow tones have been transmitted tively. She has a flowing brush, warm to the canvas with a powerful impasto. colouring and soft change-overs, particular­ Eugen Kask is prima~ily a figure-painter ly as regards her figurative compositions. whether his object isa human being or an ln her abstractions she applies cooler animal. He has a psychological eye in shades. Pille Haamer-Florell is well-known bringing forth the true character of his and highly esteemed as a water-colour objects. Gustav Mägi started h is career with painter. ln Stockholm she has also presen­ abstract compositions. For the past few ted acrylic works. Her water-colours years he has mainly presented strongly representing different plants speak a clear individual inner landscapes, that is, reflec- language of her specific sentiment towards 10 Hermann Talvik, Valley of the Shadow of Death, linocut, 1978, 43,5 x 32 cm Eduard Ole, Sweden, Eduard Rüga, USA, Deer, oi/ on canvas, 1968, Music, colour linocut, 65x 50cm handprinted 1955-56, 63,5x 57cm Erik Haamer, Sweden "Hen-Party", oi/ Raoul Und, USA, City Outskirts, oi!, 1968, 82 x 101 cm nature. l/on Wikland is another gifted point, on the other hand, depicts the city water-colour painter so far mainly and towers and roofs finding peacefulness widely known as an illustrator of children's even here in the constancy of their own books (including a large number of Astrid permanent location. Moreover, Paju isis one Lindgren's world-famous works). Wikland of our few book artists who has shaped paints chiefly kids - her genre is equally and illustrated a large number of the enjoyable for aduitsasa good children's Estonian literary production in exils. book should be. Silvia Leitu who died in Voldemar Tankis one of our renowned Stockholm some 10 years ago, much too landscape painters from many previous early, is known asa famous water-colour exhibitions. Hugo Lepik was an apprecia­ painter. ted portrait and landscape-painter in pre­ Kristiina Kauri, painter of the younger war independent Estonia. Lembit generation, is known by some of her NtJmmeots is another grand oid man of expertedly executed still-lifes, portraits non-figurative painting. Veronika Keerdoja and landscapes. Mihkel Oit is another is painting realistic landscapes and luxuri­ young artist, born and trained in Sweden. ant flowers. Ada Otema has lately He could be described as a philosophic produced high-level lndian ink paintings symbolist wh·o started with youthfully and sculptures with a detailed structure. pessimistic tones and now seems to have Heiki Niilend, an architect and painter, arrived ata lighter-toned alla prima tech­ presents some memorable fantasies. Er/e nique. Sergo has specialized herself in contrasting Arno Vihalemm, one of our foremost indoor pictures. Toomas Lehes is known graphic artists of the senior generation, is as a painter of flowers. Arva Luik has a Iso known asa painter. His witty graphic concentrated on many different genres, works have become popular as separate yet the best part of his creations are his prints or illustratior:is (in particular to his drawings. Helmer Avasalu reveals a strong own poetry books). Johan Naha is well­ sentiment towards nature in his drawings. known already from Estonia's pre-war Lydia Nordentoft-Lavrov isa mosaic artist independence period. He isa graphic artist and painter from Denmark. Georg Kaplja whose main topic comprises city views in is one of our few sculptors. Nancy woodcut technique. Lives in Munich. Pedersen-NtJmmeots, Jutta Klein and Anne Reet Paris, permanently living in Edith Kotka-Nyman present batik prints. Munich, has by now acquired a stable The first one describes oriental flavoured position as a graphic artist. Otto Paju figures and groups, the second depicts mainly presents the peaceful landscape decorative figures in clean tones and city of Gotland in a series of woodcuts. He views with symbolic backgrounds, where­ describes his surroundings in a simplified as the third artist presents impressive shape and applies earth colours. H is dry- landscapes. Pedersen-Nõmmeots has also 1 Ernst JtJesaar, Resignation, patinated piaster, 1972, 65 x 65 cm Karin Luts, Sweden, Archaeological Landscape, oi/, 1962, 73 x 92cm Anne-Reet Paris, West Germany, Still-life with Artichoke, oi/, 30 x 40 cm Nordentoft-Lavrov, Denmark, Mosaic and Paintings, 1979 exhibited a series of drawings tull of rich imaginati on. Let us hope now that the above brief survey - although shortened and summa­ rized for printing reasons - wil l serve our foreign visitors as an introduction to the manifold Estonian art in the Western World. 17 Summary in English by Karin Saarsen Eesti kunstnikest Rootsis ja Euroopas Eevi End Eesti päevade sisu üheks oluliseks osaks Rootsi kodanikest. on alati olnud kunstinäitused, kus ini­ Kultuurimajas esinevate kunstnike tut­ mestel teistelt mandritelt ja maadelt vustamise eest hoolitsevad sealsed funkt­ võimaldub näha kohalike kunstnike sionäärid. Pealegi on enamik neist meie töid ja tutvustada oma saavutusi. Kah­ publikule tuttavad näituste, kultuuri­ juks aga jääb kultuurivahetus kunsti ajakirjade (Tulimuld, Mana) ja ka Eesti osas tihti ühekülgseks, kuna osalejad kunstiajaloo kaudu. Seega jääb selle kaugeilt mailt ei saa arvuliselt võistelda artikli esmaseks ülesandeks käsitleda kohalikega. Eriti kahju aga on, et tihti väljaspool Kultuurimaja esinejaid Root­ jääb eemale just neid kunstnikke, kes sist ja mujalt Euroopast, kuna ülemere• tingimata pidanuksid kaasas olema oma maade kunstnike loomingust annavad maa esindusnäitusel. Olgu siis eemale­ ülevaate nende omamaised kriitikud. jäämise põhjuseks siingi transpordiolud, Väärtusi ei saa hinnata grammi pealt Esto ühenduses esinemise mittehin­ ja kunstnike eraldamine valik- ja müügi• damine vmm.