Pub Date : 2023-10-25DOI: 10.12697/bjah.2023.25.07
Anu Ormisson-Lahe
{"title":"AN UNFULFILLED DREAM","authors":"Anu Ormisson-Lahe","doi":"10.12697/bjah.2023.25.07","DOIUrl":"https://doi.org/10.12697/bjah.2023.25.07","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135215969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-25DOI: 10.12697/bjah.2023.25.04
Roger Bowdler
This article looks at the celebrated poem Elegy in a CountryChurchyard (1751) by Thomas Gray, and links it to the place of itsinspiration, Stoke Poges, Buckinghamshire. The development ofEnglish churchyard memorials is considered, followed by a briefdiscussion of the Graveyard School of poetry, which consideredthemes of mortality and melancholy set in the context of burialgrounds. This formed a strand of proto-romanticism and wasinfluential across Europe. The poem is then analysed in terms of itsdiscussion of rural approaches to death and remembrance. A surveyof mid-18th century churchyard memorials at Stoke Poges is thenprovided, and their imagery discussed: most of these post-date thepublication of the poem. Thomas Gray died in 1771 and was buriedin the tomb of his mother and aunt. He subsequently received amemorial in Westminster Abbey. A later owner of Stoke Park, themanor house of the estate, John Penn, was eager to commemoratethe poet. He commissioned the celebrated architect James Wyatt todesign a memorial which would be visible from the main house.This was erected in 1799, and consisted of a sarcophagus raised on
a tall base, the sides of which were inscribed with extracts fromthe Elegy. This was a highly unusual form of parkland memorialcelebrating a poet and his best-known work, which has subsequentlybecome one of the best-known verses in the English language.There is irony in that the poem is a discussion of rural humilityand yet was celebrated through an imposing monument, raisedby an extremely wealthy owner as a feature in his private park.
{"title":"ROMANTICISM AND REMEMBERING","authors":"Roger Bowdler","doi":"10.12697/bjah.2023.25.04","DOIUrl":"https://doi.org/10.12697/bjah.2023.25.04","url":null,"abstract":"This article looks at the celebrated poem Elegy in a CountryChurchyard (1751) by Thomas Gray, and links it to the place of itsinspiration, Stoke Poges, Buckinghamshire. The development ofEnglish churchyard memorials is considered, followed by a briefdiscussion of the Graveyard School of poetry, which consideredthemes of mortality and melancholy set in the context of burialgrounds. This formed a strand of proto-romanticism and wasinfluential across Europe. The poem is then analysed in terms of itsdiscussion of rural approaches to death and remembrance. A surveyof mid-18th century churchyard memorials at Stoke Poges is thenprovided, and their imagery discussed: most of these post-date thepublication of the poem. Thomas Gray died in 1771 and was buriedin the tomb of his mother and aunt. He subsequently received amemorial in Westminster Abbey. A later owner of Stoke Park, themanor house of the estate, John Penn, was eager to commemoratethe poet. He commissioned the celebrated architect James Wyatt todesign a memorial which would be visible from the main house.This was erected in 1799, and consisted of a sarcophagus raised on
 a tall base, the sides of which were inscribed with extracts fromthe Elegy. This was a highly unusual form of parkland memorialcelebrating a poet and his best-known work, which has subsequentlybecome one of the best-known verses in the English language.There is irony in that the poem is a discussion of rural humilityand yet was celebrated through an imposing monument, raisedby an extremely wealthy owner as a feature in his private park.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135217153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-25DOI: 10.12697/bjah.2023.25.02
Hilkka Hiiop, Alar Läänelaid, Hannes Vinnal
In the course of renovating the Estonian Knighthood (Ritterschaft)House in the autumn of 2022, a magnificent find came to light in theceiling of a first floor room – a figural plafond painting on a canvasattached to the ceiling. This find is sensational since it adds to thenumber of rare and fragile canvas plafonds, only a few of whichsurvive in Estonia. This article demonstrates how archival researchand dendrochronology can work together hand in hand. Accordingto historical documents, this part of the Knighthood House was builtaround the year 1690, because it was described as nearly finishedin the spring of 1691. By applying dendrochronological dating, it
was possible to ascertain that the trees that form the main woodenstructures were felled after the growing season of 1689 and wereused in construction, probably in 1690. The Üxküll family of Vigalamanor sold their newly completed town palace to the Knighthood ofEstonia in 1694 for unknown reasons. The plafond painting probablyoriginates from the period between those two dates, 1690 and 1694.Thus, the Knighthood House’s plafond ceiling is the only firmlydated painting of this kind in Estonian architecture. It originatesfrom an earlier period than most other plafond paintings in Tallinn,which are assessed using stylistic comparison as dating from theperiod after the Great Northern War, specifically from 1721 to 1760.The nearly 60 m2 plafond is certainly the largest in Estonia. The useof distemper and oil paint techniques together makes this paintingremarkable. It is also the only known plafond with more than onepainting layer from different periods. At the time of writing, thepainting has not yet been exposed to view. Its thematic subject matterand the details of its technical realisation will be revealed onlyafter its restoration. The question of the authorship of the plafondpainting also remains unanswered at this stage. The overpaintingwith Rococo ornamentation covering the original painting can becautiously associated with the name of the guild painter, GotthardHolm, who was paid for work done in the Knighthood House inthe 1760s.
{"title":"DATING THE NEWLY DISCOVERED CEILING PAINTING IN THE HOUSE OF ESTLAND’S NOBILITY IN TALLINN","authors":"Hilkka Hiiop, Alar Läänelaid, Hannes Vinnal","doi":"10.12697/bjah.2023.25.02","DOIUrl":"https://doi.org/10.12697/bjah.2023.25.02","url":null,"abstract":"In the course of renovating the Estonian Knighthood (Ritterschaft)House in the autumn of 2022, a magnificent find came to light in theceiling of a first floor room – a figural plafond painting on a canvasattached to the ceiling. This find is sensational since it adds to thenumber of rare and fragile canvas plafonds, only a few of whichsurvive in Estonia. This article demonstrates how archival researchand dendrochronology can work together hand in hand. Accordingto historical documents, this part of the Knighthood House was builtaround the year 1690, because it was described as nearly finishedin the spring of 1691. By applying dendrochronological dating, it
 was possible to ascertain that the trees that form the main woodenstructures were felled after the growing season of 1689 and wereused in construction, probably in 1690. The Üxküll family of Vigalamanor sold their newly completed town palace to the Knighthood ofEstonia in 1694 for unknown reasons. The plafond painting probablyoriginates from the period between those two dates, 1690 and 1694.Thus, the Knighthood House’s plafond ceiling is the only firmlydated painting of this kind in Estonian architecture. It originatesfrom an earlier period than most other plafond paintings in Tallinn,which are assessed using stylistic comparison as dating from theperiod after the Great Northern War, specifically from 1721 to 1760.The nearly 60 m2 plafond is certainly the largest in Estonia. The useof distemper and oil paint techniques together makes this paintingremarkable. It is also the only known plafond with more than onepainting layer from different periods. At the time of writing, thepainting has not yet been exposed to view. Its thematic subject matterand the details of its technical realisation will be revealed onlyafter its restoration. The question of the authorship of the plafondpainting also remains unanswered at this stage. The overpaintingwith Rococo ornamentation covering the original painting can becautiously associated with the name of the guild painter, GotthardHolm, who was paid for work done in the Knighthood House inthe 1760s.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"40 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135217176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-25DOI: 10.12697/bjah.2023.25.08
Lilian Hansar
{"title":"ON THE DEVELOPMENT OF HERITAGE SCIENCE IN ESTONIA","authors":"Lilian Hansar","doi":"10.12697/bjah.2023.25.08","DOIUrl":"https://doi.org/10.12697/bjah.2023.25.08","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"182 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-25DOI: 10.12697/bjah.2023.25.03
Nele Nutt
This article looks at the contradictory essence of the Renaissancegarden, which is reflected in the dialogue of the garden’s formand content, and which is in constant change. While the gardenof the Quattrocento with its formal language of rigid geometricrules stimulates free thought and the emotional world, remaininga modest background itself, the garden of the Cinquecento dictatesthe direction of thought and produces concrete frames for it. The
thought of the Early Renaissance, boundlessly freewheeling in theworld of fantasy, is increasingly tied to the garden’s form. The gentleemotion of the inner world is suffocated by the intruders from theouter world and the garden that carried the free thought of EarlyRenaissance becomes an area of restraint.
{"title":"THE RENAISSANCE GARDEN AND ITS CONTRADICTIONS","authors":"Nele Nutt","doi":"10.12697/bjah.2023.25.03","DOIUrl":"https://doi.org/10.12697/bjah.2023.25.03","url":null,"abstract":"This article looks at the contradictory essence of the Renaissancegarden, which is reflected in the dialogue of the garden’s formand content, and which is in constant change. While the gardenof the Quattrocento with its formal language of rigid geometricrules stimulates free thought and the emotional world, remaininga modest background itself, the garden of the Cinquecento dictatesthe direction of thought and produces concrete frames for it. The
 thought of the Early Renaissance, boundlessly freewheeling in theworld of fantasy, is increasingly tied to the garden’s form. The gentleemotion of the inner world is suffocated by the intruders from theouter world and the garden that carried the free thought of EarlyRenaissance becomes an area of restraint.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135111971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-25DOI: 10.12697/bjah.2023.25.05
Ojārs Spārītis
The main subject of this article is a photo album created by ReinholdKarl von Liphardt Jr, an outstanding representative of the BalticGerman landed gentry in Estonia in the first half of the 20th century.In the early 1990s, the director of the “Bildarchiv Foto Marburg” ofthe Art History Institute of the Phillips University Marburg, Mrs.Brigitte Walbe made the duplicates of the photographic materialsfrom the collection of the Baltic German historian and genealogistGeorg von Krusenstjern available to the author of this article.The article classifies and analyses the 181 photographs pastedin the photo album which, with the highest degree of certainty,can be attributed to Reinhold Karl von Liphardt Jr. (1864–1940), theowner of Raadi, Vastseliina and several other estates. Judging by the
photographs in the album, it can be concluded that von Liphardt usedphotography as a means of enriching his emotionally saturated lifewith yet another means of artistic self-expression. The photographstaken in the period from the winter of 1912–1913 to the winter of1913–1914, convey an inordinate amount of visual information aboutthe landscape, architecture and society in the Vastseliina manor.Reinhold Karl von Liphardt’s photo album presents a series ofchronologically consecutive images and it is similar to a poetic “diaryin pictures”. Reinhold Karl von Liphardt used photography as aperfect means of documenting his ecocultural environment. Hislandscape photographs are characterized by great attention to detail.The cultural and sociological significance of the rural scenes in thephotographs is further increased by the presence of local people inthem. The Seto ethnic group lived in the estates of Reinhold Karlvon Liphardt and, thanks to their ethnographic uniqueness, drewthe attention of an educated landlord.The photos with individual and group portraits of therepresentatives of the Seto ethnic group are not only vivid evidenceof the Estonian culture in the first decades of the 20th century, butalso striking works of art, whose power of expression elevates themconsiderably above the emotionality and artistic effect of ReinholdKarl von Liphardt’s lyrical landscapes and idyllic family portraits.
本文的主题是20世纪上半叶爱沙尼亚波罗的海德国地主贵族的杰出代表ReinholdKarl von Liphardt Jr .创作的一本相册。20世纪90年代初，马尔堡菲利普斯大学艺术史研究所“马尔堡Bildarchiv Foto Marburg”主任布里吉特·沃尔布(brigitte Walbe)夫人从波罗的海德国历史学家和家谱学家格奥尔格·冯·克鲁森斯特恩(georg von Krusenstjern)的收藏中复制了摄影材料，供本文作者使用。本文对相册中的181张照片进行了分类和分析，最确定的是，这些照片可以归因于Raadi, Vastseliina和其他几个庄园的所有者Reinhold Karl von Liphardt Jr.(1864-1940)。从
我们可以得出结论，冯·利普哈特将摄影作为一种手段，以另一种艺术自我表达的方式丰富他的情感饱和的生活。这些照片拍摄于1912-1913年冬季至1913 - 1914年冬季，传达了关于瓦斯塞利纳庄园景观、建筑和社会的大量视觉信息。莱因霍尔德·卡尔·冯·利普哈特的相册呈现了一系列按时间顺序连续的图像，类似于诗意的“照片日记”。莱因霍尔德·卡尔·冯·利普哈特将摄影作为记录他的生态文化环境的完美手段。他的海岛照片的特点是非常注重细节。照片中乡村场景的文化和社会学意义因当地人的出现而进一步增强。濑户人住在莱因霍尔德·卡尔冯·利普哈特的庄园里，由于他们在人种学上的独特性，引起了一位受过良好教育的地主的注意。这些Seto族代表的个人和集体肖像照片不仅是20世纪头几十年爱沙尼亚文化的生动证据，也是引人注目的艺术作品，其表达能力大大超越了ReinholdKarl von Liphardt抒情风景和田园诗般的家庭肖像的情感和艺术效果。
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 photographs in the album, it can be concluded that von Liphardt usedphotography as a means of enriching his emotionally saturated lifewith yet another means of artistic self-expression. The photographstaken in the period from the winter of 1912–1913 to the winter of1913–1914, convey an inordinate amount of visual information aboutthe landscape, architecture and society in the Vastseliina manor.Reinhold Karl von Liphardt’s photo album presents a series ofchronologically consecutive images and it is similar to a poetic “diaryin pictures”. Reinhold Karl von Liphardt used photography as aperfect means of documenting his ecocultural environment. Hislandscape photographs are characterized by great attention to detail.The cultural and sociological significance of the rural scenes in thephotographs is further increased by the presence of local people inthem. The Seto ethnic group lived in the estates of Reinhold Karlvon Liphardt and, thanks to their ethnographic uniqueness, drewthe attention of an educated landlord.The photos with individual and group portraits of therepresentatives of the Seto ethnic group are not only vivid evidenceof the Estonian culture in the first decades of the 20th century, butalso striking works of art, whose power of expression elevates themconsiderably above the emotionality and artistic effect of ReinholdKarl von Liphardt’s lyrical landscapes and idyllic family portraits.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135111972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-25DOI: 10.12697/bjah.2023.25.06
Kaisa Broner-Bauer
This paper analyses cultural and aesthetic phenomena and theirinherent meanings within the Japanese city. In the introduction, Ifirst briefly define the key concepts used in the analysis: culturalarchetype, collective memory, and cultural identity. I will approach
the theme from a comparative point of view by examining Japaneseurban features and archetypal principles in contrast to the Europeancity.Early Japanese urbanisation centred around imperial palaces, withthe first cities founded by successive emperors from the 7th centuryonwards in the Nara region, near present-day Kyoto. The orthogonalplan for the imperial capital was copied from the contemporaneousChinese dynasties. Spatial organisation was hierarchical, imperialquarters were located at the northern end of the central south–northaxis of the city, and the most prestigious plots were around theEmperor’s palace. Kyoto, the historical Heian-Kyô, was founded asthe imperial capital in 794.Tokyo, the historical Edo, became a “castle city” in 1457 when amilitary castle was built, and subsequently the capital when theshôgun moved government from Kyoto to Edo in 1603. The shôgun’scastle, the centre of power, intertwined with the hierarchical urbanorder spiralling around it. Edo gradually became a modern capital,Tokyo, while Kyoto remained the traditional centre of high cultureand the seat of the powerless Emperor until 1868.The Japanese city is a cultural metaphor. Psychological uncertainty,due to the country’s location in a precarious earthquake and volcaniczone, and an awareness of the perishability of life based on Buddhistphilosophy, have all deeply influenced both Japanese culture andthe Japanese mind. Emptiness, the Taoist ideal linked to Buddhistthinking, is also reflected in the urban space. For instance, a Japanesecity has no designated urban centre whereas in the European citythis is a culturally and economically accentuated place.In this paper, I also analyse the Japanese spatial concepts ma andoku, along with their archetypal manifestations in urban tissue andstreet scape. While ma means experiencing space in time, oku refers tothe hidden dimension of the urban experience, or the psychologicalstate of processing a path whereby the urban core remains hiddenand only partially discovered.Regardless of Japan’s recent historical and economic development,the cultural characteristics of urban spaces have not changed a greatdeal. Tokyo is still a mosaic city of small village-type communitieswith an inherent feeling of togetherness. Hidenoby Jinnai has calledthis phenomenon an “ethnic continuity” whereby the new and theold are mixed in an ethnic order.
本文分析了日本城市中的文化审美现象及其内在意义。在引言部分，我首先简要定义了分析中使用的关键概念:文化原型、集体记忆和文化认同。我会接近
从比较的角度考察日本的城市特征和原型原则与欧洲的对比。日本早期的城市化以皇宫为中心，从7世纪开始，历代皇帝在奈良地区(今天的京都附近)建立了第一批城市。帝都的正交平面图是从同时期的中国朝代复制过来的。空间组织是分层的，皇宫位于城市中轴线的北端，最负盛名的地块是在皇宫周围。京都，历史上的Heian-Kyô，于794年作为帝国首都建立。东京，历史上的江户，在1457年建造了军事城堡，成为“城堡城市”，随后在1603年theshôgun将政府从京都迁往江户，成为首都。shôgun的城堡，权力的中心，与它周围螺旋形的等级城市秩序交织在一起。江户逐渐成为现代的首都东京，而京都一直是传统的高雅文化中心，直到1868年都是无权无势的天皇的所在地。日本城市是一种文化隐喻。由于日本处于危险的地震和火山带，心理上的不确定性，以及基于佛教哲学的对生命易逝的认识，都深深地影响了日本的文化和日本人的思想。空，与佛教思想相联系的道家理想，也体现在城市空间中。例如，一个日本城市没有指定的城市中心，而在欧洲城市，这是一个文化和经济突出的地方。在本文中，我还分析了日本的空间概念“ma and doku”，以及它们在城市组织和街道景观中的原型表现。ma指的是在时间中体验空间，而oku指的是城市体验的隐藏维度，或者是处理一条路径的心理状态，在这条路径中，城市核心仍然是隐藏的，只被部分发现。不管日本最近的历史和经济发展如何，城市空间的文化特征并没有发生太大的变化。东京仍然是一个由小村村式社区组成的马赛克城市，有着固有的团结感。Hidenoby Jinnai称这种现象为“种族连续性”，即新旧在种族秩序中混合。
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 the theme from a comparative point of view by examining Japaneseurban features and archetypal principles in contrast to the Europeancity.Early Japanese urbanisation centred around imperial palaces, withthe first cities founded by successive emperors from the 7th centuryonwards in the Nara region, near present-day Kyoto. The orthogonalplan for the imperial capital was copied from the contemporaneousChinese dynasties. Spatial organisation was hierarchical, imperialquarters were located at the northern end of the central south–northaxis of the city, and the most prestigious plots were around theEmperor’s palace. Kyoto, the historical Heian-Kyô, was founded asthe imperial capital in 794.Tokyo, the historical Edo, became a “castle city” in 1457 when amilitary castle was built, and subsequently the capital when theshôgun moved government from Kyoto to Edo in 1603. The shôgun’scastle, the centre of power, intertwined with the hierarchical urbanorder spiralling around it. Edo gradually became a modern capital,Tokyo, while Kyoto remained the traditional centre of high cultureand the seat of the powerless Emperor until 1868.The Japanese city is a cultural metaphor. Psychological uncertainty,due to the country’s location in a precarious earthquake and volcaniczone, and an awareness of the perishability of life based on Buddhistphilosophy, have all deeply influenced both Japanese culture andthe Japanese mind. Emptiness, the Taoist ideal linked to Buddhistthinking, is also reflected in the urban space. For instance, a Japanesecity has no designated urban centre whereas in the European citythis is a culturally and economically accentuated place.In this paper, I also analyse the Japanese spatial concepts ma andoku, along with their archetypal manifestations in urban tissue andstreet scape. While ma means experiencing space in time, oku refers tothe hidden dimension of the urban experience, or the psychologicalstate of processing a path whereby the urban core remains hiddenand only partially discovered.Regardless of Japan’s recent historical and economic development,the cultural characteristics of urban spaces have not changed a greatdeal. Tokyo is still a mosaic city of small village-type communitieswith an inherent feeling of togetherness. Hidenoby Jinnai has calledthis phenomenon an “ethnic continuity” whereby the new and theold are mixed in an ethnic order.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"20 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135113821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-22DOI: 10.12697/bjah.2022.24.03
Holger Rajavee
In 1719 Jean-Baptiste Du Bos publishes his treatise Réflexions Critiquessur la Poésia et sur la Peinture, which Voltaire has called ‘the mostuseful book that has ever be written on the subject by any Europeannation’. In his book the author deals with the problem of artisticgenius, a phenomenon that was in focus from late 17th century inmany treatises on theory of art, especially in France and England.This article concentrates on the interpretation of this particularidea in the work of Du Bos, who tries to explain it through a widerange of empirical examples, using the latest achievements fromdifferent branches of science. His concept of ‘physiological genius’and ‘climatic genius’ can be seen as unique. His reflections onsensation-based aesthetic experience and the new way of definingthe relationship between the artist-genius and the dilettante artexperiencer, influenced later 18th century authors who wrote aboutart theory and aesthetics (Lessing, Home, Herder, even Kant). DuBos's idea of wider public engagement with art, and art appreciation,becomes relevant in the 18th and 19th centuries, so one can say that inmany respects Du Bos's treatment is ahead of its time and that theseideas are also relevant in the contemporary context.
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Pub Date : 2023-08-22DOI: 10.12697/bjah.2022.24.01
Eero Kangor
The article is the first attempt to present the beginnings of Estonian professional art history in the 1920s in a regional and global context. The author strives to situate the University of Tartu (Dorpat) in the pan-European network of universities, where art history had gradually become regarded as a new discipline during and after the long 19th century. Art history is rooted in the Age of Enlightenment, with Johann Joachim Winckelmann retrospectively named the father of art history. But it was about a half century after his death that art history was incorporated into a general subject of aesthetics taught at universities. It took another fifty years for art history to become a separate discipline in the modern universities of Germany and Austria-Hungary, and another half century to receive a separate chair at the Estonian national university in Tartu. The development of art history as a discipline at the University of Tartu is analysed on a very granular level, based on primary sources from Estonian and Swedish archives. During the 19th century art and its history were used to the ends of national politics and in search of national identities. In Estonia, this was hindered by the activities of another ethnic group, the Baltic-Germans, who had been the ruling class in the Baltic provinces of the Russian Empire. The first professor of art history at the Estonian University of Tartu, Helge Kjellin, wanted to bridge the gap between Estonian and Baltic art history. He attempted to merge these two concepts and define the territorial concept of Estonian art from the Middle Ages to the beginning of the 20th century. He also defined this as a proper field of study for Estonian art historians. However, after his departure from Estonia, art history was neglected and irrelevant for the Estonian University and the Estonian Republic. Science and academic professions were regarded as a masculine field of activity until after the Second World War. Only the lack of men, who had died in the war, enabled women to start seeking a more equal place in the academic world worthy of their intellectual ability. Despite there being many capable female students among those who studied art history with Kjellin, the first female professor of art history in Estonia, Krista Kodres, was elected to the Estonian Academy of Arts only in 2003.
这篇文章是第一次尝试在区域和全球背景下呈现20世纪20年代爱沙尼亚专业艺术史的开端。作者努力将塔尔图大学(多尔帕特)置于泛欧大学网络中，艺术史在漫长的19世纪期间和之后逐渐被视为一门新学科。艺术史起源于启蒙时代，约翰·约阿希姆·温克尔曼被称为艺术史之父。但在他死后大约半个世纪，艺术史才被纳入大学里教授的一门一般的美学学科。艺术史又过了50年才在德国和奥匈帝国的现代大学中成为一门独立的学科，又过了半个世纪才在塔尔图的爱沙尼亚国立大学获得一个独立的讲席。塔尔图大学艺术史作为一门学科的发展是基于爱沙尼亚和瑞典档案的主要来源，在非常细致的层面上进行分析的。在19世纪，艺术及其历史被用于国家政治的目的和寻求国家身份。在爱沙尼亚，这受到另一个民族的活动的阻碍，即波罗的海日耳曼人，他们曾是俄罗斯帝国波罗的海各省的统治阶级。爱沙尼亚塔尔图大学(estonia University of Tartu)的第一位艺术史教授海尔格·凯林(Helge Kjellin)希望弥合爱沙尼亚和波罗的海艺术史之间的差距。他试图融合这两个概念，并定义从中世纪到20世纪初爱沙尼亚艺术的领土概念。他还将其定义为爱沙尼亚艺术史学家的合适研究领域。然而，在他离开爱沙尼亚之后，艺术史对爱沙尼亚大学和爱沙尼亚共和国来说被忽视了。直到第二次世界大战之后，科学和学术职业都被认为是男性的活动领域。正是由于男性在战争中死亡，女性才开始在学术界寻求一个与她们的智力能力相称的更平等的地位。虽然在与凯林一起学习艺术史的学生中有很多优秀的女学生，但爱沙尼亚第一位女艺术史教授克里斯塔·科德雷斯(Krista Kodres)直到2003年才被选入爱沙尼亚艺术学院。
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Pub Date : 2023-08-22DOI: 10.12697/bjah.2022.24.06
Kerttu Palginõmm
In 2020, two major exhibitions brought to Tallinn by the PhoebusFoundation, the largest private art collection in Belgium, opened atthe Art Museum of Estonia. While the exhibition at the KadriorgArt Museum exhibited numerous works from the Golden Age of theFlemish painting, the exhibition at the Niguliste Museum made theDymphna altarpiece from the Goossen van der Weyden workshop(ca 1505) its focus. The altarpiece was dismantled in the 19th centuryafter which the panel depicting the decapitation of Dymphna was lost.The exhibition was accompanied by a monograph reflecting on themajor topics connected to the Dymphna altarpiece and presentingthe results of the conservation work carried out between 2017 and2020. One of the aspects the book considers is the material culturerepresented in the Dymphna altarpiece.The clothing and textiles of the protagonists receive special attentionin the monograph, for example when questions such as if the garmentsworn by the princess and the king are fashionable or out of dateare raised. This article explores this question taking the portraitsof Habsburg and Castilian princesses painted in around 1500 andnot used for comparison in the monograph as its point of departure.In this paper I propose, that the clothing and accessories ofprincess Dymphna are modelled on the image of contemporaryHabsburg-Castilian princesses, and that such modelling has politicalimplications. The role of Antwerp as a merchant city must also notbe forgotten in this context, as the appearance of luxury objects in anartwork is in direct correlation with the city’s milieu of merchandise,luxury production, and the marketing of the city.
2020年，由比利时最大的私人艺术收藏菲布斯基金会(PhoebusFoundation)带到塔林的两场大型展览在爱沙尼亚艺术博物馆开幕。卡德里奥尔艺术博物馆的展览展出了许多佛兰德绘画黄金时代的作品，而尼古利斯博物馆的展览则把Goossen van der Weyden工作室(约1505年)的dymphna祭坛画作为重点。这幅祭坛在19世纪被拆除，之后描绘戴姆芙娜斩首的镶板也丢失了。展览还附有一本专著，反映了与戴姆芙娜祭坛相关的主要主题，并展示了2017年至2020年期间进行的保护工作的结果。书中考虑的一个方面是在戴姆弗纳祭坛所代表的物质文化。在这本专著中，主人公的服装和纺织品受到了特别的关注，例如，当提出诸如公主和国王宣誓穿的衣服是时尚还是过时之类的问题时。本文以1500年左右哈布斯堡和卡斯蒂利亚公主的肖像为出发点，探讨了这个问题，这些肖像在专著中没有用于比较。在这篇论文中，我提出，戴姆芙娜公主的服装和配饰是以当代哈布斯堡-卡斯蒂利亚公主的形象为模型的，这种模型具有政治含义。在这种背景下，安特卫普作为一个商业城市的角色也不能被遗忘，因为艺术品中奢侈品的出现与城市的商品环境、奢侈品生产和城市营销直接相关。
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