Pub Date : 2017-12-27DOI: 10.12697/BJAH.2017.14.04
G. Vogel
Carl Julius Senff was a talented artist with wide-ranging knowledge of art and architecture, who first received art lessons from his father Carl August Senff in Tartu. From 1823 to 1827, Carl Julius Senff studied philosophy at the University of Tartu and illustrated several publications while still a student. For example, in 1825 he published a textbook on perspective called Perspective fur Landschaftsmaler zum Selbststudium . Although Carl Julius Senff’s life was cut short, he was still able to travel extensively. In 1829, he travelled to Jena for three years where he acquired a doctoral degree in philosophy. His earliest drawings also date from this period and, based on them, we can also partially reconstruct the route of his travels. From Jena, he travelled to Prague, Vienna and Munich. In 1831, he travelled to Italy where he lived in Rome. The young artist and scholar was destined to become the new professor of architecture at the University of Tartu but, unfortunately, Carl Julius Senff fell ill during his last trip and died in Milan. The article is based to a great degree on unpublished archival documents as well as the personal correspondence of Carl Julius Senff and his father Carl August Senff.
卡尔·朱利叶斯·塞夫是一位才华横溢的艺术家，拥有广泛的艺术和建筑知识，他最初在塔尔图从他的父亲卡尔·奥古斯特·塞夫那里接受了艺术课。从1823年到1827年，卡尔·朱利叶斯·塞夫在塔尔图大学学习哲学，并在学生时代为几本出版物画了插图。例如，1825年，他出版了一本关于透视的教科书，名为《透视Landschaftsmaler zum Selbststudium》。虽然卡尔·朱利叶斯·塞夫的生命被缩短了，但他仍然能够广泛地旅行。1829年，他去耶拿旅行了三年，在那里他获得了哲学博士学位。他最早的画也是在这个时期画的，根据这些画，我们可以部分地重建他的旅行路线。从耶拿出发，他去了布拉格、维也纳和慕尼黑。1831年，他去意大利旅行，住在罗马。这位年轻的艺术家和学者注定要成为塔尔图大学的新任建筑教授，但不幸的是，卡尔·朱利叶斯·塞夫在最后一次旅行中病倒了，在米兰去世。这篇文章在很大程度上是基于未发表的档案文件，以及卡尔·朱利叶斯·塞夫和他的父亲卡尔·奥古斯特·塞夫的私人信件。
{"title":"Carl Julius Senff (1804–1832) – ein Kurzes Künstlerleben als Architekt, Zeichner und Grafiker","authors":"G. Vogel","doi":"10.12697/BJAH.2017.14.04","DOIUrl":"https://doi.org/10.12697/BJAH.2017.14.04","url":null,"abstract":"Carl Julius Senff was a talented artist with wide-ranging knowledge of art and architecture, who first received art lessons from his father Carl August Senff in Tartu. From 1823 to 1827, Carl Julius Senff studied philosophy at the University of Tartu and illustrated several publications while still a student. For example, in 1825 he published a textbook on perspective called Perspective fur Landschaftsmaler zum Selbststudium . Although Carl Julius Senff’s life was cut short, he was still able to travel extensively. In 1829, he travelled to Jena for three years where he acquired a doctoral degree in philosophy. His earliest drawings also date from this period and, based on them, we can also partially reconstruct the route of his travels. From Jena, he travelled to Prague, Vienna and Munich. In 1831, he travelled to Italy where he lived in Rome. The young artist and scholar was destined to become the new professor of architecture at the University of Tartu but, unfortunately, Carl Julius Senff fell ill during his last trip and died in Milan. The article is based to a great degree on unpublished archival documents as well as the personal correspondence of Carl Julius Senff and his father Carl August Senff.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"95-114"},"PeriodicalIF":0.1,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47196415","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 : 2017-12-27DOI: 10.12697/BJAH.2017.14.01
Kaur Alttoa
Vormsi is a small island that belonged to the Oesel-Wiek bishopric during the Middle Ages. There is a church on the island that is dedicated to St Olaf, the Norwegian king who was undoubtedly the most popular saint among the Scandinavians. A short article written by Villem Raam in the anthology Eesti Arhitektuur ( Estonian Architecture , 1996) is the only one worth mentioning that has appeared to date on the architectural history of the Vormsi church. The Vormsi church is comprised of a sanctuary and nave. Only the sanctuary was completed during the Middle Ages, and the stone nave was not completed until 1632. During the restoration of the church between 1989 and 1990, fragments were found of the foundation of the wooden church that predated the stone one. It is possible that the wooden church was utilised throughout the Middle Ages as a congregation room. Currently, it is believed that the Vormsi sanctuary was built during the 15th century. This dating is based on the pyramid-shaped vault consoles – a similar shape also appears in the chapel of the gate tower in the Padise Cistercian monastery. Actually, the Padise consoles have been reused. Their original location is unknown and their completion is impossible to date even within the time frame of a century. The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. Considering both the floor plan and the sculptured decorations, it is believable that the designers and builders of the Haapsalu Cathedral came from the Riga environs. Parnu is also on the Riga-Haapsalu route. Actually, two towns existed there during the Middle Ages. For a short time, Old-Parnu on the right bank of the river had been the centre of the Oesel-Wiek bishopric before Haapsalu. However, the left bank of the river was controlled by the Livonian Order. There is very little information about the Old-Parnu Cathedral that was completed around 1251 and destroyed by the Lithuanians in 1263. However, one thing is known – it also had a single-nave with three bays. There is no information about the design of the eastern wall of the cathedral. However, the sanctuary of St Nicholas’ Church in New-Parnu had an eastern niche similar to the one
{"title":"Anmerkungen zur Baugeschichte der St. Olaikirche auf Worms (Vormsi) im Bistum Ösel-Wiek (Saare-Lääne)","authors":"Kaur Alttoa","doi":"10.12697/BJAH.2017.14.01","DOIUrl":"https://doi.org/10.12697/BJAH.2017.14.01","url":null,"abstract":"Vormsi is a small island that belonged to the Oesel-Wiek bishopric during the Middle Ages. There is a church on the island that is dedicated to St Olaf, the Norwegian king who was undoubtedly the most popular saint among the Scandinavians. A short article written by Villem Raam in the anthology Eesti Arhitektuur ( Estonian Architecture , 1996) is the only one worth mentioning that has appeared to date on the architectural history of the Vormsi church. The Vormsi church is comprised of a sanctuary and nave. Only the sanctuary was completed during the Middle Ages, and the stone nave was not completed until 1632. During the restoration of the church between 1989 and 1990, fragments were found of the foundation of the wooden church that predated the stone one. It is possible that the wooden church was utilised throughout the Middle Ages as a congregation room. Currently, it is believed that the Vormsi sanctuary was built during the 15th century. This dating is based on the pyramid-shaped vault consoles – a similar shape also appears in the chapel of the gate tower in the Padise Cistercian monastery. Actually, the Padise consoles have been reused. Their original location is unknown and their completion is impossible to date even within the time frame of a century. The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. Considering both the floor plan and the sculptured decorations, it is believable that the designers and builders of the Haapsalu Cathedral came from the Riga environs. Parnu is also on the Riga-Haapsalu route. Actually, two towns existed there during the Middle Ages. For a short time, Old-Parnu on the right bank of the river had been the centre of the Oesel-Wiek bishopric before Haapsalu. However, the left bank of the river was controlled by the Livonian Order. There is very little information about the Old-Parnu Cathedral that was completed around 1251 and destroyed by the Lithuanians in 1263. However, one thing is known – it also had a single-nave with three bays. There is no information about the design of the eastern wall of the cathedral. However, the sanctuary of St Nicholas’ Church in New-Parnu had an eastern niche similar to the one ","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"7-36"},"PeriodicalIF":0.1,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44545246","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 : 2017-12-27DOI: 10.12697/BJAH.2017.14.02
Hilkka Hiiop
Regardless of its fragmentary and ruined condition, the painting find described in this article provides a small reference to what existed in the interiors of the Oisu Manor and affirmation of the fact that, as expected, the interior design corresponds to the splendour of the manor’s exterior form. The complete design of the room admittedly cannot be reconstructed on the basis of what has survived, yet the work of conservators has made it possible to read that which has survived. The analogies provided in the article and the imagination of the spectator make it possible for each individual to create his/her own picture of what the original whole of the spatial design once looked like.
{"title":"The Glittering Gold of the Paintings in the Great Hall of Õisu Manor’s Main Building","authors":"Hilkka Hiiop","doi":"10.12697/BJAH.2017.14.02","DOIUrl":"https://doi.org/10.12697/BJAH.2017.14.02","url":null,"abstract":"Regardless of its fragmentary and ruined condition, the painting find described in this article provides a small reference to what existed in the interiors of the Oisu Manor and affirmation of the fact that, as expected, the interior design corresponds to the splendour of the manor’s exterior form. The complete design of the room admittedly cannot be reconstructed on the basis of what has survived, yet the work of conservators has made it possible to read that which has survived. The analogies provided in the article and the imagination of the spectator make it possible for each individual to create his/her own picture of what the original whole of the spatial design once looked like.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"37-52"},"PeriodicalIF":0.1,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42926273","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 : 2017-12-27DOI: 10.12697/BJAH.2017.14.03
G. Vogel
Carl August Senff is among the most important artists of Academic Neoclassicism in the Baltic region. As drawing master at the University of Tartu, he conveyed the artistic experience he had acquired, primarily during his years in Saxony in Leipzig and Dresden, to a significant number of students. In this way, Senff established the basis for the independent development of the arts in Estonia. This essay examines Senff’s early artistic roots in Germany and draws attention to the close, personal relations with his artist friends who served as a fundamental source, guiding light, and creative impulse for his own drawing and painting throughout his life. Senff’s stylistic development began with a sentimental neoclassicism that gradually transformed into Biedermeier realism. Portraits and landscapes in various techniques were Senff’s preferred genres, especially as graphic prints. Senff’s mastery of the new technique of lithography became an important model for his many students.
{"title":"Carl August Senff (1770–1838) im Kontext der Deutschen Kunst und sein Wirken in Tartu (Dorpat)","authors":"G. Vogel","doi":"10.12697/BJAH.2017.14.03","DOIUrl":"https://doi.org/10.12697/BJAH.2017.14.03","url":null,"abstract":"Carl August Senff is among the most important artists of Academic Neoclassicism in the Baltic region. As drawing master at the University of Tartu, he conveyed the artistic experience he had acquired, primarily during his years in Saxony in Leipzig and Dresden, to a significant number of students. In this way, Senff established the basis for the independent development of the arts in Estonia. This essay examines Senff’s early artistic roots in Germany and draws attention to the close, personal relations with his artist friends who served as a fundamental source, guiding light, and creative impulse for his own drawing and painting throughout his life. Senff’s stylistic development began with a sentimental neoclassicism that gradually transformed into Biedermeier realism. Portraits and landscapes in various techniques were Senff’s preferred genres, especially as graphic prints. Senff’s mastery of the new technique of lithography became an important model for his many students.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"53-93"},"PeriodicalIF":0.1,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49342898","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 : 2017-12-27DOI: 10.12697/BJAH.2017.14.06
Risto Paju
The article examines whether an 18th century man of letters in Tallinn might use (exotic plants) to design his living environment and spend his free time growing them and how he would do this. It is only possible to speculate about the answers. The inventory compiled in 1766 for the assets of Heinrich Benjamin Hessler, rector and technology professor at Tallinn Secondary School, includes many entries related to gardening, which may allude to his interest in gardening. Therefore, he has been chosen as the main character for this article. It turns out that gardening could be the part of the life of an 18th century man of letters with a focus on both the beauty and practical aspects. Considering the fact that travelling and visiting exotic places was not an everyday occurrence, growing exotic plants helped to make one’s living environment more interesting, diverse and also fulfilled educational goals. Based on the inventory, it seems that Professor Hessler was sufficiently wealthy to spend his resources on such a luxury. In addition, gardening was a way of relaxing and provided a respite from intensive intellectual work.
这篇文章考察了18世纪塔林的一个文人是否会使用(外来植物)来设计他的生活环境，并在空闲时间种植它们，以及他将如何做到这一点。我们只能猜测答案。1766年，塔林中学(Tallinn Secondary School)校长兼技术教授海因里希·本杰明·赫斯勒(Heinrich Benjamin Hessler)编制了一份资产清单，其中包括许多与园艺有关的条目，这可能暗示了他对园艺的兴趣。因此，他被选为本文的主角。事实证明，园艺可能是18世纪注重美观和实用的文人生活的一部分。考虑到旅行和参观异国情调的地方并不是每天都发生的事情，种植异国情调的植物有助于使一个人的生活环境更加有趣，多样化，也实现了教育目标。根据这份清单，何伟教授似乎足够富有，可以把他的资源花在这样一件奢侈品上。此外，园艺是一种放松的方式，可以让人从密集的脑力工作中得到喘息。
{"title":"Mit dem Professor in den Garten. Mit dem Garten verbundene Gegenstände und Bücher im Nachlassverzeichnis des 1766 verstorbenen Professors des Gymnasiums zu Reval (Tallinn) Heinrich Benjamin Hessler","authors":"Risto Paju","doi":"10.12697/BJAH.2017.14.06","DOIUrl":"https://doi.org/10.12697/BJAH.2017.14.06","url":null,"abstract":"The article examines whether an 18th century man of letters in Tallinn might use (exotic plants) to design his living environment and spend his free time growing them and how he would do this. It is only possible to speculate about the answers. The inventory compiled in 1766 for the assets of Heinrich Benjamin Hessler, rector and technology professor at Tallinn Secondary School, includes many entries related to gardening, which may allude to his interest in gardening. Therefore, he has been chosen as the main character for this article. It turns out that gardening could be the part of the life of an 18th century man of letters with a focus on both the beauty and practical aspects. Considering the fact that travelling and visiting exotic places was not an everyday occurrence, growing exotic plants helped to make one’s living environment more interesting, diverse and also fulfilled educational goals. Based on the inventory, it seems that Professor Hessler was sufficiently wealthy to spend his resources on such a luxury. In addition, gardening was a way of relaxing and provided a respite from intensive intellectual work.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"129-139"},"PeriodicalIF":0.1,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44368945","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 : 2017-12-27DOI: 10.12697/BJAH.2017.14.08
Liina Lukas
Das IX. Internationale Symposium zur baltischen literarischen Kultur fand vom 4.–6. September 2017 in Tartu statt. Veranstaltet im Zusammenarbeit der Institute fur Kulturwissenschaften und Kunste sowie fur Fremdsprachen und Kulturen der Universitat Tartu.
{"title":"IX. Internationales Symposium zur baltischen literarischen Kultur: Medien der Aufklärung. Aufklärung der Medien","authors":"Liina Lukas","doi":"10.12697/BJAH.2017.14.08","DOIUrl":"https://doi.org/10.12697/BJAH.2017.14.08","url":null,"abstract":"Das IX. Internationale Symposium zur baltischen literarischen Kultur fand vom 4.–6. September 2017 in Tartu statt. Veranstaltet im Zusammenarbeit der Institute fur Kulturwissenschaften und Kunste sowie fur Fremdsprachen und Kulturen der Universitat Tartu.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"155-163"},"PeriodicalIF":0.1,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46060556","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 : 2017-12-27DOI: 10.12697/BJAH.2017.14.05
Merike Kurisoo, A. Põldvee
The epitaph donated by Hans and Jaan, two peasants from Turi parish, is evidence of the acceptance of ecclesiastic values and religious devotion among the Estonian peasantry. Other examples of this tendency from the Swedish era also exist. For instance, the grand wheel crosses, typical for North Estonia, that were once located in the Turi churchyard; and a chandelier (1659) donated by a peasant in the Keila church, the size of which exceeds those gifted by manor lords. From a later period, the stained-glass coats of arms of the peasantry in the Ilumae chapel (1729) are also an example of this heightened sense of self-awareness and its display in houses of worships. Along with the hundreds and hundreds of works donated to churches by nobles, the epitaph painting depicting the Adoration of the Shepherds is a rare example of a painting gifted to a church by farmers, which also commemorates them. Hans and Jaan have now earned a place in Estonian (art) history: the pictures of the two simple men are the first known portraits of peasants whose names we know.
{"title":"The Appearance of Hans and Jaan. A 17th Century Epitaph Painting Donated by Estonian Peasants","authors":"Merike Kurisoo, A. Põldvee","doi":"10.12697/BJAH.2017.14.05","DOIUrl":"https://doi.org/10.12697/BJAH.2017.14.05","url":null,"abstract":"The epitaph donated by Hans and Jaan, two peasants from Turi parish, is evidence of the acceptance of ecclesiastic values and religious devotion among the Estonian peasantry. Other examples of this tendency from the Swedish era also exist. For instance, the grand wheel crosses, typical for North Estonia, that were once located in the Turi churchyard; and a chandelier (1659) donated by a peasant in the Keila church, the size of which exceeds those gifted by manor lords. From a later period, the stained-glass coats of arms of the peasantry in the Ilumae chapel (1729) are also an example of this heightened sense of self-awareness and its display in houses of worships. Along with the hundreds and hundreds of works donated to churches by nobles, the epitaph painting depicting the Adoration of the Shepherds is a rare example of a painting gifted to a church by farmers, which also commemorates them. Hans and Jaan have now earned a place in Estonian (art) history: the pictures of the two simple men are the first known portraits of peasants whose names we know.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"117-128"},"PeriodicalIF":0.1,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47995381","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 : 2017-10-09DOI: 10.12697/BJAH.2017.13.10
Kadri Asmer
In 2015, the correspondence of Professor of Art History Armin Tuulse (1907–1977) and his wife Liidia Tuulse (1912–2012), which dates back to 1944 when the family escaped to Sweden, arrived at the Estonian Literary Museum. A significant part of the archive is comprised of the correspondence between the spouses, along with frequent contacts with exile Estonian cultural figures and Armin Tuulse’s work-related communications with colleagues in Europe, the U.S. and Australia. The main objective of this article is to take a first look at the material and highlight the main points of emphasis in the correspondence of the exile Estonians in the 1940s and 1950s. At that time, the main issue (in addition to worries about everyday hardships and living conditions) was related to the continuation of their work and keeping Estonian culture alive in a foreign cultural and linguistic space. In order to understand Armin Tuulse’s position in Sweden, the article also takes a look back onto his activities in the Department of Art History of the University of Tartu in the 1930s and 1940s, when Sten Karling (1906–1987) from Sweden came to teach in Tartu. Under Karling’s guidance, Tuulse became a dedicated scholar and later the first Estonian to become a professor of art history.
{"title":"Letters from the Past: Armin Tuulse’s Archive in Tartu","authors":"Kadri Asmer","doi":"10.12697/BJAH.2017.13.10","DOIUrl":"https://doi.org/10.12697/BJAH.2017.13.10","url":null,"abstract":"In 2015, the correspondence of Professor of Art History Armin Tuulse (1907–1977) and his wife Liidia Tuulse (1912–2012), which dates back to 1944 when the family escaped to Sweden, arrived at the Estonian Literary Museum. A significant part of the archive is comprised of the correspondence between the spouses, along with frequent contacts with exile Estonian cultural figures and Armin Tuulse’s work-related communications with colleagues in Europe, the U.S. and Australia. The main objective of this article is to take a first look at the material and highlight the main points of emphasis in the correspondence of the exile Estonians in the 1940s and 1950s. At that time, the main issue (in addition to worries about everyday hardships and living conditions) was related to the continuation of their work and keeping Estonian culture alive in a foreign cultural and linguistic space. In order to understand Armin Tuulse’s position in Sweden, the article also takes a look back onto his activities in the Department of Art History of the University of Tartu in the 1930s and 1940s, when Sten Karling (1906–1987) from Sweden came to teach in Tartu. Under Karling’s guidance, Tuulse became a dedicated scholar and later the first Estonian to become a professor of art history.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"13 1","pages":"219-246"},"PeriodicalIF":0.1,"publicationDate":"2017-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2017.13.10","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46959235","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 : 2017-10-09DOI: 10.12697/BJAH.2017.13.02
Kaur Alttoa
The rediscovery of the Viljandi Castle, which was totally destroyed during the Great Northern War, occurred between 1878 and 1879, when extensive excavations were conducted under the direction and guidance of Theodor Schiemann (1847–1921). The real sensation revealed by the excavations at the time was the discovery of numerous carved construction details. Most of them were column capitals or bases. These have been attributed to the main castle, which was a convent building typical of the Teutonic Order. This type of castle was developed in Prussia between ca 1280 and 1300, and its “classic” form spread between 1300 and 1330, during approximately the same half century as the Viljandi convent building was built. Some of the Viljandi column capitals have figural decorations and oak leaves are most common. There is also a large capital with naturalistic grape leaves, which comes from a cloister and was completed in the late 13th century. Apparently, the convent building was being constructed at that time. However, most of the capitals are much more archaic. Some of the motifs are typical of the Romanesque style. But the most common are the so-called “bud capitals” typical of the Early Gothic style. Basically such decorations became popular in Old Livonia in the 1250s and 1260s. In any case, it is clear that a large number of the capitals were carved when the convent-type castles had yet to develop. In the past, I have alluded to the possibility that there was a large richly decorated structure in Viljandi which was demolished to build the convent building. However, this is extremely unlikely. Although an archaeological study has not been made of the entire area of Viljandi’s main castle, it is hard to identify a place where such a large-scale building could have existed. Therefore, the possibility should be considered that some of the caitals were brought from elsewhere. We should also turn our attention to the fact that there are numerous capitals and bases for paired columns. Heretofore, it has been assumed that they had been used to decorate the windows of the chapel and capital hall in the northern wing of the main castle. Actually they originate from a structure which had an open gallery or cloister. However, this would mean that there was a very richly decorated structure in 13th century Old Livonia that was demolished less than 50 years after it was built, and the ruins were dispersed. There were very few such structures in Old Livonia at the time. However, one such case does exist, and it is not far from Viljandi – namely the Old Parnu Cathedral. The main church of the Oesel–Wiek bishopric in Old Parnu was completed in the early 1250s. Based on written records, we know that there was a capital hall, refectory and dormitory for the cathedral chapter house. This spatial plan also alludes to the existence of a cloister. The Old Parnu Cathedral was destroyed by the Lithuanians in 1263. Later, the ruins of the cathedral were reconstructed into a p
{"title":"Die Kapitelle der Ordensburg Fellin (Viljandi) – Dinge aus zweiter Hand aus Alt-Pernau (Vana-Pärnu)?","authors":"Kaur Alttoa","doi":"10.12697/BJAH.2017.13.02","DOIUrl":"https://doi.org/10.12697/BJAH.2017.13.02","url":null,"abstract":"The rediscovery of the Viljandi Castle, which was totally destroyed during the Great Northern War, occurred between 1878 and 1879, when extensive excavations were conducted under the direction and guidance of Theodor Schiemann (1847–1921). The real sensation revealed by the excavations at the time was the discovery of numerous carved construction details. Most of them were column capitals or bases. These have been attributed to the main castle, which was a convent building typical of the Teutonic Order. This type of castle was developed in Prussia between ca 1280 and 1300, and its “classic” form spread between 1300 and 1330, during approximately the same half century as the Viljandi convent building was built. Some of the Viljandi column capitals have figural decorations and oak leaves are most common. There is also a large capital with naturalistic grape leaves, which comes from a cloister and was completed in the late 13th century. Apparently, the convent building was being constructed at that time. However, most of the capitals are much more archaic. Some of the motifs are typical of the Romanesque style. But the most common are the so-called “bud capitals” typical of the Early Gothic style. Basically such decorations became popular in Old Livonia in the 1250s and 1260s. In any case, it is clear that a large number of the capitals were carved when the convent-type castles had yet to develop. In the past, I have alluded to the possibility that there was a large richly decorated structure in Viljandi which was demolished to build the convent building. However, this is extremely unlikely. Although an archaeological study has not been made of the entire area of Viljandi’s main castle, it is hard to identify a place where such a large-scale building could have existed. Therefore, the possibility should be considered that some of the caitals were brought from elsewhere. We should also turn our attention to the fact that there are numerous capitals and bases for paired columns. Heretofore, it has been assumed that they had been used to decorate the windows of the chapel and capital hall in the northern wing of the main castle. Actually they originate from a structure which had an open gallery or cloister. However, this would mean that there was a very richly decorated structure in 13th century Old Livonia that was demolished less than 50 years after it was built, and the ruins were dispersed. There were very few such structures in Old Livonia at the time. However, one such case does exist, and it is not far from Viljandi – namely the Old Parnu Cathedral. The main church of the Oesel–Wiek bishopric in Old Parnu was completed in the early 1250s. Based on written records, we know that there was a capital hall, refectory and dormitory for the cathedral chapter house. This spatial plan also alludes to the existence of a cloister. The Old Parnu Cathedral was destroyed by the Lithuanians in 1263. Later, the ruins of the cathedral were reconstructed into a p","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"13 1","pages":"11-38"},"PeriodicalIF":0.1,"publicationDate":"2017-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2017.13.02","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45865945","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 : 2017-10-09DOI: 10.12697/BJAH.2017.13.07
Reet Pius
The 1772 cemetery reform of Catherine the Great, Empress of Russia, resulted in great changes in the cemetery culture of Russia’s Baltic provinces. The ban on burials in churches and the vicinity of churches resulted in the rapid development of cemetery parks outside of settlements. The strong political relations of Estonia’s manor owners with the Russian central government resulted in the nobles being given the privilege to establish burial plots in the churchyards, but in Livonia, this was strictly prohibited. Simultaneously with the parish cemeteries, the owners of private manors established family cemeteries on their manors. The new cemeteries were not only places to bury the dead, but, inspired by contemporary poets, they were seen as family altars, which were visited regularly and which was accessed by path that was attuned to contemplation. The cemetery is complex, which includes a garden, chapel and allee, and if possible, a body of water. Noble trees were planted along the path leading to the cemetery. Oaks were preferred, which due their mighty shape were considered to be the symbol of family and nobility. Influenced by the poetry of the Enlightenment, evergreens – silver firs, thuja trees, and spruces – were called “sad trees”. The French poet Jacques Delille, whose works were popular among the Baltic Germans, sees women as mourners. And many family cemeteries were established at the initiative of women. Examples of Ancient Greek architecture, in the form of temples with porticos or antas, or the small-scale copies of the Pantheon from Ancient Rome, dominated in cemetery architecture. The chapel was comprised of underground burial chambers and above-ground memorials. A so-called memorial altar was located in the end wall of the chapel, which have survived until the present day in a few places. The Barclay de Tolly monument is the most majestic in Estonia. Already in the 1830s, the family chapels became memorials and burials no longer took place there. However, chapels continued to be built until in Estonia until the early 20th century.
{"title":"Familienkapellen auf dem Kirchhof und dem Gutshoffriedhof","authors":"Reet Pius","doi":"10.12697/BJAH.2017.13.07","DOIUrl":"https://doi.org/10.12697/BJAH.2017.13.07","url":null,"abstract":"The 1772 cemetery reform of Catherine the Great, Empress of Russia, resulted in great changes in the cemetery culture of Russia’s Baltic provinces. The ban on burials in churches and the vicinity of churches resulted in the rapid development of cemetery parks outside of settlements. The strong political relations of Estonia’s manor owners with the Russian central government resulted in the nobles being given the privilege to establish burial plots in the churchyards, but in Livonia, this was strictly prohibited. Simultaneously with the parish cemeteries, the owners of private manors established family cemeteries on their manors. The new cemeteries were not only places to bury the dead, but, inspired by contemporary poets, they were seen as family altars, which were visited regularly and which was accessed by path that was attuned to contemplation. The cemetery is complex, which includes a garden, chapel and allee, and if possible, a body of water. Noble trees were planted along the path leading to the cemetery. Oaks were preferred, which due their mighty shape were considered to be the symbol of family and nobility. Influenced by the poetry of the Enlightenment, evergreens – silver firs, thuja trees, and spruces – were called “sad trees”. The French poet Jacques Delille, whose works were popular among the Baltic Germans, sees women as mourners. And many family cemeteries were established at the initiative of women. Examples of Ancient Greek architecture, in the form of temples with porticos or antas, or the small-scale copies of the Pantheon from Ancient Rome, dominated in cemetery architecture. The chapel was comprised of underground burial chambers and above-ground memorials. A so-called memorial altar was located in the end wall of the chapel, which have survived until the present day in a few places. The Barclay de Tolly monument is the most majestic in Estonia. Already in the 1830s, the family chapels became memorials and burials no longer took place there. However, chapels continued to be built until in Estonia until the early 20th century.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"13 1","pages":"131-164"},"PeriodicalIF":0.1,"publicationDate":"2017-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2017.13.07","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43624200","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：