Baltic Journal of Art History最新文献

Baltic Journal of Art History Pub Date : 2023-10-25 DOI: 10.12697/bjah.2023.25.07

Anu Ormisson-Lahe

引用次数: 0

Baltic Journal of Art History Pub Date : 2023-10-25 DOI: 10.12697/bjah.2023.25.04

Roger Bowdler

{"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}

引用次数: 0

DATING THE NEWLY DISCOVERED CEILING PAINTING IN THE HOUSE OF ESTLAND’S NOBILITY IN TALLINN 确定塔林岛贵族住宅中新发现的天花板壁画的年代

Baltic Journal of Art History Pub Date : 2023-10-25 DOI: 10.12697/bjah.2023.25.02

Hilkka Hiiop, Alar Läänelaid, Hannes Vinnal

{"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}

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ON THE DEVELOPMENT OF HERITAGE SCIENCE IN ESTONIA 论爱沙尼亚遗产科学的发展

Baltic Journal of Art History Pub Date : 2023-10-25 DOI: 10.12697/bjah.2023.25.08

Lilian Hansar

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THE RENAISSANCE GARDEN AND ITS CONTRADICTIONS 文艺复兴时期的花园及其矛盾

Baltic Journal of Art History Pub Date : 2023-10-25 DOI: 10.12697/bjah.2023.25.03

Nele Nutt

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THE WORLD OF VASTSELIINA ESTATE IN 1913 1913年的瓦斯利纳庄园

Baltic Journal of Art History Pub Date : 2023-10-25 DOI: 10.12697/bjah.2023.25.05

Ojārs Spārītis

{"title":"THE WORLD OF VASTSELIINA ESTATE IN 1913","authors":"Ojārs Spārītis","doi":"10.12697/bjah.2023.25.05","DOIUrl":"https://doi.org/10.12697/bjah.2023.25.05","url":null,"abstract":"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.","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}

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URBAN SPACE AND CULTURAL ARCHETYPES 城市空间和文化原型

Baltic Journal of Art History Pub Date : 2023-10-25 DOI: 10.12697/bjah.2023.25.06

Kaisa Broner-Bauer

{"title":"URBAN SPACE AND CULTURAL ARCHETYPES","authors":"Kaisa Broner-Bauer","doi":"10.12697/bjah.2023.25.06","DOIUrl":"https://doi.org/10.12697/bjah.2023.25.06","url":null,"abstract":"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.","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}

引用次数: 0

Jean-Baptiste Du Bos: Reflections on Genius and Art 让-巴蒂斯特·杜博斯:天才与艺术的反思

Baltic Journal of Art History Pub Date : 2023-08-22 DOI: 10.12697/bjah.2022.24.03

Holger Rajavee

{"title":"Jean-Baptiste Du Bos: Reflections on Genius and Art","authors":"Holger Rajavee","doi":"10.12697/bjah.2022.24.03","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.03","url":null,"abstract":"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.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135717949","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}

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Art History as a New Discipline at the Estonian University in Tartu after the Long 19th Century 在漫长的19世纪之后，塔尔图爱沙尼亚大学作为一门新学科的艺术史

Baltic Journal of Art History Pub Date : 2023-08-22 DOI: 10.12697/bjah.2022.24.01

Eero Kangor

{"title":"Art History as a New Discipline at the Estonian University in Tartu after the Long 19th Century","authors":"Eero Kangor","doi":"10.12697/bjah.2022.24.01","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.01","url":null,"abstract":"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.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135717950","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}

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Saint Dymphna by Goossen van der Weyden – An Up-to-date Princess 古森·范·德·威登的圣戴芬——一位现代的公主

Baltic Journal of Art History Pub Date : 2023-08-22 DOI: 10.12697/bjah.2022.24.06

Kerttu Palginõmm

{"title":"Saint Dymphna by Goossen van der Weyden – An Up-to-date Princess","authors":"Kerttu Palginõmm","doi":"10.12697/bjah.2022.24.06","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.06","url":null,"abstract":"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.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135718097","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}

引用次数: 0