Baltic Journal of Art History最新文献

{"title":"Cultural and Artistic Dialogues in Galicia in the Second Half of the 20th Century","authors":"Maryan Besaha, Yuliya Babunych, Orest Holubets","doi":"10.12697/bjah.2022.24.04","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.04","url":null,"abstract":"The research aims to define the dialogical nature of culturaland artistic processes in the historical environment of late 20thcentury Galicia, and to determine a list of significant events, artistassociations, and personalities. The Research methodology is basedon the principles of combining the system approach with historicalprinciples, comparison, and synthesis. Historical and cultural, andformal-analytical, approaches with elements of comparative anddescriptive analysis are used.The mutual impact of policy and authorities on the artisticenvironment and education processes is analysed for the first time.The movement of individual artistic practices and artist unions asthe main factors shaping the artistic environment in Galicia in thesecond half of the 20th century is highlighted.We conclude that pressure from the communist totalitarianauthorities on the artistic community in Galicia, deportations,bullying, and isolation failed to destroy the structure of artisticdialogue. With changes in leadership and control vectors, cultural andartistic life searched for a unique form of expression, and Lviv (beinga centre of culture and education) played an important role in shapingmany new names that would later influence the environment. Afterthe collapse of the Soviet Union and the appearance of independentUkraine, the processes to rehabilitate artistic values, based onnational form and the dialogical form of the first third of the 20thcentury, took place. Artist unions and new galleries that appearedto cater to the needs of cultural and artistic life in Galicia becameinstrumental in developing new artistic ideas both in Ukraine andbeyond. Consideration of views and the importance of the creativityof individual artists and artist associations in cultural and artisticprocesses in late 20th century Galicia created the preconditions bywhich to determine the importance and patterns of social and politicalinfluences on the development of Ukrainian art in the 20th and 21stcenturies.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"6 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":"135717951","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}

{"title":"A Philosophical Eulogy for Ülo Matjus Who Knew How to Lead the Way","authors":"Margit Sutrop","doi":"10.12697/bjah.2022.24.07","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.07","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 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":"135717948","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}

{"title":"Wooden Manor Houses In Estonia 1700–1850: From Archaic Traditions to Modern Ideas","authors":"Elis Pärn","doi":"10.12697/bjah.2022.24.02","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.02","url":null,"abstract":"Estonian manorial architecture has been a topic of interest toarchitectural and art historians for the last hundred years, buthundreds of wooden manor houses, of which many still exist day,have largely remained unnoticed. The reason for this lack of researchinto wooden architecture are manifold but can most easily beassociated with socially complex relationships and previous researchmethods, resulting in the only monograph to date, Gustav Ränk’s Dieälteren baltischen Herrenhöfe in Estland (1971), which analysed woodenarchitecture in the 17th century, known in Estonia as the Swedishperiod. Since it is generally accepted that previous classificationsof wooden architecture do not allow for great conclusions, the aimof this article is to give an overview of the architectural genesis ofwooden manor houses during the manorial ‘golden era’, asking howmodern ideas made their way into local architecture. In this regard,this paper also deals with architectural treatises and handbooks fromthe 18th and early decades of the 19th centuries and the question ofthe adaptation of architectural theorists’ ideas to local architecture.The genesis of Estonian wooden manorial architecture can bedivided into three distinguished periods that are similar to the overalldevelopment of manorial architecture in the Baltics. Although thevery first wooden noble residences built at the beginning of the 18thcentury were small urbaltisch buildings with a central chimney thatresembled those built in the Swedish era, newer architectural formsmore in touch with the architectural trends of the time appearedon lands that had either escaped the negative consequences of theGreat Northern War and plague or had been donated by the Russianrulers. In other places, manorial architecture continued with thetraditions, which began to change more strongly in the second half ofthe century, reflecting the landlords’ greater need for representativepurposes. This not only brought changes to construction techniquesbut also to the buildings’ overall appearance: most wooden dwellingsdoubled in size and were decorated according to late Baroque orearly Neoclassical elements. More major changes took place in thefirst decades of the 19th century, which gave contemporaries a chanceto describe wooden dwellings as ‘light and summery’, testifying tochanges in building traditions.Since at this stage of research only a handful of building masters,masons and construction carpenters are known to have worked inthe building of wooden manor houses, this article suggests that thelandlords may also have drawn the ground plans themselves, with thehelp of architectural treatises and handbooks of the time. Althoughthe architectural ideas of Nikolaus Goldmann, Friedrich ChristianSchmidt and David Gilly are tangible, it is possible that in manycases the influence was more indirect and depended on the generalstylistic and technical changes of the period. This architecturalconservativism can partly be explained by the fact tha","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"38 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":"135717952","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}

{"title":"The Story of the Altarpiece of St Peter’s Church in Kõpu","authors":"Hilkka Hiiop, Reet Pius","doi":"10.12697/bjah.2022.24.05","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.05","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"178 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":"135718098","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}

{"title":"„Die vornehmsten Plätze und Gebäude, die in Danzig zu sehen sind“. Aegidius Dickmans Ansichten von Danzig 1617","authors":"L. O. Larsson","doi":"10.12697/BJAH.2020.20.03","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.03","url":null,"abstract":"The paper discusses a set of etchings depicting different buildingsin Gdansk (Danzig) and different parts of the city, first publishedin 1617. The artist was the little known Ægidius Dickman, active inGdánsk and probably also in the Netherlands in the first quarter ofthe 17th century. In the same year that these etchings were published,Dickman also finished a large birds-eye view of Gdánsk. The setof town views and the panorama were both republished by ClaesJanszoon Visscher in 1625.The author of the article discusses the relationship betweenDickman and Visscher and their collaboration on this project, aswell as their wider artistic relationship. Dickman seems to have beentrained in the Netherlands, the etchings proving his familiarity withVisscher´s topographical prints.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47812398","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}

{"title":"Three Sources of Michael Johann von der Borch’s Poem “The Sentimental Park of Varakļāni Palace”","authors":"Ojārs Spārītis","doi":"10.12697/BJAH.2020.20.04","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.04","url":null,"abstract":"History permits us to trace so-called Polish Inflanty, in the territoryof the former Kingdom of Poland and Lithuania, to the contemporaryRepublic of Latvia. In this case we are particularly interested in theestate of Warkland (Warklany, Varakļāni). The ensemble of manorand park is typical for large estates in Eastern Europe, including avillage and its infrastructure and a separate manor and park as aspatial, architectural, botanical and social entity.Originating from Baltic-German nobility, ‘Polonised’ countMichael Johann von der Borch-Lubeschitz und Borchhoff (1753–1810) was the son of a Chancellor of Poland and Lithuania. He wasa member of several academies of science, in Siena, Dijon and Lion,and penfriend of Voltaire and academicians in Russia and France.After researching the mineralogy of Italy, Sicily, France, Germany,England, the Netherlands and Switzerland M. J. von der Borch leftfor his estate in Varakļāni, the Polonised part of eastern Livonia,called Polish Inflanty. At this time he also composed literary worksand poems, among which is one remarkable piece of didactic andemblematic content “The Sentimental Park of Varakļāni Palace” (Jardinsentimental du château de Warkland dans le Comté de Borch en RussieBlanche, 1795). This poem illustrates in a passionate and classicalway an emblematic approach to contemporary political structures,and the goals of education in general. In Jardin sentimental, whichis a theoretical and didactic manual, Borsch describes, through themetaphor of the estate park of Warkland, the route of an imaginativehero, full of expectation and temptation.The main subject of the report is an analysis of the text of thepoem contextualised by history and contrasted with evidence fromcontemporary Warkland.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45593367","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}

{"title":"Looking Back at the Roots of University of Tartu’s Department of Art History","authors":"Juhan Maiste, Kadri Asmer","doi":"10.12697/BJAH.2020.20.00","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.00","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44680606","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}

{"title":"Utopia and Nostalgic Return","authors":"F. Thompson","doi":"10.12697/BJAH.2020.20.06","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.06","url":null,"abstract":"The term ‘traditional Japanese architecture’ often causes confusionbecause people want the architecture of a certain period to eithercontinue endlessly, or to be substituted by some kind of facsimile.This paper maintains that the roots of Japanese architecture continueand that these roots make themselves evident at times of upheavaland renewal.Japan consists of a number islands which have had periods ofisolation both internationally, and nationally from ‘political lockdown’within. And yet these periods of isolation have often produceda veritable zenith in the houses of what Bruno Taut called “thepeasants”, and the author has chosen to call ‘commoners (minka)’.One example this is the Japanese tea house, which came about at atime of heightened military dominance. Castles were the strongholdsof power complete with large rooms in which the rituals of statedemanded order by rank. Beside this show of power came the humbletea house, used for the simple tea ceremony, sometimes between as few as two people. \u0000The roots of this humble hut, if we can call itsuch, carried with it the same structural principles as the minka, orcommoner’s house. A non-loadbearing structure of post and lintelconstruction for the sole purpose of concentrating on “the sound ofboiling water”. Out of the dream of power came the need for humility.The warrior’s power lay in the control of space; the tea master’s in thecontrol of time. The architecture responds. The building is an event","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41913282","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}

{"title":"Artistic Genius versus the Hanse Canon from the Late Middle Ages to the Early Modern Age in Tallinn","authors":"Juhan Maiste","doi":"10.12697/BJAH.2020.20.02","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.02","url":null,"abstract":"In the article, the author examines one of the most outstanding andproblematic periods in the art history of Tallinn as a Hanseatic city,which originated, on the one hand, in the Hanseatic tradition andthe medieval approach to Gothic transcendental realism, and onthe other, in the approach typical of the new art cities of Flanders,i.e. to see a reflection of the new illusory reality in the pictures. Acloser examination is made of two works of art imported to Tallinnin the late 15th century, i.e. the high altar in the Church of the HolySpirit by Bernt Notke and the altarpiece of Holy Mary, whichwas originally commissioned by the Brotherhood of Blackheadsfor the Dominican Monastery and is now in St Nicholas’ Church.Despite the differences in the iconography and style of the twoworks, their links to tradition and artistic geography, which in thisarticle are conditionally defined as the Hanse canon, are apparentin both of them.The methods and rules for classifying the transition from theMiddle Ages to the Modern Era were not critical nor exclusive.Rather they included a wide range of phenomena on the outskirtsof the major art centres starting from the clients and ending with \u0000the semantic significance of the picture, and the attributes that wereemployed to the individual experiences of the different masters,who were working together in the large workshops of Lübeck, andsomewhat later, in Bruges and Brussels.When ‘reading’ the Blackheads’ altar, a question arises of threedifferent styles, all of them were united by tradition and the waythat altars were produced in the large workshops for the extensiveart market that stretched from one end of the continent to the other,and even further from Lima to Narva. Under the supervision ofthe leading master and entrepreneur (Hans Memling?) two othermasters were working side by side in Bruges – Michel Sittow, whowas born in Tallinn, and the Master of the Legend of Saint Lucywere responsible for executing the task.In this article, the author has highlighted new points of reference,which on the one hand explain the complex issues of attributionof the Tallinn Blackheads’ altar, and on the other hand, placethe greatest opus in the Baltics in a broader context, where, inaddition to aesthetic ambitions, both the client and the workshopthat completed the order, played an extensive role. In this way,identifying a specific artist from among the others would usuallyremain a matter of discussion. Tallinn was a port and a wealthycommercial city at the foregates of the East where it took decadesfor the spirit of the Renaissance to penetrate and be assimilated.Instead of an unobstructed view we are offered uncertain andoften mixed values based on what we perceive through the veil ofsemantic research.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47230248","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}

{"title":"The Bergholtz Collection: Architectural Drawings of the Palaces in Jelgava and Rundale from Nationalmuseum (Stockholm)","authors":"G. Smirnov, Tatyana Vyatchanina","doi":"10.12697/BJAH.2020.20.05","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.05","url":null,"abstract":"12 architectural drawings of two prominent palaces in Courland (now Latvia), namely in Mitau (Jelgava) and Ruhental (Rundale) are to be found in the Tessin-Hårleman Collection (THC) of Nationalmuseum in Stockholm, one of the most famous gatherings of architectural drawings in Europe. They are kept in the so called Bergholtz collection which is a part of THC. The drawings of two Courland palaces make this collection of special interest for the art of the Baltic region. Who was the creator of the collection, what was the reason to compile it and what other drawings are stored there – these are the first questions to be answered in this article. Friedrich Wilhelm von Bergholtz (1699–1771) is a well-known person in Russian history of the 18th century. Born in the German Duchy of Holstein, he made three long-term visits to the Russian empire during the first half of the century, spending about 15 years there in total. The first stay (1709–1714) was connected with his father’s military service for Peter the Great, as a general-lieutenant, who took part in the Northern war. In 1721–1727 Friedrich Wilhelm von Bergholtz stayed at the","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"20 1","pages":"145-172"},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45505260","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}