Baltic Journal of Art History最新文献

{"title":"Phenomenological alma mater. Borders of the Visible and the Invisible in Heritage Protection","authors":"Juhan Maiste","doi":"10.12697/295","DOIUrl":"https://doi.org/10.12697/295","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2017-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47327240","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":"“Das Bild hat einigen historischen Werth und deshalb wird es vielleicht ausgestellt …“ Zum Ausstellungsdebüt Julie Hagens in München: Das Porträt des Freundes und Mentors Moritz Rugendas","authors":"Christin Conrad","doi":"10.12697/BJAH.2016.12.03","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.03","url":null,"abstract":"The article deals with an encounter between Julie Hagen Schwarz, a Baltic German artist (1824–1902), and the Ausburg artist Moritz Rugendas (1802–1858), which was of great importance for the former, while she was studying in Munich around 1850. It also deals with the first presentation of her work in the Munich artist community, which resulted from cooperation with and promotion by Rugendas. Special attention is paid to the history of Hagen’s “Portrait of Moritz Rugendas in Brasilian Costume”, which originated from the artist’s close cooperation with the master Rugendas. Its presentation in the Munich and Augsburg Art Associations (Kunstverein) in October 1849 and May 1850 and the effect this had on the artistic career of Julie Hagen is examined. From this moment on, her works were discussed by colleagues and important personalities. She received many portrait commissions and her works were shown at several exhibitions in Munich and Augsburg. A discussion on the whereabouts of the still lost original painting and the provenance and authorship of a smaller copy in the collection of the Kadriorg Museum in Tallinn, which until now was identified as a “Self-Portrait” by Moritz Rugendas, follows. The attribution and the provenance of the preserved work from the Liphart collection are considered, along with the source texts, which suggest that Julie Hagen was the author and a correction of the attribution is in order. The collected findings published here were developed from the preserved letters of Julie Hagen, which, as rich and unique source material, show the artistic career of the painter. As a representative of her generation of female artists, it also provides an insight into the social context and educational situation of ambitious female painters around 1850. In connection with the correct attribution, the art-history investigation and positioning of the artist in the art community, it is hoped that the uncertainty that currently exists when evaluating the artistic performance of female painters and the low status assigned to them in exhibitions and the acquisition policy of museums will give way to growing interest, understanding and greater recognition.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"29-58"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.12.03","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669477","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":"Johann Caspar Lavater in Estland. Über seinen Einfluss, einige Portraits und einige Gedanken über die Portraitkunst","authors":"Tiina-Mall Kreem","doi":"10.12697/BJAH.2016.12.02","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.02","url":null,"abstract":"The article focuses on Johann Caspar Lavater (1741–1801), the Enlightenment-era thinker, pastor and writer, art collector and physiognomist, whose work and activities affected thinking from Zurich to America and Russia, including the Baltic countries. Of Lavater’s Estonian acquaintances, Johann Burchard VII, the Tallinn Town Council pharmacist, is the one that primarily emerges from the article. The famous Swiss maintained a correspondence with the latter for over ten years, and in 1792, gifted him a miniature portrait of himself (now in the Estonian History Museum). In addition to the miniature portrait after Johann Heinrich Lips (?), there were two graphic portraits of Lavater in Estonia that were associated with Georg Friedrich Schmoll (Tallinn City Museum, University of Tartu Library) as well as a masterful oil portrait by August Friedrich Olenhainz (Art Museum of Estonia’s Kadriorg Art Museum). The article examines all of these against the background of Lavater’s successful book of the day “Physiognomische Fragmente zur Beforderung der Menschenkenntnis und Menschenliebe” (“Physiognomic Fragments for Furthering the Knowledge and Love of Man”, 1775–1778) and in regard to Lavater’s discussions about people and the art of portraiture. An attempt is made thereby to see Enlightenment-era portrait art through the eyes of Enlightenment-era people – Lavater and his audience. While the author of the article is convinced of the impact of Lavater’s physiognomic research on the portraiture of the day (on the artists, clients, viewers) and also more indirectly on the history of art, she emphasis that, for Lavater, portrait art was primarily a tool for his physiognomic research and even if Lavater’s teachings lost their popularity after his death and were relegated to the periphery of science, Lavater should not be excluded from the history of art and culture in the Baltic countries.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"9-28"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.12.02","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669425","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 Familie v. Liphart im Spiegel ihres Archivs im Herder-Institut Marburg","authors":"Dorothee M. Goeze","doi":"10.12697/BJAH.2016.12.04","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.04","url":null,"abstract":"The article introduces the archive of the von Lipharts, a noble Baltic German family, stored in the document collection of the Herder Institute in Marburg (DSHI). The von Lipharts and their Raadi Manor near Tartu were of great importance to Baltic cultural history, and the archive reflects their role in the politics, economy and cultural life of Livonia, as well as the family’s subsequent status. A more in-depth presentation is made of the various materials in the archive that are related to the communications and activities of the Liphart family related to culture and art. In addition to describing the development and character of the family archive at the Herder Institute, the article also provides a survey of the historiography of the Liphart family and the latest research based on the collections in the archive.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"61-72"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.12.04","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669488","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":"Aus Dorpat (Tartu) nach Italien und zurück. Über die Bildungsreise Woldemar Friedrich Krügers vermittelt durch die an Karl Eduard von Liphart von 1832 bis 1834 gesandten Briefe","authors":"Ingrid Sahk","doi":"10.12697/BJAH.2016.12.05","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.05","url":null,"abstract":"The article accompanies the comments and publication of letters written by an Estonian artist Woldemar Friedrich Kruger to his friend Karl Eduard von Liphart, an art collector and expert from Munich between 1832–1834. The main intention of the author has been to provide the reader with the necessary short biography of the Woldemar Kruger and to contextualize the years in which the letters were written. Also the paper aims to open up some subjects and keywords that occur in the letters sent by Kruger to Liphart. The letters that are deposited in the Herder Institute Dokumentesammlung (DSHI) illustrate the early years in the lives of Kruger and Liphart when they both were in their twenties and only in the very beginning with their professional career. Artist Kruger, who was able to study and travel abroad only with the help of the Lipharts family, was especially interested in acquiring technical skills in lithography and encaustic (wax painting). The letters from Munich reveal us a very practically minded and careful personality as Kruger even hesitates before travelling to Italy being afraid that it could lead him away from his routine and practicing. Unfortunately, the letters do not prove whether Kruger attended any official and regular art course during his stay in Munich. However, the letters add valuable information about the developing years of both of the artist Woldemar Kruger and art connoisseur Karl Eduard von Liphart. The correspondence enables us to have a glance at the ideas and acquaintances that they shared and how studying abroad could look like in the 19th century.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"73-110"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669522","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":"Review: “Take Heart, Dear Julie!” – Moritz Rugendas and Painter Julie Hagen Schwarz","authors":"Kadi Polli","doi":"10.12697/BJAH.2016.12.10","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.10","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"161-168"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.12.10","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669666","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":"Ein Fund in der Museumssammlung. Ein Heiliger Jakobus aus Kalkstein in der Sammlung behauener Steine des Tallinner (Revaler) Stadtmuseums","authors":"Risto Paju","doi":"10.12697/BJAH.2016.12.07","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.07","url":null,"abstract":"The Collection of Ashlars at the Tallinn City Museum includes a sculpture that stands 52.5 cm tall and is hewn from Lasnamagi limestone (Abb. 1). It depicts a slender man in a long robe, with a staff and travel bag around his neck. The statue has been seriously damaged. In addition to the broken front, its head is also missing – all that has survived is part of its beard. The goal of the article is to more closely examine the sculpture, which has not received any attention to date, in order to determine who it depicts, where it could be been located, and examine the surviving traces of paint. The primary motivation for writing the article is the fact that very few medieval three-dimensional stone sculptures have survived in Estonia. Also, this figure has not been dealt with or even mentioned in earlier writings. It can be said that, regardless of the damage it has suffered, the sculpture is complete enough to determine who is depicted. As stated above, the man has a walking stick or staff in his right hand and, based on the surviving fragments, a book in his right hand. On the partially surviving bag, we see the image of a scallop (Abb. 2). The staff and scallop tell us that this is a figure of St James. The sculpture is gothic in style, and based thereon, it can be dated back to the 15th or early 16th century. The sculptural material – Lasnamagi limestone – arouses attention. Where was this sculpture to be placed? We cannot dismiss the fact that the figure of the saint comes from a sacral building, but there could also have been saints in residential buildings, for example, on exterior facades or somewhere indoors. In summary, one must admit that the original location of the sculpture can only be speculated upon and definite answers are not possible. However, what is certain is that this is the work of a skilled master. Regardless of the fact that Lasnamagi limestone is not the best sculptural material, the work is finely hewn and well-proportioned. The sculpture is now on display in the new Estonian National Museum building.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"125-139"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.12.07","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669209","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":"Friedrich Ludwig von Maydells Brief aus Rom vom Jahr 1823","authors":"Moonika Teemus","doi":"10.12697/BJAH.2016.12.06","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.06","url":null,"abstract":"The article studies a letter from Friedrich Ludwig von Maydell (1795– 1846), the most renowned representative of Romanticism in Estonia, to his uncle Otto Christian Sigismund von Ungern-Sternberg (1778–1861), written in Rome at the beginning of the year 1823. It was the turning point in Maydell’s life when he had decided to give up the studies in law at the University of Tartu and to devote himself to art. For this reason, Maydell like many of his contemporaries travelled to Rome. In his letter, now preserved in the National Archives in Tartu, Maydell describes his everyday life in Rome and the efforts he has made to “follow his true path”. Additionally, it appears that it was the founder and leader of the Nazarene movement, Johann Friedrich Overbeck (1789–1869), who played an influential role in Maydell’s decision about whether or not to become an artist.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"111-122"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669606","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 Devil and King David in Pilistvere","authors":"Anneli Randla","doi":"10.12697/BJAH.2016.12.08","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.08","url":null,"abstract":"St Andrew’s in Pilistvere is a typical late 13th century stone church in central Estonia.1 Its majestic but relatively plain architecture gives the church a certain feeling of serene dignity. The few decorative elements of the northern portal and the corbels in the nave are exceptional in the architectural sculpture of medieval Livonia (present-day Estonia and Latvia). The partly damaged imposts of the portal bear the depictions of a dragon on the left hand side and a man in the grip of a devil on the right hand side (Fig. 1). The message about the dangers of the worldly life as opposed to the safety of the sacred space is very clear. Inside the church, most corbels have foliage decoration but the one to the right of the triumphal arch is different. Although it has been badly damaged, the iconography can still be worked out: here Samson, the hero of the Old Testament is shown breaking the pillar of the temple of the Philistines, which he demolished after having been tricked by Delilah.2 Here again the medieval congregation was reminded of earthly vices and divine intervention. None of the medieval furnishings have survived in the church. Luckily, the 17th century wooden pulpit of the post-Reformation interior still adorns the triumphal arch. The polygonal pulpit is decorated with the","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"141-150"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.12.08","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669833","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":"Additions to Manor Murals with Themes of Antiquity in Estonia: Aruküla","authors":"Hilkka Hiiop","doi":"10.12697/BJAH.2016.12.09","DOIUrl":"https://doi.org/10.12697/BJAH.2016.12.09","url":null,"abstract":"The Aruküla Manor was founded in the second half of the 17th century. Its owners were among the most outstanding noble families in Estonia – from the middle of the 18th century, the manor belonged to von Knorrings, along with the Ervita, Udeva and Norra manors; and from the 1820s until its expropriation it belonged to the von Toll family. The current Empire-style appearance of the building dates back to the von Toll era. A thorough historical survey of the manor’s history was compiled by Ants Hein in 2000.2 Based on his information, there were two great building eras in Aruküla. In the late 18th century, at the initiative of Fromhold Gotthard von Knorring, a grand manor complex was constructed, but the household fell into neglect after the death of Karoline, the lady of the manor, in 1798. And sometime after that, a fire broke out at the manor. The main building was restored, but it seems the renovation was quite careless. In 1812, control of the manor was assumed by Frommhold Gotthard’s oldest son Karl Georg. The writings of Theodor von Bernhard, who was a man of letters and Karl Georg’s stepson, pro-","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"12 1","pages":"151-159"},"PeriodicalIF":0.1,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.12.09","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66670020","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}