Baltic Journal of Art History最新文献

{"title":"Results of the Reasearch Conducted in 2014 on the Interior Finishing of the Rotunda in the University of Tartu's Old Anatomical Theatre","authors":"Kristiina Tiideberg, Hilkka Hiiop, T. Vint, Kristina Aas, Grete Nilp, Kaisa-Piia Pedajas, Helen Volber","doi":"10.12697/BJAH.2015.10.05","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.05","url":null,"abstract":"The main objective of the research was to determine if the neoclassical grisaille paintings by K. A. Senff in the rotunda of the Old Anatomical Theatre still existed and to what extent. At the same time, a study of the historical furniture was also conducted. As a result it can be confirmed that the paintings on the walls or ceilings have not survived and the assumption that they were covered with lime plaster at some point in time has been disproved. The greater part of the room is covered with secondary plaster, which is confirmed by the polychromic plaster fragment that was finished earlier and found in the upper part of the wall, partially covered by the current coved ceiling. The previous research also assumed that the current plaster coat was secondary. And the fact that the current ceiling with the mirrored vault is secondary was also confirmed. Based on the original plaster fragment that was found, it can be assumed that the original finishing did not include the niches in the upper part of the walls, where it has been assumed that the paintings were located. Unfortunately, it is no longer possible to ascertain where the paintings were located and how they were executed. Whether the rotunda’s interior was initially finished in a dark, almost black, shade, or was this true only of the upper part of the room; how the paintings in grey tones related to this and how extensive they were unfortunately remain a secret hidden in the obscurity of history. Questions are also raised by the fact that Krause’s notes are the only primary sources to provide information about the paintings. One would expect to find other indications of such large-scale and exceptional work (Senff is not known to have created any other monumental paintings) in the archival materials (for instance, in Senff’s own materials). It is still unclear why the initial plaster coat was totally removed and a new coat applied, especially if we consider that it was covered with paintings. Although these large-scale renovations can be associated with the period between 1856 and 1860 (architect K. Rathaus), when the rotunda’s interior was rebuilt and the entire anatomical theatre was expanded, questions are raised by the fact that the current secondary plaster coat has an unexpectedly small number of finishing coats for such long period of time. Since, the only surviving plaster fragment that presumably dates back to the Krause era is an extremely valuable historical document and forms the basis for future research, it should be exhibited in the room when the interior renovation is completed. As a result of the research conducted on the finishing coats of the historical furniture, it turned out that the oldest piece of furniture in the current interior is probably the rostrum. However whether or not it dates back to the time when the rotunda was built is still an open question. In the future, its original polychromy should be revealed and exhibited when the planned interior finishing is","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"10 1","pages":"105-128"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66667736","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":"August Matthias Hagen (1794–1878) – Deutschbaltische Landschaftsmalerei zwischen romantischem Aufbruch und provinzieller Selbstgenügsamkeit","authors":"G. Vogel","doi":"10.12697/BJAH.2015.10.02","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.02","url":null,"abstract":"August Matthias Hagen (1794–1878) – Baltic German Landscape Painting Between Romantic Beginnings and Provincial Self-Sufficiency The art of August Matthias Hagen (1794–1878), once a drawing instructor at Tartu University, was previously almost unknown beyond the borders of Estonia. Awareness of his works came about thanks to the exhibitions in Hamburg (2006) and in Amsterdam (2008), which also brought with them an opportunity for a new assessment of his art. It became evident from the drawings and paintings shown in these galleries that the work he created in the mid 1830’s – depicting landscape views of Southern Finland – reveal a great affinity with the aesthetics and spirit of Dresden Romanticism from the circle of Caspar David Friedrich. This essay not only focuses on the debt Hagen’s mature work owes to painters like C. D. Friedrich, Carl Gustav Carus, and Johan Christian Clausen Dahl, but it also intends to show how the Romantic spirit of such Dresden artists from the early 19th century came, at least for a certain period of time, to influence A. M. Hagen’s art. Without a doubt, Wassilij Andrewitsch Shukowski – a poet, the Russian Zarewich’s personal tutor, and Hagen’s fellow student at the Drawing School of Tartu University – was the primary connection between A. M. Hagen and Dresden’s art milieu. Hagen not only became acquainted with individual works done by Friedrich via Shukowski, but also through the painting collection of Tartu Professor Johann Christian Moyer and from the theoretical fundaments of the Romantic Erdlebenbild – a concept included in Carl Gustav Carusʼ treatise: Ten Letters about Landscape Painting , (second edition 1835). The drawings and paintings commissioned by the Czar reflect Hagen’s intense studies of Carusʼ theory of Romantic landscape painting, particularly in those works showing views of Finland – like the island of Hogland, territory which had been recently acquired by the Russian Empire. Yet A. M. Hagen soon left behind these Romantic, philosophical ideals involving yearning and redemption. He replaced them with a concept associated with a poetic view of reality clearly embodying J. C. C. Dahl’s Romantic Realism. Thus, Hagen’s art gradually evolved into a quite painstaking, topographically exact rendering of landscapes (vedute) adapted from Dahl’s conception of Romantic Realism. But unlike Dahl’s poetic vision, Hagen practised a more sober realism fully within the Biedermeier spirit. In this way Hagen changed his orientation from Romantic landscape painting conveying mood and meaning towards an idyllic Biedermeier landscape containing an atmosphere of essentially “idealized reality”. This article dealing with the artistic production of the Baltic-German landscape painter August Matthias Hagen includes two aspects of his career: a look back into his early work dating from before his confrontation with Dresden Romantic landscape painting and an overview of his later period – occurring after his return from a st","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"10 1","pages":"11-42"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66667975","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":"DER KERCKRING-ALTAR VON JACOBUS VAN UTRECHT. LÜBECKER MEISTER VON 1520 AUS DER BREDERLOSCHEN GEMÄLDESAMMLUNG IN RIGA, HEUTE IM ST. ANNEN-MUSEUM DER HANSESTADT LÜBECK ALS STIFTUNG DER FAMILIE VON SENGBUSCH","authors":"Werner von Sengbusch","doi":"10.12697/BJAH.2015.9.06","DOIUrl":"https://doi.org/10.12697/BJAH.2015.9.06","url":null,"abstract":"The article offers an survey of the research about a work of art, which was first described in 1894 by Wilhelm Neumann, a Riga architect and art historian, as a family altar in the form of a triptych by a master from Lubeck from 1520. As a result of the research lasting more than a century, from 1894 (Neumann) to 2013 (Patrimonium 363), the altarpiece has been attributed to Jacobus van Utrecht (Jacob Claesz van Utrecht) from the Antwerp painting school, an important Dutch artist of the early Renaissance. The considerations of art history explain to what extent the tryptich manifests the great change from late medieval painting to the idea of man in the Renaissance. The article describes the altar with the Madonna and Christ Child in the main picture, the Apostle John and the Apostle James the Less on the outer wings and the donor couple, Lubeck Mayor Hinrich Kerckring and his wife Katharina on the inner wings. The article provides clues to the possible original location of the altar in Lubeck. Different theories are proposed for how this work of art may have found its way into an important collection of paintings owned by the Riga councilman, merchant and friend of the arts, Friedrich Wilhelm Brederlo, which was collected in the first half of the 19th century and contained more than 200 paintings. Furthermore, it is also examines how this work of art arrived in Lubeck in 1942-43 and found its way into the St. Annen-Museum. Today it is exhibited in a separate room along with two other works of art attributed to Jacobus van Utrecht. Looking at a tiny detail – the mountain landscape on the central painting, probably the Drachenfels (Dragon’s Rock) nearby Catholic Cologne – raises the question of whether this work was a recollection of Catholicism during the Reformation that had recently started.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"149-174"},"PeriodicalIF":0.1,"publicationDate":"2015-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2015.9.06","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668768","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":"Configuring Virtue: The Emergence of Abstraction, Allegoresis and Emblem in Swedish Figural Sculpture of the Seventeenth Century","authors":"S. Mckeown","doi":"10.12697/BJAH.2015.9.05","DOIUrl":"https://doi.org/10.12697/BJAH.2015.9.05","url":null,"abstract":"This article concerns evidence of Renaissance cultural forms finding purchase in the visual arts of early-modern Sweden, specifically as expressed in the figural sculpture of the seventeenth century. Traceable to stylistic innovations introduced by migrant stone-carvers from the Netherlands, new thematic elements from the realm of humanistic abstraction became established tropes within the native sculptural tradition. Taking figural representations of the Cardinal and Theological Virtues as an area of particular focus, the article demonstrates how these traditional topoi were for the first time naturalized as familiar elements in the decorative programmes of churches and memorial chapels. Their deployment in such contexts can be seen as evidence of a widening of the visual repertoire in the light of European cultural developments, and a new consciousness of the rhetorical power of persuasio among the commissioning patrons of such works from the emerging political and cultural elite.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"115-148"},"PeriodicalIF":0.1,"publicationDate":"2015-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669023","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":"Evidence of the Reformation and Confessionalization Period in Livonian Art","authors":"Ojārs Spārītis","doi":"10.12697/BJAH.2015.9.03","DOIUrl":"https://doi.org/10.12697/BJAH.2015.9.03","url":null,"abstract":"The article deals with the problems of the history of early Protestant art in Livonia (contemporary Latvia) during the 16th and first half of 17th centuries. The short survey on historical background of the approaching Reformation includes the political and economic contradictions among  German (Teutonic) Order, the Archbishop of Riga, the Protestant clergy, the local nobility and the citizenry. The change in the people’s world outlook succeeded the new expressive approach in the traditional iconology of tombstones, reliefs and stone sculpture that emerged simultaneously, or immediately after, the iconoclasm in Livonia (1521- 1523). The Livonian War and battles against Tsar Ivan, the Terrible of Russia weakened the military resistance of the former mosaic of feudal states. The territory of Livonia was occupied by the Swedish and Polish armies, which did not hesitate to institute the political division of the country under the slogan of confessional polarisation. Part of contemporary Estonia became a Swedish province, but part of contemporary Latvia was subordinated to the King of Poland. Under Polish rule, the processes of confessionalization were instituted and, for about 40 years, the Nordic part of contemporary Latvia, which was called Livland, experienced the politics of an aggressive Counter-Reformation. This resulted in the appearance of a new iconography, new topics and genres. Indirect inspiration from Italian art can be perceived in the memorial monuments of the nobility and new genres – wall graves and wall epitaphs – appeared. The confessional and political instability  provoked a kind of stagnation in the birth of new forms of art inspired by early Protestant ideology, but it also stimulated an increase in the secret language of symbols, iconographic variations and metaphoric expression.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"23-74"},"PeriodicalIF":0.1,"publicationDate":"2015-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668614","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":"What is Under the Paint Layer of the Rode Altarpieces","authors":"Hilkka Hiiop","doi":"10.12697/BJAH.2015.9.09","DOIUrl":"https://doi.org/10.12697/BJAH.2015.9.09","url":null,"abstract":"In art research today, technology-based investigation that looks under and into the visible layers of a work of art has assumed an important position alongside the pictorial idiom. With the help of these examinations, information is acquired about the means and methods used to create a work of art and about the position of the work in the general studio practice of a particular artist or period.The focus of the project called “Rode Altarpiece in Close-up”1, which was started at the Art Museum of Estonia’s Niguliste Museum in 2013, is to assemble material-technical information on the retable of the St. Nicholas’ Church high altar to complement the detailed information related to art history2; and based thereon, to examine this monumental work in the broader context of the artistic practices of the time. In addition to the retables in Estonia, there are also plans to conduct comparative examinations on the other works attributed to Hermen Rode’s workshop. The first step was taken in 2014,","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"239-253"},"PeriodicalIF":0.1,"publicationDate":"2015-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2015.9.09","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668655","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":"Swedish Church Art from the Introduction of the Reformation in 1527 until the Synod in Uppsala 1593","authors":"Inga Lena Ångström Grandien","doi":"10.12697/BJAH.2015.9.04","DOIUrl":"https://doi.org/10.12697/BJAH.2015.9.04","url":null,"abstract":"This article is a survey of Swedish church art from the Reformation, introduced in 1527 by Gustav Vasa, until the Uppsala Synod in 1593 and the beginning of Orthodoxy. The tolerance shown towards the old cult objects was typical of the Swedish Reformation. At the same time, there was an almost total cessation in the production and import of sacral art, this mostly for economic reasons, but also because there was no need for more cult objects. Especially toward the end of the 15th century, there had been a large influx of such items to the churches. Only in the field of mural painting was there some activity after the Reformation, and about 20 (known) churches were decorated with murals from 1530 to 1590. However, their motifs remained very much in the Catholic tradition with one difference – non-biblical subjects such as saints (apart from St. George and St. Christopher) were excluded. Motifs from the Old Testament dominated and were often put in a typological context. Medieval moralities also lived on: Memento mori (Wheel of Fortune), Vanitas (Love of the Wordily Goods, the Good and Bad Prayers) and Devil-scenes (Shoe-Ella, Asmodeus). Several murals stem from the reign of John III (1567-92), the Vasa king most engaged in ecclesiastical affairs. In 1575 he forced the priests to accept an addition to the Church Ordinance, the Nova Ordinantia Ecclesiastica, which aimed to persuade the Swedish Church to take a  middle position between Catholicism and Protestantism, a thought which is reflected in murals from his time. It is, however, also here that we find proof that Renaissance ideas had come to Sweden: Vices and Virtues (Glanshammar), a painter’s self-portrait (Valo). During the reign of his predecessor Erik XIV (1560-67), a large immigration of Calvinists to Sweden had taken place. They had drawn the king’s attention to the Decalogue, according to which no images of God were allowed. A possible sign of Calvinist influence is a wooden tablet from 1561 in Storkyrkan in Stockholm, containing eleven quotations from the Bible (in Latin) that stress the importance of the sermon in the service. Also in 1561, the first known Swedish Reformation altarpiece was installed in Vastra Husby, Vastergotland, with a motif the Last Supper. Thereafter, more and more new altarpieces replaced the old, but their motifs remained more or less the same as in Catholic times (with the above exceptions). A painted, wooden altarpiece from ca. 1600 in Gamleby, Smaland, contains the period’s only known protest against Catholicism. In the main part there is a depiction of the Last Judgement, in the predella, all the Apostles are holding keys in silent protest against the Catholic Church’s teachings that only St. Peter was allowed to carry the keys to the gates of Paradise.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"75-113"},"PeriodicalIF":0.1,"publicationDate":"2015-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668299","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 Genius and His Myth: The Known and Unknown Michel Sittow","authors":"Juhan Maiste","doi":"10.12697/BJAH.2015.9.07","DOIUrl":"https://doi.org/10.12697/BJAH.2015.9.07","url":null,"abstract":"This article focuses on two problems – the first is connected to the methodological side of art writing and the philosophical background thereof, and the second to the work of Michel Sittow, an artist who was born and died in Tallinn, and was court artist to Isabel of Castile and several other grand courts. The author’s point of departure is provided by a pair of concepts – the genius and the myth that has been composed about him. On the one hand, the latter becomes a means of expression for the artist’s subjective will, which is often difficult to put in words, and on the other, provides a period-related and verbal context to surround him. One of the expressions of this context is art history, along with its possibilities, methods and traditions. Since Giorgio Vasari, art history has been accompanied by a longing for a single great narrative. This has often been attacked within the framework of 20th century analytical philosophy and a deconstructive approach to myth has been given priority over a  myth-creating approach, which science has labelled as speculative and romantic. Under the cover of exposing the myth of the artist, those doing the exposing often do not recognise their subconscious yearning to create new narratives and new myths. The increasing attention that Sittow and his work have started to receive in recent years provides some of the most telling evidence of this way of thinking. In this essay-type article, the author pays tribute Sittow, Morros, Juan de Flandes. Drei maler aus dem Norden am Hof Isabellas von Kastilien (Kiel: Verlag Ludwig, 2011), a monograph by Matthias Weniger published in 2011. However, in addition to the path of reasoning presented by Weniger, the author also presents another approach, which along with and instead of the formal analysis of the works of one of the Renaissance-era geniuses, focuses on the possible preconditions and sources for the  development of the artist’s talent. However, it is not the ambition of the undersigned to construct a complete picture but to set forth the  connections between the artist’s spiritual “ego” and the intellectual “ego” of those writing about his work, which thereby contributes to intuitively  conceptualistic and cognitive rather than empirical knowledge. One of the reasons for this approach is clearly the rather limited range of enlightening facts, which have been analysed many times over by Weniger and several others (Max J. Friedlander, Paul Johansen, Jāzeps Trizna, Chiyo Ishikawa), and that have become the cornerstone of Sittowiana, and therefore do not need to be repeated here in detail. When writing about the life and activities of an artist in his era, we are inevitably writing about ourselves and the positions that prevail in today’s scientific discourse and provide our knowledge with both content and an unavoidably restrictive framework. A cornerstone of the author’s approach is knowing that all knowledge is limited and has an imaginary (visionary) nature. And ","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"177-221"},"PeriodicalIF":0.1,"publicationDate":"2015-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2015.9.07","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668861","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":"Salvation Through Religion. The Rebirth Of The Classics In Arent Passer’s Oeuvre.","authors":"Juhan Maiste","doi":"10.12697/BJAH.2014.8.02","DOIUrl":"https://doi.org/10.12697/BJAH.2014.8.02","url":null,"abstract":"Arent Passer is an artist who was discovered for art history by Sten Karling in 1938, and who since that time has merited ever greater attention. Both Helmi Uprus and Krista Kodres have written about Passer. The author has also touched on the subject of Passer in his previous writings, this primarily in connection with the House of the Black Heads in Tallinn, Passer’s  position as a stonemason and town architect, and his workshop located in Tallinn’s Kalamaja suburb. In this article, a closer examination is made of Tallinn’s opus magnum of the Renaissance era – the sepulchral monument of Pontus de la Gardie – several aspects of which still provoke questions, despite the repeated attention it has already received. First of all, the article focuses on the topic of death and its various interpretations during the spiritual and cultural period of transition from the Middle Ages to the modern era, in the course of which various religious and cultural impulses did not succeed each other, but existed simultaneously. This provides an opportunity to read the monument by using the death cult and its  Augustinian tradition as a point of departure along with the reform-minded changes of the modern era, thereby linking the verbal and pictorial programmes with two different representations of death – in the eternal and temporal field of vision. The primary carrier of the monument’s  ideological message is the spirit of the Renaissance, which invests in the role of the individual and his genius, with the focus of attention in this case being one of the greatest heroes of the era – Pontus de la Gardie and his famous victories on the battlefield. Along with an emphasis on the denial of the body, deformation and decomposition typical of the Late Middle Ages, as well as the freeing and salvation of the soul, the visual rhetoric of the monument addresses the humanist era man and his humane nature, which is displayed on the monument by a dominant imagery based on the classics of Antiquity. A sign of the latter is the composition based on  architectural order and the allegories Spes and Fides, which is utilised in the cenotaph designed to be an altar-like triptych. Similarly the dominant emblems of victory on the sarcophagus originate from a widespread and updated field of art, the geography of which stretches from Italy to  Burgundy, Flanders, Antwerp and finally Tallinn. Arent Passer was the first emissary in the Baltics of the Mannerism that developed as a late phase of the Renaissance, and the origins, and most probably also early years, of which are associated with the style and workshop of Cornelis Floris and the masters that grew out of it – from Willem Boy to Philip Brandin, who fulfilled large-scale commissions in various royal courts. The patron of both the Gustav Vasa and Pontus de la Gardie monuments was Johann III , King of Sweden, which provides an opportunity to seek and discover connections in the developed circle related to the artist’s style, choice ","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"8 1","pages":"45-118"},"PeriodicalIF":0.1,"publicationDate":"2014-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66667423","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":"Intentionality of Colours in Konrad Mägi ’s Paintings","authors":"Anne Kokkov","doi":"10.12697/BJAH.2014.8.04","DOIUrl":"https://doi.org/10.12697/BJAH.2014.8.04","url":null,"abstract":"The goal of this article is to discuss the intentionality of colours in the picture. To illustrate the behaviour of colours in the picture I discuss some of Konrad Magi’s paintings from the 1920s. For explicating some aspects of seeing the intentional picture I make references to Gestalt theory and colour theory. This treatment is based on Roman Ingarden’s ontological essay “The Picture” in which he ingeniously differentiates two phenomena: ‘painting’ and ‘the intentional picture’. At the same time, when discussing the role of colours for the picture R. Ingarden does not distinguish between the concepts of ‘colour’ as ‘dye’ and ‘colour’ as ‘hue’. R. Ingarden explicates the specific role of colours in painting arguing that colours only have a constructional role for the intentional work of art, but the colours themselves are not part of the work of art. However, a transition of the material dyes into phenomenal colours – hues – occurs in the patches of colour when light falls on them. Since he does not differentiate between the concepts of ‘dye’ and ‘hue,’ R. Ingarden neglects the possibility of discussing the phenomenal colours in the intentional picture. The presented objectivity “visible” in the intentional picture is colourful. The pictorial objects have several qualities, the qualities of colours among others. Unlike R. Ingarden, I am confident that different colour phenomena occur in the relations of colours that cannot be reduced to the material level of painting. The colouration of the intentionally  “visible” pictorial objects appears phenomenally as the total of the relations of phenomenal colours. Since R. Ingarden does not treat colours as phenomenal, he also neglects the option of discussing the intentionality of he pictorial colours. My assertion is that, in the process of perceiving the work of art of painting, in picture-consciousness, the colouration of the pictorial objectivity  is intentionally given. The interrelations of phenomenal hues constitute the intentionally visible objectual “light” and colouring of the pictorial objectivity; the relations of colours acquire new qualities that the patches of colour do not contain. Therefore, in the intentional picture, colours should be treated as intentional.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"8 1","pages":"157-188"},"PeriodicalIF":0.1,"publicationDate":"2014-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66667549","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}