Estonian art

The oldest works of art found in Estonia date back to the Stone Age . These are figures of animals, birds, bears, snakes and people, pottery, wooden sculptures. By III — II millennia BC e. reliable images of animals of high artistic level. Leather products and pottery were decorated mainly with geometric patterns ^[1] . In the I millennium BC. e. metal ornaments are widely spread, in the ornamentation of which such elements as a circle, triangle, cross, crescent and others were found ^[2] . By the first half of the 1st millennium BC e. jewelry was made mainly of bronze ( brooches , bracelets , neck hryvnias , rings , pins ). In the second half of the 1st millennium BC. e. metal jewelry is becoming larger, and they are already made of silver . At the beginning of the II millennium BC. e. new types of jewelry appear, which were partially preserved until the 16th – 17th centuries: horseshoe-shaped brooches, head jewelry, breast chains, scabbard, bronze thread, tin plaques. Weapons also begin to be trimmed with silver ^[1] .

Since the beginning of the XIII century, Estonian art has been seriously influenced by Christianity, Western and North European art. In the 14th century, artists began to unite in workshops. Artisans of Tallinn are united in the guild of St. Kanut and St. Olai. Three periods are distinguished in Estonian fine art of that time: the transitional style from Romanesque to Gothic (second half of the 13th century), mature Gothic (14th century) and late Gothic (15th - early 16th centuries) ^[1] .

In the middle of the XIII century, an unknown Cologne master worked in Western Estonia, whose work includes the decoration of capitals in the church of the Gapsalsky Castle and the font in Vallaal . In these works, a connection with the art of Rhineland is visible. The architectural plastics of Tallinn and Central Estonia are affected by Dutch early Gothic. The period of the mature Gothic period includes the sculptural decoration of the church in Karya : reliefs of the triumphal arch, scenes from the life of St. Catherine and Nicholas, the sculptural group of the Crucifixion, floral decoration of capitals and bases. Jaanov Church in Tartu has even richer decor. One of the most prominent portal reliefs of that time are located in the church of the Tallinn Dominican monastery (mid-14th century), they depict animal figures symbolizing good and evil. Tombstones of that period had a deep and low relief, they were decorated with figures or ornament ^[1] .

Woodcarving was prevalent mainly in the manufacture of altars, triumphal arches, figures of saints and furniture. The oldest example of this art form in Estonia is the seated Madonna in a church in Kaarma (circa 1280). Noteworthy is the Crucifixion group from the church in Risti (circa 1380) as a vivid example of mature Gothic. Of the samples of secular wooden sculpture, the reliefs of the side walls of the benches of the Tallinn City Hall are noteworthy ^[1] .

Little is known about Estonian painting of this period. The earliest examples are the murals of the XIII-XIV centuries in the churches of Vallal, Muhu, Ridal, Kaarma and others. On the arch of the church in Karia, magical symbols have been preserved that should protect from evil spirits. In the XV century, easel painting became widespread. The altar painting of the North German masters of the late 15th century, in particular the Dance of Death by Bernt Notke, has been preserved . A rare example of Estonian miniature painting of that time is the decoration of the manuscript of Tallinn City Law - an image of Danish King Eric V and Queen Margarita ^[1] .

Estonian jewelry art developed in the same period. By the second half of the 15th century, artistic processing of silver and gold, as well as bronze casting, reached a high level ^[1] .

The Renaissance manifested itself in different forms of art in Estonia unevenly. The art of the Netherlands , Germany and Poland had a great influence, and the Reformation and the ideas of humanism also played a significant role. Tallinn became the main art center ^[1] .

From stone carving, the manufacture of monuments, tombstones, epitaphs and coats of arms was common. One of the most striking examples of memorial sculpture is a Kentograph on the outer wall of the chapel of the Virgin Mary of the Church of Oleviste, made by Clemens Palais and Hinrik Bildesnider. The creativity of sculptors of the 1st half of the 16th century - G. Kontšgka and Reinken also deserves attention. In the second half of the 16th century, crosses and memorial plates were erected in the Tallinn area in memory of those killed in the Livonian War . At about the same time, gravestones of noble citizens with their portraits became widespread. One of the largest sculptors of the time was Arent Passer, a native of the Netherlands who worked in Tallinn from 1589–1637. His tombstone of Pontus Delagardi in the Tallinn Dome Cathedral is an outstanding monument of Estonian Renaissance art. Other famous sculptors of the Estonian Renaissance were G. von Aken and I. Winter ^[1] .

Polychrome relief was popular in woodcarving. It was used in the decoration of altars, cafes, furniture, doors, etc. One of the brightest examples of this art was the reliefs of the benches of the Church of St. Nicholas (1556-1558, not preserved). Among the major Estonian Renaissance wood carving masters were T. Heinze, B. Geistman and L. Heisman ^[1] .

In the painting of the 1st half of the 16th century, the iconic figure was Michel Zittov , a master of Old Dutch art, who worked in Tallinn. His paintings of the wings of the altar from the church of St. Nicholas have been preserved. At that time, portraits-epitaphs (like the epitaph of the Blackheads by L. Glandorf), didactic allegorical figures, and altar painting were widespread in painting ^[1] .

In the decorative and applied art of that time, the artistic processing of metal was widespread, which reached new heights. Masters made gold jewelry, conical glasses, cylindrical jugs and stamps. Chandeliers, sconces, candlesticks, weathercocks, weirs, etc. were made from copper. Mugs were often made from tin ^[1] .

In the second half of the 17th century, Estonian stone sculpture was actively developing. Masters performed various carved details of buildings and gravestones. Among the Tallinn sculptors of that time, V. Nak stands out (works in the Niguliste church). Work in the mature baroque style of the Swedish sculptor N. Millich also deserves attention: the epitaph portrait of I. von Hastfer in the Tallinn Dome Church (1676) and the allegorical figure group on the portal of the Narva Town Hall (1686). Sculptural work was also performed by the architect I.G. Geroldt. One of the largest Narva masters was J. van der Capelle. In the 18th century, stone carving traditions are a thing of the past, Estonian sculpture begins to master new materials. The figured sculpture of the palace in Kadriorg , made in the style of the Italian late Baroque in 1722-1725 according to the sketches of N. Michetti , M. Scheitinger, A. Cuadri and others, is considered one of the best in Northern Europe ^[1] .

Wood carving continues to be actively used in arts and crafts. The main center of wood carving was Tallinn. Masters make altars, chairs, benches, lodges for churches, as well as doors, friezes and window parapets for civil buildings. Various memorial sculptures are made. One of the significant works of wood carving art in the early Baroque style was the epitaph of B. von Rosen in the Niguliste church, executed in 1651 by A. Michaelson (not preserved). One of the largest Tallinn masters of wooden baroque sculpture was E. Thiele, who performed the frieze of the hall of the magistrate of the Tallinn City Hall (1667) and the man’s head from the pillory on the Town Hall Square in Tallinn (about 1665). One of the most productive wood carvers in the mature Baroque style was K. Akkerman , in the Tallinn workshop of which many church altars, chairs, epitaphs and other wooden sculptures were made ^[1] .

In Estonian Baroque painting, portraits and multi-figure compositions on biblical themes predominated. For interior decoration, monumental and decorative painting was used. Among the largest Tallinn painters of the mid-17th century were G. Funen Gemsen and A. von Gemsen. I. Aken performed a number of multi-figure compositions in the second half of the 17th century. The painter Ernst Londitser created portraits, multi-figure compositions and decorative paintings. Among the largest portrait painters of the eighteenth century were also I.G. Vedekind , M. and K. Klaus and F. Barizien. One of the best masters of decorative painting was G. Welt ^[1] .

Estonian jewelery reached its highest peak by the second half of the 17th century. Wine mugs with rich ornaments, goblets, dishes, silver jewelry were made. The largest Tallinn jewelers of the 17th century included G. Lübken, F. Dreyer and K. Mansfeld Sr.; one of the largest Narva masters was L. Zander. The processing of copper and tin has also reached a high artistic level ^[1] .

The sculptural works of the period of classicism in Estonia were carried out mainly by Petersburg masters (the marble sarcophagus of Admiral S. Greig in the Tallinn Church, the tombstone of M. Barclay de Tolly in Jõgevest, the monument to Barclay de Tolly in Tartu). Of the local Estonian sculptors, the works of R. I. Zaleman and I. G. Exner are of great importance ^[1] .

In the painting of this period, a portrait and a household genre were spread. Biblical themes were made for churches. Paintings were also written on antique subjects, work was done on miniatures, silhouettes, watercolors and glass paintings. One of the art centers was Tartu, where in 1803 an art school was opened under the direction of K. A. Zenf . Among the prominent teachers of this school were A. M. Hagen . Among portrait painters A.I. Klinder achieved success. Prominent graphs were A.F. Clara, F.L. von Meidell, and F.S. Stern. Another art center of that time was Tallinn, where art education provided a home school and a number of private schools. Estonian artists of that time often received additional education in St. Petersburg, as well as behind the garret ^[1] .

The second half of XIX is the period of the birth of Estonian national fine art. The largest artist of that time was J. Köhler , who became the founder of Estonian landscape, genre and portraiture. The founders of national painting also include the painter K. L. Maybach, the sculptor A. Weizenberg , the painter and graphic artist I. R. Berendhoff, and the graphic artist E. M. Jacobson . Other prominent Estonian masters of the late 19th century included painters T. Grentzstein, A. Hirv , G. von Boxman, E. Dücker and O. Hoffmann , sculptor A. Adamson ^[1] .

In the 2nd half of the 19th century, a classical school dominated Estonian painting and sculpture. However, by the beginning of the 20th century, artists began to gradually move away from academic canons. Interest was shown in innovative artistic directions and a desire to create original Estonian art ^[1] .

At the beginning of the 20th century, various art schools appeared. A. Lajkmaa school-studio was opened in Tallinn in 1903, K. Raud art studio in 1904, and K. Myagi studio in 1914. In 1912, art courses were opened, which in 1914 were transformed into the Tallinn Art and Industrial College . In 1906, the first exhibition of Estonian art was held in Tartu. The literary and art group Young Estonia and the Estonian Art Society were founded, which began to regularly organize exhibitions ^[1] .

Estonian music

• Lyati X., Myagi E. Realistic art in Estonia, Tallinn, 1956.
• Bernstein B., Gene L. Fine Art of the Estonian SSR, M., 1957.
• Kuma X. Applied art of Soviet Estonia and its masters, L. - M., 1962.
• Bernstein B. Estonian Graphics, M., 1970.