2007/1−2 (16)


Kersti Markus
. Where Did Hertele Church Go? Views on the Administrative System of Harjumaa in the 13th Century
9−24; >Summary 25−26<

For a medieval architecture researcher, 13th century Harjumaa is one of the most mysterious areas in Estonia. Previous concepts about how parishes emerged do not seem to be valid here; our knowledge of the actual county borders is questionable as well. This article analyses the function and role of the biggest and mightiest ancient Estonian castle − Varbola stronghold − in the development of Harjumaa's administrative structure, the division of the post-conquest lands, and the possible background for selecting the location for the first churches. It is concluded that the circumstances in Estonia in the 13th century changed much less than previously thought, and Estonians maintained a significant position in the new society.

Kadi Polli. Est pictura poësis, est poësis pictura. Die Landschaften von Carl Grass (1767−1814)
27−56; >Summary 57−61<

Writer and artist Carl Grass is a fascinating and exceptional creator in the Baltic cultural memory. His life and work was governed by a Sturm und Drang-style desire for genius. Grass recorded landscapes both in art and in poetry, progressing from sentimental nature sketches to organised ideal landscapes. The examples of Swiss artists made him one of the first cultivators of painting trips; his later Italian experiences enabled him to develop as a theoretician of landscape painting and a classicist.

Virve Sarapik. Brave New Estonia or Writing the World of Art
62−87; >Summary 88−91<

This article examines the aesthetic and social ideals in the early texts of one of the first integral Estonian cultural movements − Noor-Eesti (Young Estonia). The ideals are compared with the main texts of other major cultural movements of the time (e.g. the Estonian Literary Society). The aspirations of a small nation, influenced by the first great Russian revolution at the beginning of the century, can be mapped by means of two principles of culture-making: utopian, wishing to change society as a whole, and monadic or individual-focused.

Elo Lutsepp. Role of the State in Directing Vernacular Architecture in 1928−1943: New Materials and Standard Solutions in New Settlements
92−117; >Summary 118−121<

This article describes changes in Estonian village life in the late 1920s and in the 1930s, when the state started standardising new farm buildings, and compact new settlements with infrastructures were planned on virgin lands beside ancient developing villages. Discarding different unsuitable standard projects, five projects were finally accepted in the middle of the last decade. The key words in this article are 'fireproof material' and 'maintaining a traditional type of building'.

Kai Stahl. Discourses of Dualism on Marginality
122−140; >Summary 141−142<

This article examines the issues of identity and reflections on crossing the gender spheres in the mondanity-related work of Lydia and Natalie Mei in the 1920s. The article focuses on analyses of Lydia Mei's paintings 'Woman with Cigarette', 'Still life with Top Hat', and 'Still life with Snowdrops' and Natalie Mei's drawing 'Petrograd' and collage 'Portrait of a Man'.

Margaret Tali. Male Artists' Self-Image as Winners in the 1990s Estonian Media
143−166; >Summary 167−169<

This article analyses the image of male artists in the discourse of Estonian media, and how the media representations of the artist changed from the Soviet era until the mid-1990s. The object of the analysis is the material published in Estonian papers and magazines between 1986 and 1996 about Raoul Kurvitz (b. 1961) and Mark Kostabi (b. 1961). Relying on various theoreticians of visual culture (Griselda Pollock, Hal Foster, Clement Greenberg and Leena-Maija Rossi), the author examines the values connected with the myth of the male artist in the Estonian art landscape that dominated in media texts and pictures.


Anu Mänd. The Master of the St. Lucy Legend Identified? On the Master of the St. Lucy Legend, the Altarpiece of the Tallinn Black Heads, and the 1st Chapter of the 'History of Estonian Art' (vol. 2)

Juhan Maiste. In the Lubeckian City of Tallinn


CHRONICLE 1. I − 31. XII 2006