Who's Who on the Reredos of St Nicholas' Church
7−34; >Summary 35−40<
St Nicholas' Church was one of the two parish churches in medieval Tallinn (Reval), i.e. one of the most important and wealthiest churches in the town. The pictorial programme of the reredos of its high altar mirrors the saints' cults in the town, particularly the cult of those who commissioned this work of art. This article focuses on the sculptures and the under-drawings of the reredos, identifies the hitherto unidentified saints, and discusses what social groups might have influenced the selection of the saints to be depicted on this work of art.
The Crucifixion Group from Harju-Risti
41−64; >Summary 65−68<
The medieval crucifix together with the sculptures of the Virgin Mary and John the Evangelist located in the Harju-Risti Church till 1958 and now exhibited in the Niguliste Museum did not originally form an integral Calvary group but were joined together later. The crucifix, made in the last quarter of the 14th century, is significant due to the lily motifs on the cross and the rare material in the medieval wooden sculpture − beech (fagus silvatica
) − which was used to carve the figure of Christ. The crucifix was brought to the Harju-Risti Church from the neighbouring Padise Monastery and, by Cistercian tradition, was viewable from both sides, indicated by the residues of polychromy on the back of the cross. The magnificent accompanying figures crafted in the 1410s−1430s originate probably from some bigger church in Tallinn (St Olav?).
Estonian Pop Animation 1973−1979: Hand-Drawn Animation in the Context of Recent Art History
69−107; >Summary 108−110<
This treatment is focused on selected animated films made from 1973 to 1979 in the division of animated cartoons of the studio Tallinnfilm. During the 1970s in the Estonian SSR, a number of artists who were influenced, among other things, by Pop art (and also by The Yellow Submarine cartoon from 1968), such as Aili Vint, Leonhard Lapin, Sirje Lapin (Runge), Ando Keskküla, Rein Tammik and Priit Pärn, were actively engaged in the process of making hand-drawn animated films. Although these artistic figures need no introduction in the cultural sphere of today's Estonia, their oeuvre in the field of animation has been left out of the value systems of local post-war art history. However, it is clear that quite a few animations from the 1970s rightly belong in the museal framework of Soviet Estonian Pop, or 'Soviet Pop' as this localized version of Pop art is often referred to.
Cartoons and/or Art. On the Relationship of Two Fields in Estonia, Based on Priit Pärn's Creative Career
111−145; >Summary 146−150<
This article is about Priit Pärn's career outside the realm of animated films, focusing on his endeavours as a cartoonist, illustrator and printmaker between the late 1960s and the end of the 1980s. Through Pärn, a key figure in the field at the time, some light is also shed on that particular era in the history of Estonian cartoons in general. The main aim of the article is to map the ties between Pärn's work and the contemporary avant-garde and high art of Soviet Estonia.
How to Pass the Test of Time? Discussion of Temporal Axiology
151−159; >Summary 160−163<
The current article tackles the issue of the criteria of passing the test of time. I first focus on whether the criteria of passing the test of time can be formulated aesthetically. I then analyse the 'temporal weaknesses' of the test of time and possibilities of getting rid of them (e.g. abandoning the precondition of finalism). Finally, I consider the role of the test of time as a judgement of merit.
Visual Studies and the Iconic Turn.
Translated by Ingrid Ruudi
CHRONICLE 1. I − 31. XII 2008