2013/3–4 (22)

Special Issue ʻStudying Medieval and Early Modern Art in Soviet Estonia. Mai Lumiste 80ʼ Edited by Anneli Randla

7–13; >Summary 14–16<

Anneli Randla. Mai Lumiste and the Study of Art History

17–33; >Summary 34–41<

Kersti Markus. The Object and Its Interpretation: The Research Methods of Medieval Architecture in the Estonian SSR

42–59; >Summary 60–64<

Krista Kodres. Writing the Renaissance: Mai Lumiste and the Soviet Art History Discourse

65–92; >Summary 93–95<

Kerttu Palginõmm. Mai Lumiste und der Problemkreis des Schaffens des Meisters der Lucialegende

96–109; >Summary 110–114<

Krista Andreson. Research on Tallinn’s Dance of Death and Mai Lumiste – Questions and Possibilities in the 20th Century

115–148; >Summary 149–152<

Anu Mänd, Alar Nurkse. Family Ties and the Commissioning of Art: On the Donors and Overpaintings of the Netherlandish Passion Altarpiece

153–176; >Summary 177–181<

Merike Kurisoo. Patching Together a Thousand Pieces. Tombstones of Tallinn’s St Nicholas’ Church: History, Restoration and Layout in the Exposition of the Niguliste Museum in the 1970s

182–201; >Summary 202–204<

Oliver Orro. Mai Lumiste as a Researcher of Kadriorg and Kadriorg as a Research Subject in Estonian Art History

On Mai Lumiste

205–212

Bibliography of Mai Lumiste

213–223; >Summary 224–226<

Helena Risthein. Notes on St Petersburg Academy of Arts

In the Soviet era, several Estonian art historians graduated from the St Petersburg Academy of Arts (then the I. E. Repin Leningrad Institute of Painting, Sculpture and Architecture). My notes offer an overview of the study of art history at this institution in the 1970s and provide a list of Estonian art historians who studied there in the Soviet times.