Valgustuskunst. Balti kunstiharrastusest ja joonistuspraktikatest 18. ja 19. sajandi vahetusel
Date
2019-08-15
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Abstract
Doktoritöö võtab vaatluse alla Balti valgustusaegse kunstivälja, keskendudes harrastuslikule pildipärandile. Pöörates fookuse 18.sajandi veel tagasihoidlikult professionaalselt-institutsionaalselt kunstielult laiemale harrastajate ringile ja kunstiliselt kõrgetasemelistelt piltidelt harrastuslikele, argistele, rakenduslikele joonistuspraktikatele (reisi- ja teadusjoonistused, kartograafilised ülestähendused, koduloolised ja muinasteaduslikud pildid, päevikuvinjetid jpm) on jälgitud kunstitundmise ja joonistusoskuse hüppelist kasvu Balti aadli- ja haritlaskonna seas 18.sajandi teisel poolel – ja veel enam, pildimeedia märkimisväärset rolli Balti valgustuses. Selline vaatenurga muutmine ja seniste kohalikku kunstivälja kirjeldavate mustrite teatav ümbermängimine on töös abiks balti kunsti erijoonte esiletoomisel, lubades alaväärsuskompleksita käsitleda siinse varase pildipärandi vähest esteetilist kvaliteeti ja madalat loomelendu ning hinnata sellele omast valgustuslik-pragmaatilist suhtumist ja rakenduslikku-harrastuslikku iseloomu kui baltisaksa kunstikultuuri ühte põhijoont.
Koos siinsete harrastajate pildikogemuse ja -eeskujude kaardistamisega võetakse fookusesse Balti valgustuskunsti kõige tähtsam ja iseloomulikum, kohalikku visuaalset identiteeti loov pildižanr – muististe ja vaatamisväärsuste pildilised topograafiad ning maastikujoonistused. Erinevates artiklites lisandub naisuurimuse aspekt, kunstikogude ja –turu teema ning mentaliteediajaloost lähtuv pilk joonistamise erinevatele funktsioonidele ja kunsti/kunstniku positsioonile Balti ühiskonnas. Omaette tähelepanu saavad kunstiharrastuse ja kunstnikuprofessiooni eristamine ja teadvustamine balti mentaliteedis ning mitmed just valgustusajas siinmail väljakujunenud kultuurilised enesedeterminatsioonid, mis jäävad harrastuslikku, valgustuslik-pragmaatilist suhtumist kunstiloomesse toitma ka 19. sajandi edenedes.
This PhD thesis examines the Baltic art field during the Enlightenment, focusing on the amateur pictorial legacy. By turning our attention from the professional-institutional art world, which was still quite limited in the 18th century, to the broader circle of dilettanti, and from artistically high-quality pictures to everyday drawing practices (travel and scientific drawings, cartographical records, pictures related to local history and archaeology, journal vignettes, etc), the sudden increase of art appreciation and drawing skills among the Baltic nobility and educated class in the second half of the 18th century has been traced, along with the noteworthy role played by pictorial media during the Baltic Enlightenment. In the thesis, this change of perspective and a certain re-evaluation of the descriptive patterns related to the local art field help to highlight the special features of Baltic art, by allowing the limited aesthetic quality and the modest creative flight of the early local pictorial legacy to be treated without an inferiority complex and for its inherently Enlightenment-based pragmatic attitude and applied nature to be viewed as one of the main features of Baltic German art culture. Along with the mapping of the local art lovers’ pictorial experiences and prototypes, the topographies of Baltic sights and landscapes that were the most important and most characteristic pictorial genre of the Baltic Enlightenment, and which created the local visual identity, are examined. Various articles explore the aspect of female dilettanti, the theme of art collections and the art market, and provide a view based on the history of mentality as it relates to the various functions and art/artist positions in Baltic society. Attention is separately paid to distinguishing between an artist’s hobby and artist’s profession and the awareness thereof in the Baltic mentality; and to several, cultural self-determinations that developed locally during the Enlightenment, and which continued to feed the amateur, Enlightenment-based and pragmatic attitude toward artistic creation during the 19th century.
This PhD thesis examines the Baltic art field during the Enlightenment, focusing on the amateur pictorial legacy. By turning our attention from the professional-institutional art world, which was still quite limited in the 18th century, to the broader circle of dilettanti, and from artistically high-quality pictures to everyday drawing practices (travel and scientific drawings, cartographical records, pictures related to local history and archaeology, journal vignettes, etc), the sudden increase of art appreciation and drawing skills among the Baltic nobility and educated class in the second half of the 18th century has been traced, along with the noteworthy role played by pictorial media during the Baltic Enlightenment. In the thesis, this change of perspective and a certain re-evaluation of the descriptive patterns related to the local art field help to highlight the special features of Baltic art, by allowing the limited aesthetic quality and the modest creative flight of the early local pictorial legacy to be treated without an inferiority complex and for its inherently Enlightenment-based pragmatic attitude and applied nature to be viewed as one of the main features of Baltic German art culture. Along with the mapping of the local art lovers’ pictorial experiences and prototypes, the topographies of Baltic sights and landscapes that were the most important and most characteristic pictorial genre of the Baltic Enlightenment, and which created the local visual identity, are examined. Various articles explore the aspect of female dilettanti, the theme of art collections and the art market, and provide a view based on the history of mentality as it relates to the various functions and art/artist positions in Baltic society. Attention is separately paid to distinguishing between an artist’s hobby and artist’s profession and the awareness thereof in the Baltic mentality; and to several, cultural self-determinations that developed locally during the Enlightenment, and which continued to feed the amateur, Enlightenment-based and pragmatic attitude toward artistic creation during the 19th century.
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Keywords
Krause, Johann Wilhelm, 1757-1828, Brotze, Johann Christoph, 1742-1823, Grass, Carl Gotthard, 1767-1814, Kügelgen, Gerhard von, 1772-1820, Kügelgen, Karl von, 1772-1832, eesti, baltisaksa, kunstnikud, aadlikud, valgustusajastu, joonistused, maalid, kunstiharrastus, kunstikogud, 18. saj. lõpp, 19. saj. algus, Baltimaad, kunstiajalugu, kultuuriajalugu