Kolmas tee Eesti NSV kunstis: avangardi ja võimumeelsuse vahel
Date
2015-05-19
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Abstract
Tõnis Tatari doktoritöö "Kolmas tee Eesti NSV kunstis: avangardi ja võimumeelsuse vahel" käsitleb kolme kunstniku – Jüri Arraku, Olav Marani ja Kaljo Põllu – loomingu ja mõtteavalduste põhjal eesti kunstis alates 1960. aastate lõpust kuni 1980. aastate teise pooleni aset leidnud muutuseid. Nende kunstnike koht alguses juhtivate kunstiuuendajate ning hiljem eesti kunsti traditsioonilise peavoolu silmapaistvamate esindajatena avab võimaluse eesti kunstis toimunud laiemate muutuste läbivalgustamiseks. Töö algab 20. sajandi teise poole Lääne kunsti vorminud ideede tutvustusega. Hoolimata suletud riigipiiridest ja olude erinevusest oli neil ideedel eesti kunstile otsesem või kaudsem mõju. Järgneb ülevaade Eesti NSV-s loodud kunsti ajaloolis-ühiskondlikust taustast. Töö põhiosas esitatakse põhjalikud käsitlused kolme kunstniku loomingust nõukogude perioodil. Autor väidab, et Arraku, Marani ja Põllu loomingus ja vaadetes aset leidnud järsk muutus ei olnud eraldiseisev ega juhuslik fenomen, vaid peegeldas erinevate eesti kunstile mõjunud tegurite kogumõju. Nõukogude võimu tellimust täitnud ning Lääne moodsat kunsti järginud suundumuste kõrval tõstab uurimus väärtustava tähelepanu alla eesti kunsti n-ö kolmanda tee, mille sisuks on kunstnike isikupärase maailmavaate esitamine traditsiooniliste kunstiliste vahenditega. Tatar rõhutab, et keskendumine tehnilisele professionaalsusele ning traditsioonilistele süžeedele ei tähendanud tingimata kunsti ühiskondliku mõõtme puudumist. Nii Arraku, Marani kui ka Põllu loomingus tuuakse välja keeruline ja ambitsioonikas kunstiline programm, millel ei puudunud ka moraalsed, rahvuslikud ja sotsiaalkriitilised aspektid. Tänu 1970. ja 1980. aastate peavoolukunsti populaarsusele oli selle mõju eesti inimeste identiteedi ja meelsuse kujundamisel tõenäoliselt suurem kui avangardistlike või nõukogude võimu teeninud kunstnike loomingul.
Tõnis Tatar's dissertation "The Third Discourse in Estonian Art of the Soviet Period: Between Collaboration and Avant-garde" focuses on the changes that took place in Soviet Estonian art from the 1960s to the late 1980s. These changes are examined by using the examples of the work and opinions of three artists, Jüri Arrak, Olav Maran and Kaljo Põllu. All three artists began their careers as leaders and ideologues of the modernist and avant-garde renewal of Estonian art that took place in the 1960s. Nevertheless, all three radically turned their backs on modern art between 1968 and 1976. The position of these artists first as leaders of the renewal of art and later as representatives of mainstream traditional art opens an opportunity to cast light on the wider changes in Estonian art during the period. The work begins with an overview of the changes in contemporary Western art theory that, despite the Soviet Union being a closed society, had an impact on Estonian art. Also the social and historical context of the art created in Estonia during the Soviet era are treated. In the following chapters, monographic researches are given on the work of the three artists. The dissertation demonstrates that the radical changes in the works of the artists were not an isolated phenomenon but instead resonated the dynamics between different factors affecting Estonian art of the time. It is shown that in addition to the ideological discourses of the Soviet authorities and the avant-garde one can also observe the existence of a third discourse, namely that of expressing an idiosyncratic world view of an artist by the means of traditional art. It is pointed out that this third discourse in fact represented neither an ideological neutrality nor a political collaboration. Instead the treated artists are shown having developed complicated and ideologically loaded artistic programs that thanks to the popularity of the artists among the public certainly had a remarkable influence on the general cultural and social atmosphere in Estonia during the second half of the Soviet period.
Tõnis Tatar's dissertation "The Third Discourse in Estonian Art of the Soviet Period: Between Collaboration and Avant-garde" focuses on the changes that took place in Soviet Estonian art from the 1960s to the late 1980s. These changes are examined by using the examples of the work and opinions of three artists, Jüri Arrak, Olav Maran and Kaljo Põllu. All three artists began their careers as leaders and ideologues of the modernist and avant-garde renewal of Estonian art that took place in the 1960s. Nevertheless, all three radically turned their backs on modern art between 1968 and 1976. The position of these artists first as leaders of the renewal of art and later as representatives of mainstream traditional art opens an opportunity to cast light on the wider changes in Estonian art during the period. The work begins with an overview of the changes in contemporary Western art theory that, despite the Soviet Union being a closed society, had an impact on Estonian art. Also the social and historical context of the art created in Estonia during the Soviet era are treated. In the following chapters, monographic researches are given on the work of the three artists. The dissertation demonstrates that the radical changes in the works of the artists were not an isolated phenomenon but instead resonated the dynamics between different factors affecting Estonian art of the time. It is shown that in addition to the ideological discourses of the Soviet authorities and the avant-garde one can also observe the existence of a third discourse, namely that of expressing an idiosyncratic world view of an artist by the means of traditional art. It is pointed out that this third discourse in fact represented neither an ideological neutrality nor a political collaboration. Instead the treated artists are shown having developed complicated and ideologically loaded artistic programs that thanks to the popularity of the artists among the public certainly had a remarkable influence on the general cultural and social atmosphere in Estonia during the second half of the Soviet period.
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Keywords
Arrak, Jüri, 1936-, Maran, Olav, 1933-, Põllu, Kaljo, 1934-2010, kunst, võim, nõukogude aeg, kunstiajalugu, Eesti, 20. saj. 2. pool, art, power (authority), Soviet period, history of art, Estonia, second half of the 20th century