Eesti kunstnikud ajakirjandusgraafikas 1930. aastail
| Autor: | Merle Talvik |
|---|---|
| Jazyk: | estonština |
| Rok vydání: | 2006 |
| Předmět: | |
| Zdroj: | Mäetagused, Vol 33 (2006) |
| Druh dokumentu: | article |
| ISSN: | 1406-992X 1406-9938 |
| Popis: | The period of 1930-1940 marked the first surge of interest in graphic arts in Estonian journalism. The importance of artists who had received education in homeland increased and the following schools of specific creative image emerged - the school of Tallinn artists, who had mostly been educated at the State School of Applied Art, determined the face of magazines published in Tallinn (e.g. Muusikaleht, Huvitav Žurnaal, Kirilind, Lood Elust, Maaomavalitsus, Teater, Välis-Eesti Almanak, Sõdur, Käsitööleht, Laste Rõõm, Kaitse Kodu!) and the Tartu school of graphic artists, who had been educated at the Higher Art School Pallas, designed the face of magazines and journals published in Tartu (e.g. Olion, Tänapäev, Varamu, Teater Vanemuine, Kevadik). Art déco style became the common feature of these two schools of art. The curricula of the School of Applied Arts followed the example of curricula at the Stieglitz School of Applied Arts in St. Petersburg, which was oriented to systematic teaching in calligraphy and decorative art. The school had established good contacts with art institutions in Germany that were considered the most prestigious ones in Europe at the time. National ornamentation was abundantly used. In the 1930s, the Tallinn School laid a solid foundation for the development of Estonian graphic design by ensuring the continuity of education in this field. The work of the Tallinn school is characterised by art decoésque stilisation, moderate use of the element of nationalism and strong composition, also clear and legible script. The indisputable authority for this generation on both decorative art and calligraphy was Günther Reindorff (1889-1975), who devised the systematic methods in teaching calligraphy in Estonia. The most important representatives of the Tallinn school in the graphic art in journalism were Johann Naha (1902-1982), Paul Luhtein (born in 1909), Hugo Lepik (1905-2001), Werner Birkenfeldt (1903-1942), Eduard Salu (1906-1967), Ferdinand Liiv (1912-1948), Voldemar Tomassov (1906-1961), Axel Rossmann (1899-1974), Richard Pallas (1908-1951), Romulus Tiitus (1906-1982), Ferdinand Kask (1900-1941), Roman Haavamägi (1891-1964), Paul Liivak (1900-1942), Eugen Vaino (1909-1969) and Adamson-Eric (1902-1968). The Tartu school introduced many interesting and original artists; the national propaganda in these works was less evident and the artists had more creative freedom, although the quality of calligraphy was often unprofessional owing to the lack of systematic teaching. Nikolai Triik (1884-1940) and Ado Vabbe (1901-1944), two teachers of graphic art at the Pallas, had a major influence on the Tartu school. The former worked as graphic artist at journals, and his students Ernst Kollom (1908-1974), Arkadio Laigo (1901-1944) and Richard Sagrits (1910-1968) realised their potential in the field as well. Of the students of Ado Vabbe, graphic art in journals was fostered by Elmar Kits (1913-1975) and Hando Mugasto (1907-1937), the latter of whom was remarkably proficient at calligraphy in the Tartu school. Eduard Wiiralt (1898-1954), the great example of artists at the Art School Pallas, also belonged to the Tartu school. In addition to educated graphic artists, there were several talented autodidacts active in the area. |
| Databáze: | Directory of Open Access Journals |
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