http://hdl.handle.net/10023/600 2013-05-22T02:34:40Z 2013-05-22T02:34:40Z Stamenkovic, Marko. http://hdl.handle.net/10023/623 2010-12-07T15:23:39Z 2004-01-01T00:00:00Z

Abstract: This article addresses the system of art and the issue of contemporary art curatorship in the area known as ‘Eastern Europe’, with a particular emphasis on the status of curatorial practices in the postsocialist condition. The problems explored are focused firstly around the issues of the representation of Eastern Europe and contemporary Eastern European art, in terms of organizing exhibitions in the context of globalisation, and secondly the role of a contemporary art curator as compared to the role performed by a contemporary cultural manager. The question to be raised is related to ‘The Image of Eastern Europe’ within the functioning of global cultural imperialism, i.e. how do the models of contemporary artistic and especially curatorial practices respond to the up-to-date demands of cultural policy issues related to the area of the former communist/socialist countries in Eastern Europe? Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000394/; Article 6 of 6 in an issue devoted to the visual culture of South Eastern Europe

2004-01-01T00:00:00Z Stamenkovic, Marko. This article addresses the system of art and the issue of contemporary art curatorship in the area known as ‘Eastern Europe’, with a particular emphasis on the status of curatorial practices in the postsocialist condition. The problems explored are focused firstly around the issues of the representation of Eastern Europe and contemporary Eastern European art, in terms of organizing exhibitions in the context of globalisation, and secondly the role of a contemporary art curator as compared to the role performed by a contemporary cultural manager. The question to be raised is related to ‘The Image of Eastern Europe’ within the functioning of global cultural imperialism, i.e. how do the models of contemporary artistic and especially curatorial practices respond to the up-to-date demands of cultural policy issues related to the area of the former communist/socialist countries in Eastern Europe? Walsh, Michael. http://hdl.handle.net/10023/622 2010-12-07T15:24:24Z 2004-01-01T00:00:00Z

Abstract: This article presents a very brief historical overview, and contemporary description, of the Church of Saint Peter and Saint Paul, Famagusta, Northern Cyprus. In the light of the changing political situation in that island it invites scholarship in a range of disciplines to the church and to other historic landmarks within the old city walls. Scholars interested might include: art historians, architectural historians, civil engineers, archivists, historians, structural analysts, masonry conservators, surveyors, ecclesiastical historians, and a wider range of experts involved in the full study of other Gothic churches elsewhere in mainland Europe Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000392/; Article 5 of 6 in an issue devoted to the visual culture of South Eastern Europe

2004-01-01T00:00:00Z Walsh, Michael. This article presents a very brief historical overview, and contemporary description, of the Church of Saint Peter and Saint Paul, Famagusta, Northern Cyprus. In the light of the changing political situation in that island it invites scholarship in a range of disciplines to the church and to other historic landmarks within the old city walls. Scholars interested might include: art historians, architectural historians, civil engineers, archivists, historians, structural analysts, masonry conservators, surveyors, ecclesiastical historians, and a wider range of experts involved in the full study of other Gothic churches elsewhere in mainland Europe Leandro, Gloria. http://hdl.handle.net/10023/621 2010-12-07T15:24:04Z 2004-01-01T00:00:00Z

Abstract: Built to celebrate the liberation of Bulgaria from centuries of Ottoman domination, the Cathedral of St. Alexander Nevski in Sofia has aroused only scant interest among art historians both inside and outside the country. In recent years, the general disinterest surrounding this monument can be ascribed to the political climate in Bulgaria after the Second World War; for almost half a century the militant atheism of the Communist regime stifled the religious feelings of the Bulgarian people, forcing believers underground. Consequently, under pressure from the regime, religious works of art and places of worship fell into neglect. In view of this void, the aim of my research was to document as completely as possible all the various aspects of the Cathedral of St. Alexander Nevski. I then traced the history of Bulgaria, starting from the Ottoman conquest and focusing particularly on the period of the Bulgarian Renaissance, which led the country, with the help of Russia, to freedom from the Turkish Empire and then to independence. I hope that this study will shed a glimmer of light on this splendid building and help to stimulate interest in Bulgaria's artistic heritage. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000393/; Article 4 of 6 in an issue devoted to the visual culture of South Eastern Europe

2004-01-01T00:00:00Z Leandro, Gloria. Built to celebrate the liberation of Bulgaria from centuries of Ottoman domination, the Cathedral of St. Alexander Nevski in Sofia has aroused only scant interest among art historians both inside and outside the country. In recent years, the general disinterest surrounding this monument can be ascribed to the political climate in Bulgaria after the Second World War; for almost half a century the militant atheism of the Communist regime stifled the religious feelings of the Bulgarian people, forcing believers underground. Consequently, under pressure from the regime, religious works of art and places of worship fell into neglect. In view of this void, the aim of my research was to document as completely as possible all the various aspects of the Cathedral of St. Alexander Nevski. I then traced the history of Bulgaria, starting from the Ottoman conquest and focusing particularly on the period of the Bulgarian Renaissance, which led the country, with the help of Russia, to freedom from the Turkish Empire and then to independence. I hope that this study will shed a glimmer of light on this splendid building and help to stimulate interest in Bulgaria's artistic heritage. Petrakis, Vassilis P. http://hdl.handle.net/10023/620 2010-12-07T15:24:39Z 2004-01-01T00:00:00Z

Abstract: The present article aims to examine some iconographic aspects of ship representations on Late Helladic III C pictorial pottery (c.1220-1075 BC). Our primary focus is on the function of the ship motif within the context of the Aegean and contemporary Eastern Mediterranean iconography with emphasis on artistic conventions. Two basic iconographic elements, the figurehead prows and the so-called "horizontal ladder" pattern, are briefly considered and some new interpretations are suggested. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000391/; Article 3 of 6 in an issue devoted to the visual culture of South Eastern Europe

2004-01-01T00:00:00Z Petrakis, Vassilis P. The present article aims to examine some iconographic aspects of ship representations on Late Helladic III C pictorial pottery (c.1220-1075 BC). Our primary focus is on the function of the ship motif within the context of the Aegean and contemporary Eastern Mediterranean iconography with emphasis on artistic conventions. Two basic iconographic elements, the figurehead prows and the so-called "horizontal ladder" pattern, are briefly considered and some new interpretations are suggested. Khoshtaria, Tinatin. http://hdl.handle.net/10023/619 2010-12-07T15:25:15Z 2004-01-01T00:00:00Z

Abstract: Among the numerous churches of the monasteries of Gareji, there is situated at the top of a mountain in west of the mine complex, the little church of the Forty Martyrs, or Motsameta. The paintings of this chapel-martyrium, Motsameta, have special significance in the study of the Garejian painting school. In the Gareji desert there were other martyriums, in Sabereebi, Bertubani and Tsamebuli for example, but paintings are rarely found in these edifices. Martyriums were painted more commonly in Byzantium than in Georgia. Thus the church of Motsameta is a rare example of a Georgian painted martyrium. Its further study, particularly with the aim of establishing parallels with similar medieval European monuments, is very important. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000390/; Article 2 of 6 in an issue devoted to the visual culture of South Eastern Europe

2004-01-01T00:00:00Z Khoshtaria, Tinatin. Among the numerous churches of the monasteries of Gareji, there is situated at the top of a mountain in west of the mine complex, the little church of the Forty Martyrs, or Motsameta. The paintings of this chapel-martyrium, Motsameta, have special significance in the study of the Garejian painting school. In the Gareji desert there were other martyriums, in Sabereebi, Bertubani and Tsamebuli for example, but paintings are rarely found in these edifices. Martyriums were painted more commonly in Byzantium than in Georgia. Thus the church of Motsameta is a rare example of a Georgian painted martyrium. Its further study, particularly with the aim of establishing parallels with similar medieval European monuments, is very important. Alevizou, Denise-Chole http://hdl.handle.net/10023/618 2010-12-07T15:24:59Z 2004-01-01T00:00:00Z

Abstract: Systematic analysis and comparative study of the eariest known written works on the art of painting in the history of Neohellenic art, has brought to light new evidence regarding its first School of painting, the Heptanese School. The first neohellenic original treatise on the art of painting was proved an anthology of translations selected from current Italian literature on art, and was considered anew as a codification of artistic practices current in the Venetian-ruled Ionian Isles (early 18th c.). Thus questioning long-considered certainties regarding the role of its writer Panaghiotis Doxaras as founder of the School and his alleged will to revolutionise the existing painting practices, it leads to a new understanding of artistic ideals in his time. Further evidence proving the direct involvement of another protagonist of the Heptanese School, Panaghiotis’s son, Nikolaos, with two of the three known written works, adds a new prospect to the study of the first school of Neohellenic painting. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000389/; Article 1 of 6 in an issue devoted to the visual culture of South Eastern Europe

2004-01-01T00:00:00Z Alevizou, Denise-Chole Systematic analysis and comparative study of the eariest known written works on the art of painting in the history of Neohellenic art, has brought to light new evidence regarding its first School of painting, the Heptanese School. The first neohellenic original treatise on the art of painting was proved an anthology of translations selected from current Italian literature on art, and was considered anew as a codification of artistic practices current in the Venetian-ruled Ionian Isles (early 18th c.). Thus questioning long-considered certainties regarding the role of its writer Panaghiotis Doxaras as founder of the School and his alleged will to revolutionise the existing painting practices, it leads to a new understanding of artistic ideals in his time. Further evidence proving the direct involvement of another protagonist of the Heptanese School, Panaghiotis’s son, Nikolaos, with two of the three known written works, adds a new prospect to the study of the first school of Neohellenic painting. Untiks, Inga. http://hdl.handle.net/10023/617 2010-12-07T15:22:01Z 2003-01-01T00:00:00Z

Abstract: This article will examine the marriage of art and nature in the Europos Parkas Open-Air Museum on the outskirts of the Lithuanian capital of Vilnius, which has become one of the most successful demonstrations of the transformative potential of artistic experience within a natural landscape. The inception of the museum coincided with the dramatic political and social changes of the late 1980s and early 1990s that were to affect both creative practice and aesthetic experience. During this period, contemporary art in the region developed a more pluralistic perspective, which included the use of a multitude of styles in the post-modern sense, such as object-oriented art, installation, performance, and an increased use of technology in artistic practice, such as photography, video, digital media. In response to this changed artistic atmosphere, many art and cultural institutions began to adapt their program in an effort to engage more fully in the dialogue of Western art discourses. Yet few have successfully transgressed the barriers separating the wider audience from Danto’s art world and its specific language of interpretation, whilst maintaining the integrity of the works on display. This article seeks to explore how the phenomenon of Europos Parkas has constructed and mediated the contemporary at a unique historical moment. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000370/; Article 6 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Untiks, Inga. This article will examine the marriage of art and nature in the Europos Parkas Open-Air Museum on the outskirts of the Lithuanian capital of Vilnius, which has become one of the most successful demonstrations of the transformative potential of artistic experience within a natural landscape. The inception of the museum coincided with the dramatic political and social changes of the late 1980s and early 1990s that were to affect both creative practice and aesthetic experience. During this period, contemporary art in the region developed a more pluralistic perspective, which included the use of a multitude of styles in the post-modern sense, such as object-oriented art, installation, performance, and an increased use of technology in artistic practice, such as photography, video, digital media. In response to this changed artistic atmosphere, many art and cultural institutions began to adapt their program in an effort to engage more fully in the dialogue of Western art discourses. Yet few have successfully transgressed the barriers separating the wider audience from Danto’s art world and its specific language of interpretation, whilst maintaining the integrity of the works on display. This article seeks to explore how the phenomenon of Europos Parkas has constructed and mediated the contemporary at a unique historical moment. Henriksen, Niels. http://hdl.handle.net/10023/616 2010-12-07T15:22:21Z 2003-01-01T00:00:00Z

Abstract: This article will examine the work of the Danish painter, potter and sculptor Asger Jorn (1914-1973). Although Asger Jorn is sometimes presented as the Scandinavian exponent of post war Abstract Expressionism, he was really a movement of his own, consciously working against such categorisations, and arguing against abstraction in art. From the beginning of the 1940s onwards Jorn was the initiator of periodicals and movements and always an ardent supplier of manifestos and articles. The best known of these movements are the COBRA-group and the Situationist International. In particular his work in the Scandinavian Institute for Comparative Vandalism and his project "10000 Years of Scandinavian Folk Art" will be discussed. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000369/; Article 5 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Henriksen, Niels. This article will examine the work of the Danish painter, potter and sculptor Asger Jorn (1914-1973). Although Asger Jorn is sometimes presented as the Scandinavian exponent of post war Abstract Expressionism, he was really a movement of his own, consciously working against such categorisations, and arguing against abstraction in art. From the beginning of the 1940s onwards Jorn was the initiator of periodicals and movements and always an ardent supplier of manifestos and articles. The best known of these movements are the COBRA-group and the Situationist International. In particular his work in the Scandinavian Institute for Comparative Vandalism and his project "10000 Years of Scandinavian Folk Art" will be discussed. Shepherd, Rachael. http://hdl.handle.net/10023/615 2010-12-07T15:22:39Z 2003-01-01T00:00:00Z

Abstract: This article will discuss the placing of art in schools in Sweden and the ideology behind this. The activities of Föreningen för skolornas prydande med konstverk [The Society for the Decoration of Schools with Artwork] and like-minded individuals will be examined. The Society was primarily concerned with children’s ability ‘to see’ works of art, aspiring “...to convey art to the youth and the youth to the art.” Positioning the works of art in question within communal spaces facilitated the regular access to art prescribed by the Society. Didactic messages were channelled through compositional devices such as scenes of familiar localities and the empathetic subject of the youth in Swedish nature. Discussion will focus on how these art works made a collective school identity compatible with lessons in fostering national identity. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000368/; Article 4 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Shepherd, Rachael. This article will discuss the placing of art in schools in Sweden and the ideology behind this. The activities of Föreningen för skolornas prydande med konstverk [The Society for the Decoration of Schools with Artwork] and like-minded individuals will be examined. The Society was primarily concerned with children’s ability ‘to see’ works of art, aspiring “...to convey art to the youth and the youth to the art.” Positioning the works of art in question within communal spaces facilitated the regular access to art prescribed by the Society. Didactic messages were channelled through compositional devices such as scenes of familiar localities and the empathetic subject of the youth in Swedish nature. Discussion will focus on how these art works made a collective school identity compatible with lessons in fostering national identity. Kurg, Andres. http://hdl.handle.net/10023/614 2010-12-07T15:22:56Z 2003-01-01T00:00:00Z

Abstract: This article will look at the early works of Estonian architect and artist Jüri Okas and will try to work between diverging languages and interpretations, reading works by Okas against the background of Anglo-american conceptualism and minimalism of the same period. The first part of the paper will analyse a print by Jüri Okas that paraphrases works by the American artist Donald Judd and will try to show how Okas’ concept of minimalism differed from the Western one and the reasons behind it. The second part of the paper will focus on a conceptual book by Jüri Okas, consisting of a series of photographs of everyday and banal architectural objects, and compare it to Rober Venturi’s book on Complexity and Contradiction in Architecture. Finally, a comparison will be made with works of Robert Smithson in the context of concepts of waste, excess and the remainders of industrial civilisation Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000367/; Article 3 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Kurg, Andres. This article will look at the early works of Estonian architect and artist Jüri Okas and will try to work between diverging languages and interpretations, reading works by Okas against the background of Anglo-american conceptualism and minimalism of the same period. The first part of the paper will analyse a print by Jüri Okas that paraphrases works by the American artist Donald Judd and will try to show how Okas’ concept of minimalism differed from the Western one and the reasons behind it. The second part of the paper will focus on a conceptual book by Jüri Okas, consisting of a series of photographs of everyday and banal architectural objects, and compare it to Rober Venturi’s book on Complexity and Contradiction in Architecture. Finally, a comparison will be made with works of Robert Smithson in the context of concepts of waste, excess and the remainders of industrial civilisation Talvistu, Tiiu http://hdl.handle.net/10023/613 2010-12-07T15:23:14Z 2003-01-01T00:00:00Z

Abstract: This article discusses Karin Luts, one of the first women artists to be trained in Estonia, she was among those who left Estonia in small boats on the eve of the Soviet invasion and started new lives in Sweden. She had to live through all the hardships and pains of moving to a new cultural environment, had to suffer losing her national identity, and find a new home and a new homeland. She left for good, never to return, not even when the political climate would have permitted it. Her relationship with Estonia was complicated and controversial, as was her relationship with Swedish culture and with the culture of her fellow refugees. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000366/; Article 2 of 6 in an issue devoted to the visual culture of the Scandinavian and Baltic region

2003-01-01T00:00:00Z Talvistu, Tiiu This article discusses Karin Luts, one of the first women artists to be trained in Estonia, she was among those who left Estonia in small boats on the eve of the Soviet invasion and started new lives in Sweden. She had to live through all the hardships and pains of moving to a new cultural environment, had to suffer losing her national identity, and find a new home and a new homeland. She left for good, never to return, not even when the political climate would have permitted it. Her relationship with Estonia was complicated and controversial, as was her relationship with Swedish culture and with the culture of her fellow refugees. Svede, Mark Allen. http://hdl.handle.net/10023/612 2010-12-07T15:39:58Z 2003-01-01T00:00:00Z

Abstract: This article focuses on book works by Latvian artists during the late-Soviet period, and also offers an initial discussion of the peculiarities of the Soviet publishing environment, as it existed shortly before the USSR’s annexation of Latvia at the end of World War II, and the roughly concurrent publication experiences of progressive artists in inter-bellum Latvia, the so-called First Republic. During its heyday in the 1960s and 70s the artist’s book was hailed by many practitioners in the West as the superlative democratic art form, due to the hypothetical possibility of the widespread ownership of the art object. An examination of how artist-authored books developed amid Latvian society's repeated, abrupt transitions between democracy and totalitarianism during the past century may further illuminate this concept of a democratic art medium. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000364/; Article 1 of 6 in an issue devoted to Scandinavian and Baltic visual culture

2003-01-01T00:00:00Z Svede, Mark Allen. This article focuses on book works by Latvian artists during the late-Soviet period, and also offers an initial discussion of the peculiarities of the Soviet publishing environment, as it existed shortly before the USSR’s annexation of Latvia at the end of World War II, and the roughly concurrent publication experiences of progressive artists in inter-bellum Latvia, the so-called First Republic. During its heyday in the 1960s and 70s the artist’s book was hailed by many practitioners in the West as the superlative democratic art form, due to the hypothetical possibility of the widespread ownership of the art object. An examination of how artist-authored books developed amid Latvian society's repeated, abrupt transitions between democracy and totalitarianism during the past century may further illuminate this concept of a democratic art medium. Todorovic, Jelena. http://hdl.handle.net/10023/611 2010-12-07T15:20:38Z 2003-01-01T00:00:00Z

Abstract: Apart from more common forms of state aggrandisement, such as official portraiture, grand allegorical compositions and public monuments, ephemeral spectacles have played an important role in the formation of the state’s public image. This article will examine the political imagery created for an unusual patron, and used for an equally seldom discussed function. The objects of this discussion will be the emblematic decoration of banners, created as the main artefacts in a political spectacle devised by Vikentije Jovanovic (1731-1734), the Orthodox archbishop of Karlovci. The spectacle in question was the inauguration ceremony of the Illirian-Rascian regiment he founded in 1735. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000384/; Article 6 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe; This issue was sponsored by The Sikorski Polish Club and The Scottish Polish Cultural Association

2003-01-01T00:00:00Z Todorovic, Jelena. Apart from more common forms of state aggrandisement, such as official portraiture, grand allegorical compositions and public monuments, ephemeral spectacles have played an important role in the formation of the state’s public image. This article will examine the political imagery created for an unusual patron, and used for an equally seldom discussed function. The objects of this discussion will be the emblematic decoration of banners, created as the main artefacts in a political spectacle devised by Vikentije Jovanovic (1731-1734), the Orthodox archbishop of Karlovci. The spectacle in question was the inauguration ceremony of the Illirian-Rascian regiment he founded in 1735. Gralinska-Toborek, Agnieszka. http://hdl.handle.net/10023/610 2010-12-07T15:21:04Z 2003-01-01T00:00:00Z

Abstract: Polish art of the 1980s was in a period of transition from modernism to postmodernism. Theoretical debates and disputes concerning both of these terms and their interrelations are still going on. However, the goal of this article will be to portray the specific character of Polish art in the 1980s in relation to the problem of sacrum. Spiritual and metaphysical themes were present in post-war avant-garde work, but it was only in the art of the 1980s that there was a real explosion of interest in such ideas. The term sacrum is drawn from the phenomenology of religion, and means sanctity, a sphere of meeting deity with believer (sacer, sacra, sacrum in Latin – devoted to God). Description: Article 4 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe; This issue was sponsored by The Sikorski Polish Club and the Scottish Polish Cultural Association; Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000387/

2003-01-01T00:00:00Z Gralinska-Toborek, Agnieszka. Polish art of the 1980s was in a period of transition from modernism to postmodernism. Theoretical debates and disputes concerning both of these terms and their interrelations are still going on. However, the goal of this article will be to portray the specific character of Polish art in the 1980s in relation to the problem of sacrum. Spiritual and metaphysical themes were present in post-war avant-garde work, but it was only in the art of the 1980s that there was a real explosion of interest in such ideas. The term sacrum is drawn from the phenomenology of religion, and means sanctity, a sphere of meeting deity with believer (sacer, sacra, sacrum in Latin – devoted to God). Hodge, Kim. http://hdl.handle.net/10023/609 2010-12-07T15:21:25Z 2003-01-01T00:00:00Z

Abstract: Tamara de Lempicka’s fusion of artistic influences from 16th & 17th century Italy with the exuberant modernity of 1920’s Parisian society made her a leading figure in the world of Art Deco’s painters. Lempicka’s accomplishments and renown came from a mixture of innate design skills, her study of art and the inventiveness of her vision. This article examines the development of her work and its later reception. Description: Article 3 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe.; Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000385/

2003-01-01T00:00:00Z Hodge, Kim. Tamara de Lempicka’s fusion of artistic influences from 16th & 17th century Italy with the exuberant modernity of 1920’s Parisian society made her a leading figure in the world of Art Deco’s painters. Lempicka’s accomplishments and renown came from a mixture of innate design skills, her study of art and the inventiveness of her vision. This article examines the development of her work and its later reception. Burman, Kristi http://hdl.handle.net/10023/608 2010-12-07T15:21:41Z 2003-01-01T00:00:00Z

Abstract: This article will discuss some aspects of Paul Burman's compositions. The creative endeavour of Paul Burman (1888-1934) belongs to the earliest period of Estonian art history. Born into a Baltic-German family, living mainly in Estonia, he received his art education in the Art Academies of Russia. Burman therefore belonged simultaneously to the Baltic-German, Estonian and Russian culture spheres and connected them in his art. Burman's creation reveals a complicated, many-faceted art concept. The article applies phenomenological and visual theories to Burman's work, discussing the role of body and space in his compositions of nude riders which develop from the creative imagination. Burman's compositions can be interpreted as an expression of an inner Ulysses, a constant wandering on horseback, passing through the rectangular space of the picture. The beholder is only witnessing a pause on this inner journey, painted with the suggestivity of a reverie. Description: Article 2 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe; Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000386/

2003-01-01T00:00:00Z Burman, Kristi This article will discuss some aspects of Paul Burman's compositions. The creative endeavour of Paul Burman (1888-1934) belongs to the earliest period of Estonian art history. Born into a Baltic-German family, living mainly in Estonia, he received his art education in the Art Academies of Russia. Burman therefore belonged simultaneously to the Baltic-German, Estonian and Russian culture spheres and connected them in his art. Burman's creation reveals a complicated, many-faceted art concept. The article applies phenomenological and visual theories to Burman's work, discussing the role of body and space in his compositions of nude riders which develop from the creative imagination. Burman's compositions can be interpreted as an expression of an inner Ulysses, a constant wandering on horseback, passing through the rectangular space of the picture. The beholder is only witnessing a pause on this inner journey, painted with the suggestivity of a reverie.