2010 Va..rv kui kunst

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1 2010

2 Tiit Pääsuke (1941) This and Another / oil on canvas 115 x 147 cm / 1992 Jan Feb Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su

3 Anne Parmasto (1952) Untitled / oil on canvas 120 x 150 cm / 1991 Mar Apr Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr

4 Valeri Vinogradov (1952) Bay Waters / oil on canvas 100 x 200 cm / 1991 May Jun Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo

5 Rein Kelpman (1960) Summer Evening at the Seaside oil on canvas 119,5 x 116,3 cm / 1991 Jul Aug Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu

6 Andres Tolts (1949) Black and Yellow / oil on canvas 100 x 160 cm / 1991 Sep Oct We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su

7 Mari Kurismaa (1956) Bathing Geometry / oil on canvas 150 x 135 cm / 1991 Nov Dec Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr

8 Kuus eesti maalijat Six Estonian painters Sadolini kunstikogus on rikkalikult esindatud eesti Paul Klee loomingu ja naivismiga assotsiatsioone te- The art collection of Sadolin is generously represented effective level aastate maal, millest seekordne kalen- kitava Rein Kelpmani (muuseas, kunstnikuna on ta by Estonian paintings of 1980ies and 1990ies. This The earlier creative period of Rein Kelpman (by the der tutvustab kuut suurepärast tööd aastate iseõppija) varasem loominguperiood, kuhu kuulub ka calendar introduces six wonderful artworks from the way, as an artist he is an autodidact), who associates algusest. Tiit Pääsuke, Andres Tolts, Rein Kelpman, käesolev töö ( Suveõhtu mere ääres, 1991) män- beginning of 1990ies. Tiit Pääsuke, Andres Tolts, Rein with art of Paul Klee and with naïve art, where also Valeri Vinogradov, Mari Kurismaa ja Anne Parmasto gib geometriseeritud vormi, maastikumotiivi, melan- Kelpman, Valeri Vinogradov, Mari Kurismaa and Anne the present work ( Summer Evening at the Seaside, on aga maalijad, kelleta me eesti maaliajalugu hästi hoolsete meeleolude ning unenäolise vabadusega. Parmasto are the painters without whom we do not 1991) belongs to, plays with geometrised shape, ette ei kujuta. Tegemist pole siiski mingi rühmituse Otsapidi kuulub Kelpmani looming ka sürrealismi ja very well imagine the Estonian history of painting. landscape motive, melancholic moods and dreamlike demonstratsiooniga. Siinse kalendri valikut põhjen- on nüüdseks arenenud suurejooneliste abstraktse- But there is nothing to do with a demonstration of freedom. Partly, the creative work of Kelpman dab asjaolu, et nad kõik, muidugi neile ainuomasel te, erinevate tekstuuridega alusmaterjale kasutavate any grouping. The choice of that calendar is justified reaches to surrealism and has by today advanced to moel, tegelevad eesti maalikunstile siiani nii tüüpiliselt kollaažlike maalideni. by the circumstance that they all, of course by the grandiose and abstract collage-like paintings using selle kunstiliigi traditsiooniliste probleemidega nagu Valeri Vinogradov on eesti juhtivaid abstraktsioniste, way very unique for them, deal with the issues of that different base materials of different textures. koloriit, kompositsioon, faktuur, visuaalne kujund, es- musta värvi ei oska ükski teine maalija nii intensiivselt type of art until now so typically traditional to Estonian Valeri Vinogradov is one of the leading Estonian teetilised küsimused. Nende jaoks on väga oluline ja varjundirikkalt edasi anda nagu tema ( Laheveed, painting like colouring, composition, texture, visual abstractionists. No other painter can communicate nägemismulje, värvi aistitavus, pildi maalilisus, kuid 1991). Maali kontrastsed värvipinnad annavad kokku image, aesthetical questions. Visual impression, black colour such intensively and full of shades like ka kord ja mõistuspärasus. teatud ruumilise mulje, milles ei puudu mõningane sense of colour and picturesqueness of painting, but he does ( Bay Waters, 1991). The contrast paint Juba aastate lõpul popkunstnikuna tuntuse vihjelisus ka ebamäärasele loodusvisioonile. Viimasel also the order and rationality is very important for surfaces give a kind of three-dimensional impression saavutanud ja tänaseks elava klassiku staatusse kümnendil on Vinogradov loonud vaimukal venekeel- them. which also includes some allusion to indeterminate tõusnud Andres Toltsi teos vastab ülaltoodud oma- sel sõnamängul baseeruvaid satiirilisi tõlgendusi aga The painting of Andres Tolts, who already at the nature vision. During last decade Vinogradov has dustele nagu musternäide. Kasutades reaalsust kui Eesti poliitilisest maastikust. end of 1960ies achieved the prominence as a pop created satirical interpretations about political ehitusmaterjali oma struktuuride loomiseks ning lä- Anne Parmasto, kes on palju maalinud ka lilli, elegant- artist and who by today has become a living classic, landscape of Estonia, basing on witty wordplay of henedes oma ülesandele alati kontseptuaalselt, põr- sed abstraktsed pildid tegelevad värvide omavaheliste corresponds to the above mentioned characteristics Russian language. kuvad Toltsi pilt pildis maalil ( Must ja kollane, 1991) suhete (kalendripildil Nimeta (1991) näiteks riskantse as a perfect example. By using the reality as a Elegant abstract paintings of Anne Parmasto, who illusoorselt kaks ruumi, tekitades kolmedimensiooni- värvipaari pruun-sinine vahekord) analüüsiga. building material for creating his structures, and to a great extent has also painted flowers, deal with lise mulje. Toltsi töö on omamoodi lahtimuukimata al- Mari Kurismaa on siinses sekstetis omamoodi erand. always approaching his task conceptually, two rooms analysing the mutual relations of colours (e.g. in the legooria sündmusest, mis on aset leidnud, kuid mille Tegemist on nimeka sisearhitektiga, kes maalikunst- illusively collide in the picture-in-picture painting of calendar painting Untitled (1991) the relation of risky tähendus on ununenud. nikuna tegi ilma aastatel ning hiljem kesken- Tolts ( Black and Yellow, 1991) and create a three- colour pair brown and blue). Teine klassik Tiit Pääsuke koloriidivirtuoos ja suu- dus taas vaid sisekujundustele. Kurismaast kujunes dimensional impression. The painting of Tolts is a kind Mari Kurismaa is a kind of exception in this sextet. She rejooneliste sümbolistlike figuraal-kompositsioonide lühikese ajaga eesti metafüüsilise maali juhtfiguur, of not opened up allegory of an event that has taken is a well-known interior decorator who as a painter lavastaja, kelle teemaks sageli inimene konkreetses kelle suureformaadilistel maalidel pälvis tähelepanu place but the meaning of which is forgotten. was influential in 1980ies and later on again focused ajas keskendub teose puhtmaalilistele külgedele. Ilu peamiselt geomeetriliste vormidega loodud kumma- Another classic Tiit Pääsuke virtuoso of colouring on interior decorations. In a short time Kurismaa ja meelelisus koos psüühilise pingega käivad Pääsu- line, nägemuslik keskkond. Maal Suplev geomeet- and producer of magnificent symbolistic figural become a leading figure of Estonian metaphysical kese loomingus ( Sama ja teine, 1992) käsikäes ning ria (1991) on kunstniku loomes üsna erandlik reaalse compositions, whose topic is often a person in painting. On her large-format paintings the strange, minu arvates pole Pääsukesele tema põlvkonna maa- motiivina tõlgendatava kujundikeele tõttu. specific time period concentrates to picturesque visionary environment that was mainly created by likunstnike hulgas võrdset nii efektsel tasemel dekora- sides of his work. Beauty and sensuality together with geometrical forms deserved attention. The painting tiivse kujundilisuse ja usutavuse kokkupanemisel. Harry Liivrand psychical tension are characteristic to the creative Bathing Geometry (1991) is quite exceptional in the work of Pääsuke ( This and Another 1992). In my creative work of the artist due to the figural language opinion there is no-one equal to Pääsuke among to be interpreted as a real motive. the painters of his generation who can put together the decorative figurativeness and credibility of that Harry Liivrand