Antiikkunsti retseptsioon: Tartu ülikooli kunstimuuseumi valandikogu Euroopa ajaloolises, ideoloogilises ja akadeemilises kontekstis (1803–1918)

Vätekirja teemaks on Tartu ülikooli kunstimuuseumi valandikogu kujunemine, areng ning kasutamine pedagoogilises ja teadussfääris 19. sajandil. Ehkki ajalooliselt kujunes valandikogu samal ajal koos ülikooli kunstimuuseumi originaalide koguga, võimaldab üksnes valandile keskenduv vaatlus üksikasjalikumalt uurida seda kui antiikkunsti retseptsiooni spetsiifilist vormi. Uurimaks millistest mõjuteguritest lähtudes antud kogu loodi ja arendati, paigutati see Euroopa ja Eesti ajaloolisesse, ideoloogilisse ja akadeemilisse konteksti. Teine suurem uurimisküsimus puudutab selle valandikogu retseptsiooni akadeemilises õppetöös ja teadustegevuses. Huvi autentse antiikkunsti ja sellega seoses ka valandite vastu algas Eesti alal eelkõige tänu valgustuse, sh vabamüürluse ja haridusideede levikule 18/19. sajandi vahetusel. Enam kui sajandi kestnud protsessis võime eristada kolme, eri paradigmadest mõjutatud etappi: esimesena valitses kunstimuuseumis universaalne periood, mil antiikkunsti ja valandite kõrval koguti väga erinevaid kunstiliike. 19. sajandi keskel sai antiikkunsti, sh skulptuurivalandite kogumisele spetsialiseerumisega alguse perfektsionismiperiood, millega astuti ülikoolide tüüpiliste kunstikogude hulka. Kolmandana võib nimetada süstematiseerimise etappi, kus kogumise kõrval muutus oluliseks kogude publitseerimine. Siinsed paradigmamuutused vormusid Euroopa üldise konteksti mõjul, kuid kogu täiendamine sõltus ka muuseumi juhatjata eelistustest, teadmistest ja kontaktidest ning nende vahetumisega kaasnesid paljudel juhtudel muutused muuseumi prioriteetides ning paradigmavahetused olid kergemini sisseviidavad. Siinse valandikogu järjepideva arengu tagas 19. sajandil väliste väliste agressiivsete katkestusteta ajaloolis-poliitiline ja sotsiaalne situatsioon. Tartu ülikooli asend kahe erineva kultuuri mõjusfääris, poliitiliselt Vene impeeriumi koosseisus ning haridus- ja kunstiideaalidelt saksa kultuuriruumis, mõjus valandikogu kujunemisele pigem positiivselt. Säilinud materjalide põhjal peab nentima, et muuseumi algidee oli kogu saksa kultuuriruumis võrdlemisi uudne ja idealistlik, kuid selle rakendamine praktilises õppes ei läinud nii ladusalt. Tartu valandikogu tähtsus teadustöös jäi võrreldes kogu kasutamisega õppetöös veelgi tagasihoidlikumaks.This dissertation focuses on one area of the University of Tartu Art Museum, namely the cast collections, their formation, development and use in the pedagogical and scientific spheres in the 19th century. Although from the historical perspective, the cast collection was established simultaneously with the university art museum’s collection of originals, researching only the cast collections enables us to study the casts as a specific form of the reception of ancient art in greater depth. The first aim of the dissertation was to determine which factors initiated the creation and development of Tartu’s cast collection. For this purpose, the cast collection has been placed into the historical, ideological and academic contexts of Europe and Estonia. The other main research question related to the reception of this cast collection in academic teaching and scientific research. When collecting casts at the university’s art museum started at the beginning of the 19th century, however, in terms of contemporary Europe, a very new ready-made model was thus adopted. In a process that lasted more than a century, we can differentiate three stages affected by different paradigms: in the first half of the century, the museum was guided by a universal period affected by the ideas of the Enlightenment and Freemasonry, when besides ancient art and casts various art forms were collected. In the middle of the 19th century, the perfectionist period began when a specialisation in ancient art came about, including the collection of sculpture casts. After this phase, the museum had an art collection that was typical of universities. We can call the third phase the systemising stage where, in addition to collecting, publishing the collections also became a priority. The historical-political and social situations of the 19th century made the continuous growth of Tartu’s cast collection possible: the period 1803–1914 was a time without external aggressive interruptions or wars that made it possible directly to increase, arrange and use the collection according to trends, visions and abilities. The cast collection was already used in teaching in the first years after the museum’s founding. On the basis of the materials that have been preserved and found, it has to be stated that idea was relatively new and idealistic in the whole German cultural space, and the practical application of the idea on his course did not go very smoothly. In comparison to using Tartu’s cast collection in teaching, its role in scientific research was even smaller, however

The Triple Pompejanum Possessed by the von Stryk Family: The Manor Houses of Vana-Võidu, Suure-Kõpu and Voltveti

The article is inspired by the fascinating findings and conservationwork done on the Pompeian style murals in Estonian manor housesduring the last few decades. The focus is on the murals in the manorhouses of Voltveti, Suure-Kõpu and Vana-Võidu – all of whichbelonged to different members of the von Stryk family of BalticGermans. The article focuses on the figurative paintings and the styleof the murals, as well as on an art-history-related interpretation anda wider contextual analysis of the Vana-Võidu wall paintings. Thesefinds are the most recent, and this article will study the possiblemodels and ideas for them, search for their art history context andimportance among the triple Pompejanum of the von Strycks. Thewall paintings in the Suure-Kõpu and Voltveti manor houses areused as reference material.The Vana-Võidu, Suure-Kõpu and Voltveti manor houses wererebuilt in the late neoclassical style between 1830s and 1840s. Thewall paintings in these late neoclassical manor houses were madeduring the second half of the 19th century and were inspired, in allcases, by a desire to achieve the look of an ancient interior. There arePompeian-style murals in all three manors. In Suure-Kõpu and Vana-Võidu, can see figurative paintings as well as the division of the wallsinto panels, which is characteristic of the Pompeian style. In Voltveti,there are no figurative paintings and the colour palette – alternatingwarm and cool pastel shades – is not characteristic of the Pompeianstyle, but the ornamental motives are derived from antiquity. It isknown that different publications about the excavated Campaniancities, were available in Estonia in the 19th century. Apparently, thevon Stryk brothers and the painter(s) were able to use the publishedmotifs, because the figurative paintings at Vana-Võidu and Suure-Kõpu are very accurately detailed

Tartu Ülikooli raamatukogule tellitud kipsvalandid Tartu Ülikooli muuseumi kogus: Plaster casts ordered for the University of Tartu Library in the collection of the University of Tartu Museum

Nowadays, a large part of the objects related to teaching and researchacquired for the University of Tartu in the past couple of centuriesare located in the museums of the university. The University ofTartu Museum also preserves the plaster casts ordered in 1805 fordecorating the University of Tartu Library.Exhibiting sculptures at the library was far from being a newidea. It is likely that there were libraries at ancient Greek temples,where sculptures were also displayed. In the Western world, the traditionof decorating libraries came to a halt when churches started todominate as public buildings. Ancient sculptures were considered tobe pagan and not suitable for the libraries of monasteries, churchesand universities that mostly contained books on religion and philosophy.Inventing the printing press in the 15th century broke thebond between libraries and religious institutions. In the 18th centurywhen the library became one of the symbols of the culture of the Enlightenment,ancient portrait sculptures again found their place in theinterior of the library. The canon then also expanded to encompasscontemporary great figures who were put on the pedestal similarlyto their ancient predecessors. In the 19th century, the libraries of universitiesalso started to thrive, as in addition to being a place for sharingknowledge, the creation of new knowledge became important.The University of Tartu was reopened in 1802, and in 1803, thearchitect of the university Johann Wilhelm Krause (1757–1828) preparedthe initial sketches for rebuilding the Dome Church into a library.Already during the construction period, the decision was madeto decorate the library’s halls with plaster casts to create an environmentinspiring learning and research. In 1805, the director of the libraryJohann Karl Simon Morgenstern (1770–1852) ordered suitablecasts from the Academy of Arts in Saint Petersburg. The statue ofAthena and the plaster busts of writers, statesmen and philosophers(Homer, Euripides, Socrates, Plato, Demosthenes, Sophocles, Herodotus,Theocritus, Horace, Cicero, Virgil, Marcus Aurelius, IsaacNewton and Voltaire) were placed in a hall on the third floor; ApolloMusagetes and nine muses were situated in a hall on the secondfloor. The interior design of the University of Tartu Library togetherwith its sculptures was intended to create an excellent atmospherefor studying with its harmonious alcoves in the connecting galleriesand the books placed there.The original ancient marble sculptures of the muses, Athena,Apollo and some other busts that Morgenstern ordered are situatedin the Vatican in the Pio Clementino Museum in the Hall of the Musesthat was opened in 1784. The sculptures there were unearthed atVilla di Cassio near Tivoli during Pope Pius VI’s reign in the 1770s.In addition to the muses and the sculptures of Apollo and Athena,more than 30 herms and busts of famous men from ancient Greecewere found (today, 21 have been preserved). These are likely to havebeen combined into a gallery of “talking” portraits at Villa di Cassiosimilarly to that of the Villa dei Papiri situated in the Herculaneum.The great men standing there, forming a gallery, were chosen to representthe Greek culture and learning and they were seemingly talkingto the viewers. Their teachings could be consulted on the spot,if necessary. It was strived to create an analogous milieu at the Universityof Tartu Library.The set of sculptures ordered for Tartu in 1805 was impressiveand thoroughly thought through. The order was placed at Saint Petersburgsince it was the closest place to Tartu where it was possibleto get casts copied from the original sculptures. Transporting thecasts was especially complicated and risky due to their weight andeasily breakable material.The plaster casts acquired for the interior design of the library areprobably the first made after ancient sculptures at the University ofTartu. Later, sculpture casts were also bought for the university’sdrawing school and art museum

Karl Morgensterni aegne kunstimuuseum ülikooli peahoones: Karl Morgenstern's Art Museum in the Main Building of the University of Tartu

In 2020, the University of Tartu celebrated the 250th anniversary ofthe birth of Johann Karl Simon Karl Morgenstern, the first directorof the University of Tartu/Dorpat Art Museum, which was foundedin 1803. At first, the museum was housed in Morgenstern’s apartmentat Town Hall Square, but in 1809 it was relocated to the newlyerected main building of the university, to two rooms facing onto thestreet and next to the assembly hall. In 1839, Morgenstern drew upan inventory list for the museum. While the document adds little newknowledge about the history of the museum, it is important in helpingus remember that the art museum has not always looked likeit does today, complete with a colourful interior with Pompeii-stylemurals and white plaster copies of classical sculptures. Compared tothe transforming and evolving museum spaces all over the world, theUniversity of Tartu Art Museum has remained relatively unchangedover the past 150 years, but before that, the museum had a completelydifferent appearance. The keywords describing the museum’sinterior and collections in the first half of the 19th century are engravingsand cabinets containing large prints as well as collections ofcoins and plaster casts of coins and gems packed in boxes, complementedby colourful ancient vases and Egyptian antiquities, as wellas two mummies. The furniture from that time is still used in the museum.Some of the atmosphere of the Morgenstern-era art museumwas brought back to life with the exhibition Morgenstern 250. TheEnchanting Art of Glyptics, which was available to the public fromJune 2020 to March 2021

10.R.6. Zwierlein-Diehl, Erika (2007) Antike Gemmen und ihr Nachleben

Zwierlein-Diehl, Erika (2007) Antike Gemmen und ihr Nachleben. Berlin; New York: de Gruyter. XV, 567 p., 231 p. of plates. ISBN 978-3-11-019450-0