Kumu Art Museum



Kumu Art Museum Of Estonia is worth of several hours visit.

Kumu situates in Kadriorg neighborhood about 1,5 km from the center of Tallinn. There’s also other museums, Kadriorg palace and beautiful old parks to see. Kumu is largest museum venue in the Estonia and have exhibition space on five floors. Collections of Estonian art starting from the early 18th century are displayed on the third and fourth floors, and a modern art gallery is on the fifth floor. In Kumu there’s also 250-seat auditorium for different events and library with widest selection of art books in Estonia.

Kumu was opened in February 2006. Architect for the Kumu building is the Finnish Pekka Juhani Vapaavuori (b. 1962), who won the international architectural competition held in 1993–1994 with his project “Circulos”. There’s old wood houses very near to modern museum, what makes environment interesting but contradictory. In 2008 Kumu received the European Museum of the Year Award. There’s storage of Estonian artworks under the ground floors, where’s stored 60,000 exhibits.

KUMU’s website: http://kumu.ekm.ee/en/
You can check more photos I took here: https://www.flickr.com/photos/98052824@N03/albums/72157672754685265




In the first floor was Villu Jaanisoo’s fun artwork Chair I-II, made of motor tyres in 2001. Chairs were about 2 metres high. Ilmar Malin’s Fading sun (below) was part of “Conflicts and Adaptations. Estonian Art of the Soviet Era (1940–1991)” exhibition. There was real hole in canvas. Artwork is made in 1968 and it is made with synthetic tempera and mixed media. The way Soviet authorities understood the role of art and artists in society was radically different from the attitudes which shaped art in the pre-war Estonian Republic. It was strict realism under Communist party of the Soviet Union. I think that Malin’s work stretched those rules.



Cold Look. Variations of Hyperrealism in Estonian Art

Another exhibition what I liked most beside Victorian Fashion, “Poetry and Spleem” exhibition was hyperrealism exhibition. Hyperrealism focused Western lifestyle and it tried to be “more real than real”. Artworks were often based on photos, but in artworks was conflict between picture and reality. Hyperrealism was blooming in 1970s and 1980s, but there was included a couple of new photorealistic works in the exhibition. Maarit Murka’s oil paintings 16 Shots Before 1-16 is made in 2010. It bases on Carl Theodor Dryer’s silent film Passion de Jeanne de’Arc in 1928. Frames are from the moments her head was shaved before the execution.

Another photo in post is Jaan Elken’s Seagull oil painting in 1982. Seagull’s shadow creates conflict against reality to the picture, where’s Georg Ots boat in the background. There was several fine artworks from Elken and other artists in exhibition. You can see some more in photos I took here: https://www.flickr.com/photos/98052824@N03/albums/72157672744816385




Victorian Fashion



I went to visit in KUMU Art Museum in Tallinn and one of the exhibitions was Poetry And Spleen: The Victorian Female Image And Fashion.

If you’re traveling in Tallinn I recommend to visit in KUMU Art Museum. It is quite big art museum with several interesting exhibitions at the same time. I write to this post only about one exhibition what was there this summer, Poetry And Spleen: The Victorian Female Image And Fashion from Aleksandre Vassiliev’s collection. I will do soon another post about other exhibition there.

Exhibition consisted of nearly 50 costumes and more than 150 accessories, along with carefully selected colour fashion plates and photos, which convey the atmosphere of the era. Victorian femininity in 19th century was repressed and chained. In fashion it appeared as new silhouette, what was made with corset and hoop skirt. Name of the era has come from English queen Victoria (1837–1901), who is internationally known symbol of 19th century fashion.

English and French design had conflict in the era. Most of the haute couture was made in Paris while England has the queen Victoria. The dominant emotion of era was melancholy, and the poet Charles Baudelaire described this continuous feeling of melancholy by using the term spleen.

Dresses of the upper class were decorative with embroidery and lace. You could view in the exhibition hand sewed details from close and made a recognition how small women have been. Many of the dresses were dark and black, what made them very gothic.

KUMU’s website: http://kumu.ekm.ee/en/
You can check all the photos I took here: https://www.flickr.com/photos/98052824@N03/albums/72157672387628276