Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid: = Monumental Paintings by Eva Jänes
Eva Jänes (snd 1942) on 1970.–1990. aastate Eesti viljakamaid monumentaalkunstnikke. Käesoleva raamatu eesmärk on tuua varjust välja Eva Jänese mitmekülgne looming monumentaalmaali alal, veerandsada hoonetega unisoonis sündinud teost enam kui tuhandel ruutmeetril! Eva Jänes on maalinud freskosid ja...
Gespeichert in:
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| Format: | Buch |
| Sprache: | Estonian |
| Veröffentlicht: |
Tallinn
Reeli Kõiv
2022
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Zusammenfassung: | Eva Jänes (snd 1942) on 1970.–1990. aastate Eesti viljakamaid monumentaalkunstnikke. Käesoleva raamatu eesmärk on tuua varjust välja Eva Jänese mitmekülgne looming monumentaalmaali alal, veerandsada hoonetega unisoonis sündinud teost enam kui tuhandel ruutmeetril! Eva Jänes on maalinud freskosid ja sekosid, loonud vitraaže ja mosaiike. Eriti suur meister on ta värvilise krohvi kihtide sisse lõigatud sgrafiito tehnikas. Seda on ta kasutanud ka oma tuntuima teose, Põdrangu sovhoosi keskusehoone lehviksaali seinamaalis (1978), mille erakordne, sakraalne mõju kõrgete akendega pidulikus ruumis võtab sõnatuks tänase päevani. Rikkalikult illustreeritud raamat annab ajaloolist konteksti silmas pidades põhjaliku pildikeskse ülevaate kõigist Jänese monumentaalmaalidest, nii säilinud kui ka hävinud teostest. Väljaanne sisaldab ka intervjuud kunstnikuga, õpingukaaslaste Tiiu Übi ja Tiit Pääsukese meenutusi ning fotodega monumentaalmaalide nimestikku. |
| Beschreibung: | Käesoleval aastal saab 80-aastaseks Eesti maalikunstnik Eva Jänes |
| Beschreibung: | 286 Seiten |
| ISBN: | 9789916412305 |
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| 520 | 3 | |a Eva Jänes (snd 1942) on 1970.–1990. aastate Eesti viljakamaid monumentaalkunstnikke. Käesoleva raamatu eesmärk on tuua varjust välja Eva Jänese mitmekülgne looming monumentaalmaali alal, veerandsada hoonetega unisoonis sündinud teost enam kui tuhandel ruutmeetril! Eva Jänes on maalinud freskosid ja sekosid, loonud vitraaže ja mosaiike. Eriti suur meister on ta värvilise krohvi kihtide sisse lõigatud sgrafiito tehnikas. Seda on ta kasutanud ka oma tuntuima teose, Põdrangu sovhoosi keskusehoone lehviksaali seinamaalis (1978), mille erakordne, sakraalne mõju kõrgete akendega pidulikus ruumis võtab sõnatuks tänase päevani. Rikkalikult illustreeritud raamat annab ajaloolist konteksti silmas pidades põhjaliku pildikeskse ülevaate kõigist Jänese monumentaalmaalidest, nii säilinud kui ka hävinud teostest. Väljaanne sisaldab ka intervjuud kunstnikuga, õpingukaaslaste Tiiu Übi ja Tiit Pääsukese meenutusi ning fotodega monumentaalmaalide nimestikku. | |
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Datensatz im Suchindex
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|---|---|
| adam_text | Q SAATEKS fiti Q EVA JÄNESEST EESTI Ճ MONUMENTAALMAALI TAUSTAL KODU JA KUNSTIÕPINGUD տ Tartu Kunstikoolis Instituudis MÖÖDA MÄRGILISI TEOSEID 7 9 21 25 33 45 Aseri keraamikatehase pannood 1973-1974 47 Rakvere veterinaarkeskuse freskod 1974-1975 63 Kommivabriku Kalev freskod 1976-1978 77 Põdrangu sovhoosikeskuse sgrafiitod 1978 93 Tallinna koondise Autoveod freskod 1979 127 Väike-Maarja Seltsimaja fresko 1980 135 Tallinna perekonnaseisuameti freskod 1982 147 Narva perekonnaseisuameti ja Lihula kultuurimaja seinamaalid 1989 161 Vitraažid 1975-1997 173 Mosaiigid 1980-2002 199 Konsistooriumi kabeli freskod 1994 219 MAALIMINE ON MINU JAOKS NAGU HINGAMINE 237 MEENUTUSI EVA JÄNESEST KUNSTIÕPINGUTE AJAL 261 Tiiu Übi 263 Tiit Pääsuke 269 Monumentaalmaalide nimestik 271 Monumental paintings by Eva Jänes 281
Põdrangu sovhoosikeskuse sgrafiito fragment. 1978. Foto: 2021 This year marks the 80th birthday of painter Eva (Eeva-Aet) Jänes who is best known in Estonian art for her geometric panel paintings from recent decades. However, the main body of her work are powerful monumental paintings which have unfortunately remained relatively unknown to the public. Not many experts in the field, nor even the closest acquaintances of the artist, have seen her monumental works in real life, not to mention the wider art audience. The reason for this is that most of these artworks are located on the semi-closed premises of companies outside Tallinn. Also, monumental painting is not an art form displayed at exhibitions which people specifically go and see, especially since the Soviet era heritage has not yet acquired an aura of art classics that would elevate these works in the audience’s sphere of interest as art historical objects, as has happened to outstanding works from the previous centuries in other parts of the world. Although many of Jänes’ works are still known to us from reproductions and architecture reviews, a monumental painting can only be truly experienced on site, in its immediate spatial environment.
Since Eva Jänes’ works completed in architecture have not been given a place that they rightly deserve in the history of Estonian art, this book aims to bring the central part of her life’s work - a quarter of a hundred projects created in unison with buildings - out from the shadows. This publication focuses on paintings, but also opens up the stories of their creation and later fate, not only relying on visual sources, but also on written and oral accounts. The visual material of the book has aimed to capture her works as comprehensively as possible using photography as a medium - both in general views, in fragments and details, because recent history has shown that monumental painting may not always stand the test of the changing times. The scale of the art Jänes has completed in architecture has been truly awe-inspiring: more than 1,000 square metres of painting in classical monumental techniques, most of them frescoes and sgraffiti, realised with virtuosic mastery! If we tried to imagine the volume of this art - created centimetre by centimetre onto or into the wall surface, while often balancing on high scaffolding - calculating based on one square metre paintings on canvas, they would form a line no less than a kilometre long when lined up side by side! The most prolific years in Eva Jänes’ work coincide with the time that saw the general rise of monumental painting in Soviet Estonia - the 1970s and 1980s. After graduating from Tartu Art School, Jänes commenced studies in monumental painting at the State Art Institute of the Estonian SSR (currently the Estonian
Academy of Arts). She graduated in 1970 with an outstanding design of monumental painting in sgraffito technique as her graduation project. She is one of the few female monumental painters who, together with Dolores Hoffmann (b. 1937), the long-time leader of the department of monumental painting at the Art Institute, and Urve Dzidzaria (b. 1949), has consciously chosen the path of a monumental painter whilst remaining true to its classical techniques. Jänes has successfully worked as a freelancer throughout her career and received orders mainly through the ARS Art Factory. During the Soviet era, monumental painting in Estonia seemed to live a life of its own as a parallel phenomenon favoured by the political power. Formally, it was a collaborative field of art at the service of communist ideology, regulated at state level by the State Committee for Monumental-Decorative Art, active from 1967 to 1992 under the Ministry of Culture of the USSR. It mediated most important commissions for artists, organised competitions and evaluated designs for artworks. In the field of sculpture, ideology was often prescribed to the artists by the theme of the work: commissions included dozens of portraits of Lenin, headstones for war graves and memorials, whereas things were more ambivalent in monumental painting that was practiced in much smaller volumes. The use of Soviet symbols was only prescribed in individual cases, such as the stained glass windows of the Political Education House of the Central Committee of the Estonian Communist Party (Sakala Centre) by Rait Prääts and the panel
painting for the History and Revolution Museum of the Estonian SSR (Maarjamäe Castle) by Evald Okas. Both were completed in 1987. Enn Põldroos, one of the leading figures in art life and the chairman of the said committee, also personally created several monumental paintings and found thematic solutions in large-scale generalisations that depict human aspirations. Art made for public spaces could be universally understood and apolitical even in the conditions of Soviet occupation, as we can also witness in the monumental paintings by Eva Jänes. The artist has said that during those
years it was in fact possible to find solutions and do commissions without contradicting one’s internal beliefs. Sometimes a timeless subject, a depiction of people working and relaxing was enough to get your design approved, i.e. in the case of her large cycle of ten frescoes for the canteen of the Kalev Confectionery Factory (1977). The artist’s hidden message in this work rather confirmed the preservation of the national identity of Estonians, as did the fresco depicting the feast days in the folk calendar, made for the Väike-Maarja Community Centre (1980). National themes, as well as the depiction of Estonian nature, have been very close to the Jänes’ heart. Monumental paintings by Eva Jänes always consider the space they are created for, as well as the specific context of the institutions they are in. After all, one could not use the same themes and ways of expression in a swimming pool of a kindergarten, a party hall in a modernist Sovkhoz building or a historical community centre. The preferences and opinions of each client and interior architect had to be taken into account as well. Jänes has tried to integrate her works into architecture, and this has benefited both the image and the building. She has created meaningful and inherently timeless murals, among the earliest of which was the fresco cycle for the Rakvere Veterinary Centre (1976). It depicts the awakening and fading of nature in large-scale decorative symbols inspired by the plant kingdom, placed in a geometric setting. In her several other monumental works, Eva Jänes has combined different styles in a
single image, which nevertheless appear in an exceptionally organic symbiosis. Although Eva Jänes did not associate herself with her contemporary avantgarde art groups that tried to move away from the realist way of depicting and follow the example of Western art, many of her works still feature an exceptionally modern pictorial language. She has a natural talent for expressing herself through the rhythmic compositions of geometric shapes. We can first see the use of geometric abstractionism in her decorative outdoor panel for the Aseri Ceramic Plant, a site-specific work combining mosaic and sgraffito (1973-1974). However, ultimate expressiveness was achieved in the sgraffiti works for the hall of the Põdrangu Sovkhoz (1978). Consisting of eight panels in the festive room with high ceilings and a fan-like floor plan, the mural cut out of layers in different shades of grey and green, is not only the largest monumental painting by Eva Jänes (331 square metres), but also one of her most renowned works. The motifs of the Põdrangu mural are associated with the plant kingdom, but Jänes’ imagery, balancing on the scale of density and sparsity with unmistakable perception, is so diverse and rich that it does not need to create connections with real life. These works have a downright symphonic effect. The play of light coming in through the windows between the panels brings out the relief of the sgraffiti and sets these powerful images in motion with an excellent sense of rhythm. In a way, the shimmering sunlight becomes the co-author of her spatial work. Pendant lights designed by
interior designer Maia Laul serve as consciously chosen dialogue partners for the sgraffito panels. It is extraordinary how the cylindrical bodies of the lights find companions in details of the frescoes, whilst creating fantastic harmonies. Unlike interior design of the Sovkhoz hall, the sgraffiti have excellently withstood the passage of time. The now privately owned building is currently empty, awaiting for new usage.
If we compared Eva Jänes’ monumental works with one another, at first they seem to form quite a diverse collection, ranging from rustic and angular realism to pure geometry. However, all these images have a common creative origin which, adapting to the demands of architecture and content of what is to be created, seeks an expression that fits with each specific environment. The most easily publicly accessible location to see such a heterogeneous approach is the Tallinn Vital Statistics Department on Pärnu Road, with a fresco cycle of ten paintings in its lobby (1982). Here the artist has tried to delicately reflect the institution’s fields of activity as timelessly as possible, while still using an image language that goes together with Art Nouveau. Since Estonia regained independence, Eva Jänes has also been able to exercise her religious beliefs and contribute to the work of the Christian Church in various fields related to art - from curating exhibitions to setting up and chairing an art and architecture council advising the commission and restoration of artworks for churches. In the 1990s, Jänes designed several stained glass windows for churches, including St. John’s Church of Tallinn on Freedom Square and St. Catherine’s Church on Muhu Island. She has made mosaics for the St. Michael’s Church of Jõhvi (2002) as well as the wall and ceiling paintings for the chapel of the Consistory of the Estonian Evangelical Lutheran Church (1994) in Toompea, Tallinn - a completely unique sacred work in our modern cultural space. Works by Eva Jänes have fulfilled the same goals as
the so-called “percentage art” commissioned under the Public Works Commissioning Act that has been in force in Estonia for over 10 years, aiming to aesthetically enrich public spaces. Her monumental paintings have served the same goal, always considering their architectural environment and context. Luckily, more than half of these works are still able to fulfil their role today. Bayerische Stastsbibľiothek Munchen Eva Jänes Aseris oma pannoo ees 2021. aasta sügisel
|
| adam_txt |
Q SAATEKS fiti Q EVA JÄNESEST EESTI Ճ MONUMENTAALMAALI TAUSTAL KODU JA KUNSTIÕPINGUD տ Tartu Kunstikoolis Instituudis MÖÖDA MÄRGILISI TEOSEID 7 9 21 25 33 45 Aseri keraamikatehase pannood 1973-1974 47 Rakvere veterinaarkeskuse freskod 1974-1975 63 Kommivabriku Kalev freskod 1976-1978 77 Põdrangu sovhoosikeskuse sgrafiitod 1978 93 Tallinna koondise Autoveod freskod 1979 127 Väike-Maarja Seltsimaja fresko 1980 135 Tallinna perekonnaseisuameti freskod 1982 147 Narva perekonnaseisuameti ja Lihula kultuurimaja seinamaalid 1989 161 Vitraažid 1975-1997 173 Mosaiigid 1980-2002 199 Konsistooriumi kabeli freskod 1994 219 MAALIMINE ON MINU JAOKS NAGU HINGAMINE 237 MEENUTUSI EVA JÄNESEST KUNSTIÕPINGUTE AJAL 261 Tiiu Übi 263 Tiit Pääsuke 269 Monumentaalmaalide nimestik 271 Monumental paintings by Eva Jänes 281
Põdrangu sovhoosikeskuse sgrafiito fragment. 1978. Foto: 2021 This year marks the 80th birthday of painter Eva (Eeva-Aet) Jänes who is best known in Estonian art for her geometric panel paintings from recent decades. However, the main body of her work are powerful monumental paintings which have unfortunately remained relatively unknown to the public. Not many experts in the field, nor even the closest acquaintances of the artist, have seen her monumental works in real life, not to mention the wider art audience. The reason for this is that most of these artworks are located on the semi-closed premises of companies outside Tallinn. Also, monumental painting is not an art form displayed at exhibitions which people specifically go and see, especially since the Soviet era heritage has not yet acquired an aura of art classics that would elevate these works in the audience’s sphere of interest as art historical objects, as has happened to outstanding works from the previous centuries in other parts of the world. Although many of Jänes’ works are still known to us from reproductions and architecture reviews, a monumental painting can only be truly experienced on site, in its immediate spatial environment.
Since Eva Jänes’ works completed in architecture have not been given a place that they rightly deserve in the history of Estonian art, this book aims to bring the central part of her life’s work - a quarter of a hundred projects created in unison with buildings - out from the shadows. This publication focuses on paintings, but also opens up the stories of their creation and later fate, not only relying on visual sources, but also on written and oral accounts. The visual material of the book has aimed to capture her works as comprehensively as possible using photography as a medium - both in general views, in fragments and details, because recent history has shown that monumental painting may not always stand the test of the changing times. The scale of the art Jänes has completed in architecture has been truly awe-inspiring: more than 1,000 square metres of painting in classical monumental techniques, most of them frescoes and sgraffiti, realised with virtuosic mastery! If we tried to imagine the volume of this art - created centimetre by centimetre onto or into the wall surface, while often balancing on high scaffolding - calculating based on one square metre paintings on canvas, they would form a line no less than a kilometre long when lined up side by side! The most prolific years in Eva Jänes’ work coincide with the time that saw the general rise of monumental painting in Soviet Estonia - the 1970s and 1980s. After graduating from Tartu Art School, Jänes commenced studies in monumental painting at the State Art Institute of the Estonian SSR (currently the Estonian
Academy of Arts). She graduated in 1970 with an outstanding design of monumental painting in sgraffito technique as her graduation project. She is one of the few female monumental painters who, together with Dolores Hoffmann (b. 1937), the long-time leader of the department of monumental painting at the Art Institute, and Urve Dzidzaria (b. 1949), has consciously chosen the path of a monumental painter whilst remaining true to its classical techniques. Jänes has successfully worked as a freelancer throughout her career and received orders mainly through the ARS Art Factory. During the Soviet era, monumental painting in Estonia seemed to live a life of its own as a parallel phenomenon favoured by the political power. Formally, it was a collaborative field of art at the service of communist ideology, regulated at state level by the State Committee for Monumental-Decorative Art, active from 1967 to 1992 under the Ministry of Culture of the USSR. It mediated most important commissions for artists, organised competitions and evaluated designs for artworks. In the field of sculpture, ideology was often prescribed to the artists by the theme of the work: commissions included dozens of portraits of Lenin, headstones for war graves and memorials, whereas things were more ambivalent in monumental painting that was practiced in much smaller volumes. The use of Soviet symbols was only prescribed in individual cases, such as the stained glass windows of the Political Education House of the Central Committee of the Estonian Communist Party (Sakala Centre) by Rait Prääts and the panel
painting for the History and Revolution Museum of the Estonian SSR (Maarjamäe Castle) by Evald Okas. Both were completed in 1987. Enn Põldroos, one of the leading figures in art life and the chairman of the said committee, also personally created several monumental paintings and found thematic solutions in large-scale generalisations that depict human aspirations. Art made for public spaces could be universally understood and apolitical even in the conditions of Soviet occupation, as we can also witness in the monumental paintings by Eva Jänes. The artist has said that during those
years it was in fact possible to find solutions and do commissions without contradicting one’s internal beliefs. Sometimes a timeless subject, a depiction of people working and relaxing was enough to get your design approved, i.e. in the case of her large cycle of ten frescoes for the canteen of the Kalev Confectionery Factory (1977). The artist’s hidden message in this work rather confirmed the preservation of the national identity of Estonians, as did the fresco depicting the feast days in the folk calendar, made for the Väike-Maarja Community Centre (1980). National themes, as well as the depiction of Estonian nature, have been very close to the Jänes’ heart. Monumental paintings by Eva Jänes always consider the space they are created for, as well as the specific context of the institutions they are in. After all, one could not use the same themes and ways of expression in a swimming pool of a kindergarten, a party hall in a modernist Sovkhoz building or a historical community centre. The preferences and opinions of each client and interior architect had to be taken into account as well. Jänes has tried to integrate her works into architecture, and this has benefited both the image and the building. She has created meaningful and inherently timeless murals, among the earliest of which was the fresco cycle for the Rakvere Veterinary Centre (1976). It depicts the awakening and fading of nature in large-scale decorative symbols inspired by the plant kingdom, placed in a geometric setting. In her several other monumental works, Eva Jänes has combined different styles in a
single image, which nevertheless appear in an exceptionally organic symbiosis. Although Eva Jänes did not associate herself with her contemporary avantgarde art groups that tried to move away from the realist way of depicting and follow the example of Western art, many of her works still feature an exceptionally modern pictorial language. She has a natural talent for expressing herself through the rhythmic compositions of geometric shapes. We can first see the use of geometric abstractionism in her decorative outdoor panel for the Aseri Ceramic Plant, a site-specific work combining mosaic and sgraffito (1973-1974). However, ultimate expressiveness was achieved in the sgraffiti works for the hall of the Põdrangu Sovkhoz (1978). Consisting of eight panels in the festive room with high ceilings and a fan-like floor plan, the mural cut out of layers in different shades of grey and green, is not only the largest monumental painting by Eva Jänes (331 square metres), but also one of her most renowned works. The motifs of the Põdrangu mural are associated with the plant kingdom, but Jänes’ imagery, balancing on the scale of density and sparsity with unmistakable perception, is so diverse and rich that it does not need to create connections with real life. These works have a downright symphonic effect. The play of light coming in through the windows between the panels brings out the relief of the sgraffiti and sets these powerful images in motion with an excellent sense of rhythm. In a way, the shimmering sunlight becomes the co-author of her spatial work. Pendant lights designed by
interior designer Maia Laul serve as consciously chosen dialogue partners for the sgraffito panels. It is extraordinary how the cylindrical bodies of the lights find companions in details of the frescoes, whilst creating fantastic harmonies. Unlike interior design of the Sovkhoz hall, the sgraffiti have excellently withstood the passage of time. The now privately owned building is currently empty, awaiting for new usage.
If we compared Eva Jänes’ monumental works with one another, at first they seem to form quite a diverse collection, ranging from rustic and angular realism to pure geometry. However, all these images have a common creative origin which, adapting to the demands of architecture and content of what is to be created, seeks an expression that fits with each specific environment. The most easily publicly accessible location to see such a heterogeneous approach is the Tallinn Vital Statistics Department on Pärnu Road, with a fresco cycle of ten paintings in its lobby (1982). Here the artist has tried to delicately reflect the institution’s fields of activity as timelessly as possible, while still using an image language that goes together with Art Nouveau. Since Estonia regained independence, Eva Jänes has also been able to exercise her religious beliefs and contribute to the work of the Christian Church in various fields related to art - from curating exhibitions to setting up and chairing an art and architecture council advising the commission and restoration of artworks for churches. In the 1990s, Jänes designed several stained glass windows for churches, including St. John’s Church of Tallinn on Freedom Square and St. Catherine’s Church on Muhu Island. She has made mosaics for the St. Michael’s Church of Jõhvi (2002) as well as the wall and ceiling paintings for the chapel of the Consistory of the Estonian Evangelical Lutheran Church (1994) in Toompea, Tallinn - a completely unique sacred work in our modern cultural space. Works by Eva Jänes have fulfilled the same goals as
the so-called “percentage art” commissioned under the Public Works Commissioning Act that has been in force in Estonia for over 10 years, aiming to aesthetically enrich public spaces. Her monumental paintings have served the same goal, always considering their architectural environment and context. Luckily, more than half of these works are still able to fulfil their role today. Bayerische Stastsbibľiothek Munchen Eva Jänes Aseris oma pannoo ees 2021. aasta sügisel |
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| ctrlnum | (OCoLC)1349542516 (DE-599)BVBBV048317061 |
| format | Book |
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| genre | (DE-588)4145395-5 Bildband gnd-content (DE-588)4006804-3 Biografie gnd-content (DE-588)4016928-5 Festschrift gnd-content |
| genre_facet | Bildband Biografie Festschrift |
| id | DE-604.BV048317061 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T20:10:58Z |
| indexdate | 2024-07-10T09:35:06Z |
| institution | BVB |
| institution_GND | (DE-588)10075587-2 |
| isbn | 9789916412305 |
| language | Estonian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033696512 |
| oclc_num | 1349542516 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 286 Seiten |
| psigel | BSB_NED_20230117 |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Reeli Kõiv |
| record_format | marc |
| spelling | Kõiv, Reeli Verfasser aut Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes Reeli Kõiv Monumental Paintings by Eva Jänes Tallinn Reeli Kõiv 2022 286 Seiten txt rdacontent sti rdacontent n rdamedia nc rdacarrier Käesoleval aastal saab 80-aastaseks Eesti maalikunstnik Eva Jänes Eva Jänes (snd 1942) on 1970.–1990. aastate Eesti viljakamaid monumentaalkunstnikke. Käesoleva raamatu eesmärk on tuua varjust välja Eva Jänese mitmekülgne looming monumentaalmaali alal, veerandsada hoonetega unisoonis sündinud teost enam kui tuhandel ruutmeetril! Eva Jänes on maalinud freskosid ja sekosid, loonud vitraaže ja mosaiike. Eriti suur meister on ta värvilise krohvi kihtide sisse lõigatud sgrafiito tehnikas. Seda on ta kasutanud ka oma tuntuima teose, Põdrangu sovhoosi keskusehoone lehviksaali seinamaalis (1978), mille erakordne, sakraalne mõju kõrgete akendega pidulikus ruumis võtab sõnatuks tänase päevani. Rikkalikult illustreeritud raamat annab ajaloolist konteksti silmas pidades põhjaliku pildikeskse ülevaate kõigist Jänese monumentaalmaalidest, nii säilinud kui ka hävinud teostest. Väljaanne sisaldab ka intervjuud kunstnikuga, õpingukaaslaste Tiiu Übi ja Tiit Pääsukese meenutusi ning fotodega monumentaalmaalide nimestikku. Text estnisch, Zusammenfassung englisch Jänes, Eva 1942- (DE-588)1126255793 gnd rswk-swf Monumentalmalerei (DE-588)4170514-2 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content (DE-588)4006804-3 Biografie gnd-content (DE-588)4016928-5 Festschrift gnd-content Jänes, Eva 1942- (DE-588)1126255793 p Monumentalmalerei (DE-588)4170514-2 s DE-604 Jänes, Eva 1942- (DE-588)1126255793 art hnr Eesti Kultuurkapital (DE-588)10075587-2 isb Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033696512&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033696512&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Kõiv, Reeli Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes Jänes, Eva 1942- (DE-588)1126255793 gnd Monumentalmalerei (DE-588)4170514-2 gnd |
| subject_GND | (DE-588)1126255793 (DE-588)4170514-2 (DE-588)4145395-5 (DE-588)4006804-3 (DE-588)4016928-5 |
| title | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes |
| title_alt | Monumental Paintings by Eva Jänes |
| title_auth | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes |
| title_exact_search | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes |
| title_exact_search_txtP | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes |
| title_full | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes Reeli Kõiv |
| title_fullStr | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes Reeli Kõiv |
| title_full_unstemmed | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid = Monumental Paintings by Eva Jänes Reeli Kõiv |
| title_short | Suur pilt arhitektuuris - Eva Jänese monumentaalmaalid |
| title_sort | suur pilt arhitektuuris eva janese monumentaalmaalid monumental paintings by eva janes |
| title_sub | = Monumental Paintings by Eva Jänes |
| topic | Jänes, Eva 1942- (DE-588)1126255793 gnd Monumentalmalerei (DE-588)4170514-2 gnd |
| topic_facet | Jänes, Eva 1942- Monumentalmalerei Bildband Biografie Festschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033696512&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033696512&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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