Eva Jänes: geomeetria kaudu harmooniale : maalid
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| Format: | Book |
| Language: | Estonian |
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Tallinn
Tallinna Raamatutrükikoda
2019
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| Subjects: | |
| Online Access: | Literaturverzeichnis Abstract |
| Physical Description: | 119 Seiten |
| ISBN: | 9789949881796 |
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Record in the Search Index
| _version_ | 1814344315812446208 |
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| adam_text |
2013- Parallax Art Fair. Chelsea Town Hall, London. Osavõtt. 2014 - Parallax Art Fair. Chelsea Town Hall, London. Osavõtt. 2014- “Mälestuste elu I”. Tallinna Keskraamatukogu. 2015 - Parallax Art Fair. Chelsea Town Hall, London. Osavõtt. 2015 - “Vaikimisi valjult”. Tallinna Keskraamatukogu. 2015- “Ilus Hellas”. Tallinna Ülikooli Akadeemiline Raamatukogu. 2015 - “Mälestuste elu II”. Järvamaa muuseum, Paide. 201 ó - “Üks märtsihommik udune”. Tallinna Keskraamatukogu. 2016֊ “Kevade tähistamine”. Koos Evi Tihemetsaga. Tallinna Jaani kirik. 2017 - “Olemise lugu”. Tallinna Jaani kirik. 2017- “Loomise lugu". Kastellaanimaja galerii. 2017 - “Sinine”. Tuglase Selts, Helsingi, Soome. 2017- "Kingitus Paidele”. Paide Kultuurikeskus. 2018-"Sada maali". Viimsi Püha Jaakobi kirik. 2019-"Sada + 1 maali". Tartu Kunstimaja. 2019 - "Albus Lapis. Mälestuste loomine". Järvamaa Muuseum. Bibliograafia Evi Pihlak, Uus seinamaal Rakveres. Sirpja Vasar25.06.1976. Aino Kartna, Monumentaalmaali arengust Eesti NSVs. Kunstiteadus. Kunstikriitika 1981, nr 4. Epp Alatalu, Monumentaalkunstnik E. Jänes. Nõukogude Naine 1988, nr 4. Mari Sobolev, Lootuse kabel Toompeal. Kultuurileht 2.04.1994. Lola Liivat, Eva Jänese skalaargeomeetria. Postimees 20.03.2004. Tauno Teder, Kunstnik kui teoloog. Sirp 13.08.2004. Lincona põrandakeskuses tuli lagedale nõukogudeaegne fresko. Postimees 5.11.2008. Juta Kivimäe, Eva Jänese inimlikud mängud. Eesti Kirik 12.01.2011. Maire Toom, Austusavaldus koolile. Sirp 22.06. 2012. Maire Toom, Näitus tõi kunstniku lapsepõlvelinna. Näitus täis talviseid liblikaid ja lumeroose. Järva
Teataja 28.02. 2012. Maire Toom, Värvis on sügavust ja mõtteid. Eesti Kirik 12.10.2011. Maire Toom, Kodukabeli seinamaal loob nägemusliku meeleolu. Eesti Kirik 18.12.2013. Maire Toom, Maal maalis. Eesti Kirik 26.06.2013. Mari Kartau, Tallinna Keskraamatukogus saab näha Eva Jänese kunsti, kultuur.err.ee 23.06.2014. Mai Levin, Vaikimisi valjult. Eesti Kirik 12.08.2015. Erkki Juhandi, Eva Jänese retrospektiivnäitus "Olemise lugu”. Eesti Kirik 21.06.2017. 108
Paintings of Eva Jänes Through Geometry to Harmony Eva (Eeva-Aet) Jänes has been an artist for nearly half a century, but she still finds joy in crea tion, and has managed to retain her searching spirit. She found her path in figurative painting in the 1970s, and she partly has remained true to that style - with some significant developments over the years of course. In her earlier works one can already find some abstract elements, and in the 1980s-1990s more abstract paintings have been created. In the 2000s-2010s, she became increasingly fascinated by geometric abstractionism. She likes to play with colour and geometric shapes - a game with the purpose of expressing her impressions and bringing forth ideas that touch her soul. Eva Jänes was born in Tallinn, but her home burned down during the 1944 March bombing. The family then moved to Paide, Järvamaa County, where her mother Alice Jänes (1901-1991) became to work as an art teacher. Alice Jänes had studied at the Pallas Art School from 1923 to 1930. Before the war she had taught art drawing at different schools in Virumaa County, also at the vocational training school for women in Rakvere. During the post-war decades she has been highly appreciated as a drawing teacher. Eva Jänes is still keeping some of her mother's flowerpaintings in oil, tempera and gouache, but the photo of a cushion-case deserves a special attention. Created in the spirit of art déco of the 1920s-1930s, it seems to be related to the present geometrical style of Eva Jänes. After graduating from Paide grammar school in 1957, Eva Jänes continued her
studies at the painting department of Tartu Art School. Of all the teachers there, Eva Jänes most appreciated Lola Liivat, whose daring in using novel means of expression has served as a model for Jänes. Liivat and Jänes have remained friends throughout the years. After graduating from Tartu Art School she married her schoolmate, painter Hillar Jaanus (1930-1998). 1965-1970 Eva Jänes continued her studies at the State Art Institute of Estonian SSR (ERKI) where Lepo Mikko was her favourite professor: she was impressed by his monumental generalization of form, wellbalanced composition and harmonious colouring, which harmonized with her own style of painting. In 1965, when the painting section of ERKI was reorganised into the department of monumental painting, Dolores Hoffmann was designated as the dean of the new department (until 1968). Hoffmann inspired Eva Jänes to take an interest in monumental painting. From the 1970s to 1990s, Eva Jänes was one of the few truly prolific monumental painters in the Estonian art. no
The earliest works of Eva Jänes in this genre are two sgraffitos and a mosaic for Aseri Brickworks (1974), they are notable both for the technique and the geometrical manner. She has painted large frescoes in the Station for the Prevention of Animal Diseases of Rakvere Region (1976) and in the Tallinn Confectionery and Chocolate Factory Kalev (1977) in the rooms designed by Maia Laul. The three large frescoes painted, for the canteen of Kalev, all together 150 m2, have unfortunately survived only partly. Abstract forms and motifs taken from nature have been combined in 7 sgraffito paintings for the club of Põdrangu State Collective Farm (1977) in a unique and magnificent ensemble. Each painting in the Põdrangu club is illuminated by the adjacent window in the diagonal wall, so that the sgraffito relief becomes even more distinctive. As the art historian Aino Kartna says, „The wall, painted in green shades, creates a noble, even unearthly atmosphere in the room. Surfaces, traversed by strict lines, alternate with romantic motifs of plants and birds, giving an impression of a quiet dialogue between the nature and the artificial world". The later art of Eva Jänes has also been open to the motifs, taken from nature, regardless of the geometric construction. In addition to the techniques mentioned above, Eva Jänes began performing stained glass windows already in the 1970s (Paldiski, 1975). The stained glass windows mark the beginning of her career as an outstanding creator of sacred art. Two windows in Tallinn St. John’s Church (1990-91) are typical of her manner, based on the
tradition of the genre. In the 1990s, she fulfilled a number of commissions from churches; a well-known example is the fresco in the chapel of the Consistory of the Estonian Evangelical Lutheran Church in Tallinn (EELK, 1994). Among her latest works in that sphere is a fresco secco in a private chapel in Maarjamäe (2013), which depicts the Atonement Death of Christon Calvary through alpha and omega ֊ the geometrical symbols of the Beginning and the End - and the empyrean in an imaginary blue-white tonality. The figurative style that Eva Jänes used in the 1970s has been influenced by the decorative version of pop art that had enraptured young Estonian art in the second half of the previous decade. Through the generalization of natural motifs this style often touched the boundaries of abstractionism. Each art trend has a heroic period and an expansive period. The heroic period of geometrical abstractionism in the Estonian art was in the 1920s. In the 1970s, it began to spread again. It did not become a truly mainstream trend, however, although it still continues to attract new artists. Different decades have seen different groups of „geometricians", who have neither been very homogenous nor persistent. They all have unique approaches to form and colour, in the way they organize surfaces and model spaces within their pictures. In this context Eva Janes’s art is closer to that of the 1960s, in its striking ornamentality with the references to pop art, or even in the pure geometry of the Abstraction-Création movement of the 1930s. Ill
Ενα Janes's small-scale abstract paintings from 1983, e.g. „Mysterious", „Scalar Geometrical I - III“, are dominated by browns in combination with grey, black, blue or red. These colour combinations hold some kind of mellow depth in them. The painting „Scalar Geometrical I“ attracts with the intersection of shapes in the centre - one of the artist’s favourite motifs throughout the years. The bright silhouette of a bird in „Mysterious“ is characteristic of Janes’s art, too, for she is not a purist in her geometrical paintings: when in mood to express figurative elements, she does not hesitate to use them. There are artists whose range of expressing moods and emotios is more or less limited: their works are either melancholic, thoughtful and refrained, or excited, joyful and bright. In Eva Janes's case, the latter appears to hold true, yet her spectre of emotions is broader: it reflects impressions from her travels or from nature, but also contemplations and aspirations towards the spiritual absolute. The latter does not necessarily have to be traced back to the artist's religiousness. Pure form is an aspect that dictates a lot in her art, since every artist is a „playing person” - homo ludus, which was the title of her 2011 exhibition at the Vabaduse Gallery in Tallinn. Since 2004 Eva Jänes has been more active in exhibiting. It is only natural that she tries to turn up with new pairings for each exhibition: exhibitions serve as summaries of the creative stages in an artist's life. Sometimes they are like travel diaries: Eva Jänes has been inspired by different countries,
their culture and nature. Her travel series are both figurative and abstract. Series devoted to Iceland, Egypt and Greece are particularly worth pointing out. Eva Jänes has never aimed at a richly nuanced painting surface. The surface of her abstract paintings has usually been even and smooth. But that is not the only option. At Sonia Delaunay's exhibition at Tate Modern in 2015, Eva Jänes found a confirmation to her belief that the geometric style in art could be combined with free brush-handling that enlivens the pictures instead of spoiling the style. It does not matter whether the surface is smooth or not, she paints anyway. She even regards frames as a part of the whole, and to prove her point, she has created a set of pictures „Painting within a Painting“, which were displayed at the gallery of the Tallinn Central Library in 2013. Among the creative work of Eva Jänes there are several groups of small-scale paintings in it. Usually such groups or pairs shearing a similar spirit, tonality, shapes and rhythms are created simultaneously. For example, the painting with the image of square, „With Your Word You Touch Me", is seconded by the painting „Touch" (2015), where light-coloured squares seem to be gliding over the surface of the canvas. The two paintings in „A Midsummer Night's Dream" (2015) are united by white translucent squares in a deep brown and bright green background, which create an enchanting mood. 112
While her small-scale paintings impress the viewer with their pictorial denseness and concen tration and strike as being perfect and complete, the medium-sized pictures have sometimes retained the artist's yearning for an even larger background for the images. Eva Jänes is strongly inclined towards monumentality, she believes many compositions would benefit from being enlarged. Some golden section medium-sized compositions have succeeded perfectly, such as the dominantly blue „Exterior“ (2015). Squares, circles, diagonal lines shooting across the canvas or sharp angles penetrating the space of the picture ֊ those and other shapes that Eva Jänes operates with offer infinite possibilities for compositions. Colour is another endless source. Her colours are clean and bright. Earlier her palette included warm reds, browns and ochres, and they still play an important role in the works which are based on the contrast of colours. Some years ago, however, cold blues and greens began to prevail. According to V. Kandinsky, blue expresses a strive for transcendental perception and pure spirituality. The partings created in 2016-17 that are inspired by the Estonian folklore, prove that her colour scheme is very ingenious and variable, pursuant to different pictorial ideas. Eva Jänes has considered it her mission to display the works of artists who create religious art, or who stand close to such art, at exhibitions, which she has helped to organize in Estonia as well as in Finland. Thanks to Eva Jänes the South Hall of St. John's Church in Tallinn has become an active art gallery.
Still she never forgets where she came from, and is often a guest at the Järvamaa Museum in Paide. She often thinks about the nice traditions, peculiar people and eventful history of the small town. In 2008, she created a symbolic pair of paintings „To the Kings“ I - II, devoted to the four Estonian kings who were killed in 1343 during the St. George's Night Uprising in the castle of the Teutonic Order in Paide. In 2016 she started a series of paintings depicting Paide’s past, entitled with Latin name of the town, Albus Lapis (Weissenstein, White Stone). The mural paintings and stained glass windows of Eva Jänes evoke thoughts about the development of this genre during the second half of the last century, urge us to seek for the reasons why the Church has become the main commissioneer of such art, and wonder at the audacity of the artist undertaking such complicated art projects. Her easel of the last decade gives us the ground for a discourse upon the vitality of abstract art, persuades us that the unity of contemplation and emotion in the creative process is possible. Eva Jänes has become a distinguished person in the Estonian abstract art. Her works prove that one can truly enjoy painting forever. 113 |
| adam_txt |
2013- Parallax Art Fair. Chelsea Town Hall, London. Osavõtt. 2014 - Parallax Art Fair. Chelsea Town Hall, London. Osavõtt. 2014- “Mälestuste elu I”. Tallinna Keskraamatukogu. 2015 - Parallax Art Fair. Chelsea Town Hall, London. Osavõtt. 2015 - “Vaikimisi valjult”. Tallinna Keskraamatukogu. 2015- “Ilus Hellas”. Tallinna Ülikooli Akadeemiline Raamatukogu. 2015 - “Mälestuste elu II”. Järvamaa muuseum, Paide. 201 ó - “Üks märtsihommik udune”. Tallinna Keskraamatukogu. 2016֊ “Kevade tähistamine”. Koos Evi Tihemetsaga. Tallinna Jaani kirik. 2017 - “Olemise lugu”. Tallinna Jaani kirik. 2017- “Loomise lugu". Kastellaanimaja galerii. 2017 - “Sinine”. Tuglase Selts, Helsingi, Soome. 2017- "Kingitus Paidele”. Paide Kultuurikeskus. 2018-"Sada maali". Viimsi Püha Jaakobi kirik. 2019-"Sada + 1 maali". Tartu Kunstimaja. 2019 - "Albus Lapis. Mälestuste loomine". Järvamaa Muuseum. Bibliograafia Evi Pihlak, Uus seinamaal Rakveres. Sirpja Vasar25.06.1976. Aino Kartna, Monumentaalmaali arengust Eesti NSVs. Kunstiteadus. Kunstikriitika 1981, nr 4. Epp Alatalu, Monumentaalkunstnik E. Jänes. Nõukogude Naine 1988, nr 4. Mari Sobolev, Lootuse kabel Toompeal. Kultuurileht 2.04.1994. Lola Liivat, Eva Jänese skalaargeomeetria. Postimees 20.03.2004. Tauno Teder, Kunstnik kui teoloog. Sirp 13.08.2004. Lincona põrandakeskuses tuli lagedale nõukogudeaegne fresko. Postimees 5.11.2008. Juta Kivimäe, Eva Jänese inimlikud mängud. Eesti Kirik 12.01.2011. Maire Toom, Austusavaldus koolile. Sirp 22.06. 2012. Maire Toom, Näitus tõi kunstniku lapsepõlvelinna. Näitus täis talviseid liblikaid ja lumeroose. Järva
Teataja 28.02. 2012. Maire Toom, Värvis on sügavust ja mõtteid. Eesti Kirik 12.10.2011. Maire Toom, Kodukabeli seinamaal loob nägemusliku meeleolu. Eesti Kirik 18.12.2013. Maire Toom, Maal maalis. Eesti Kirik 26.06.2013. Mari Kartau, Tallinna Keskraamatukogus saab näha Eva Jänese kunsti, kultuur.err.ee 23.06.2014. Mai Levin, Vaikimisi valjult. Eesti Kirik 12.08.2015. Erkki Juhandi, Eva Jänese retrospektiivnäitus "Olemise lugu”. Eesti Kirik 21.06.2017. 108
Paintings of Eva Jänes Through Geometry to Harmony Eva (Eeva-Aet) Jänes has been an artist for nearly half a century, but she still finds joy in crea tion, and has managed to retain her searching spirit. She found her path in figurative painting in the 1970s, and she partly has remained true to that style - with some significant developments over the years of course. In her earlier works one can already find some abstract elements, and in the 1980s-1990s more abstract paintings have been created. In the 2000s-2010s, she became increasingly fascinated by geometric abstractionism. She likes to play with colour and geometric shapes - a game with the purpose of expressing her impressions and bringing forth ideas that touch her soul. Eva Jänes was born in Tallinn, but her home burned down during the 1944 March bombing. The family then moved to Paide, Järvamaa County, where her mother Alice Jänes (1901-1991) became to work as an art teacher. Alice Jänes had studied at the Pallas Art School from 1923 to 1930. Before the war she had taught art drawing at different schools in Virumaa County, also at the vocational training school for women in Rakvere. During the post-war decades she has been highly appreciated as a drawing teacher. Eva Jänes is still keeping some of her mother's flowerpaintings in oil, tempera and gouache, but the photo of a cushion-case deserves a special attention. Created in the spirit of art déco of the 1920s-1930s, it seems to be related to the present geometrical style of Eva Jänes. After graduating from Paide grammar school in 1957, Eva Jänes continued her
studies at the painting department of Tartu Art School. Of all the teachers there, Eva Jänes most appreciated Lola Liivat, whose daring in using novel means of expression has served as a model for Jänes. Liivat and Jänes have remained friends throughout the years. After graduating from Tartu Art School she married her schoolmate, painter Hillar Jaanus (1930-1998). 1965-1970 Eva Jänes continued her studies at the State Art Institute of Estonian SSR (ERKI) where Lepo Mikko was her favourite professor: she was impressed by his monumental generalization of form, wellbalanced composition and harmonious colouring, which harmonized with her own style of painting. In 1965, when the painting section of ERKI was reorganised into the department of monumental painting, Dolores Hoffmann was designated as the dean of the new department (until 1968). Hoffmann inspired Eva Jänes to take an interest in monumental painting. From the 1970s to 1990s, Eva Jänes was one of the few truly prolific monumental painters in the Estonian art. no
The earliest works of Eva Jänes in this genre are two sgraffitos and a mosaic for Aseri Brickworks (1974), they are notable both for the technique and the geometrical manner. She has painted large frescoes in the Station for the Prevention of Animal Diseases of Rakvere Region (1976) and in the Tallinn Confectionery and Chocolate Factory Kalev (1977) in the rooms designed by Maia Laul. The three large frescoes painted, for the canteen of Kalev, all together 150 m2, have unfortunately survived only partly. Abstract forms and motifs taken from nature have been combined in 7 sgraffito paintings for the club of Põdrangu State Collective Farm (1977) in a unique and magnificent ensemble. Each painting in the Põdrangu club is illuminated by the adjacent window in the diagonal wall, so that the sgraffito relief becomes even more distinctive. As the art historian Aino Kartna says, „The wall, painted in green shades, creates a noble, even unearthly atmosphere in the room. Surfaces, traversed by strict lines, alternate with romantic motifs of plants and birds, giving an impression of a quiet dialogue between the nature and the artificial world". The later art of Eva Jänes has also been open to the motifs, taken from nature, regardless of the geometric construction. In addition to the techniques mentioned above, Eva Jänes began performing stained glass windows already in the 1970s (Paldiski, 1975). The stained glass windows mark the beginning of her career as an outstanding creator of sacred art. Two windows in Tallinn St. John’s Church (1990-91) are typical of her manner, based on the
tradition of the genre. In the 1990s, she fulfilled a number of commissions from churches; a well-known example is the fresco in the chapel of the Consistory of the Estonian Evangelical Lutheran Church in Tallinn (EELK, 1994). Among her latest works in that sphere is a fresco secco in a private chapel in Maarjamäe (2013), which depicts the Atonement Death of Christon Calvary through alpha and omega ֊ the geometrical symbols of the Beginning and the End - and the empyrean in an imaginary blue-white tonality. The figurative style that Eva Jänes used in the 1970s has been influenced by the decorative version of pop art that had enraptured young Estonian art in the second half of the previous decade. Through the generalization of natural motifs this style often touched the boundaries of abstractionism. Each art trend has a heroic period and an expansive period. The heroic period of geometrical abstractionism in the Estonian art was in the 1920s. In the 1970s, it began to spread again. It did not become a truly mainstream trend, however, although it still continues to attract new artists. Different decades have seen different groups of „geometricians", who have neither been very homogenous nor persistent. They all have unique approaches to form and colour, in the way they organize surfaces and model spaces within their pictures. In this context Eva Janes’s art is closer to that of the 1960s, in its striking ornamentality with the references to pop art, or even in the pure geometry of the Abstraction-Création movement of the 1930s. Ill
Ενα Janes's small-scale abstract paintings from 1983, e.g. „Mysterious", „Scalar Geometrical I - III“, are dominated by browns in combination with grey, black, blue or red. These colour combinations hold some kind of mellow depth in them. The painting „Scalar Geometrical I“ attracts with the intersection of shapes in the centre - one of the artist’s favourite motifs throughout the years. The bright silhouette of a bird in „Mysterious“ is characteristic of Janes’s art, too, for she is not a purist in her geometrical paintings: when in mood to express figurative elements, she does not hesitate to use them. There are artists whose range of expressing moods and emotios is more or less limited: their works are either melancholic, thoughtful and refrained, or excited, joyful and bright. In Eva Janes's case, the latter appears to hold true, yet her spectre of emotions is broader: it reflects impressions from her travels or from nature, but also contemplations and aspirations towards the spiritual absolute. The latter does not necessarily have to be traced back to the artist's religiousness. Pure form is an aspect that dictates a lot in her art, since every artist is a „playing person” - homo ludus, which was the title of her 2011 exhibition at the Vabaduse Gallery in Tallinn. Since 2004 Eva Jänes has been more active in exhibiting. It is only natural that she tries to turn up with new pairings for each exhibition: exhibitions serve as summaries of the creative stages in an artist's life. Sometimes they are like travel diaries: Eva Jänes has been inspired by different countries,
their culture and nature. Her travel series are both figurative and abstract. Series devoted to Iceland, Egypt and Greece are particularly worth pointing out. Eva Jänes has never aimed at a richly nuanced painting surface. The surface of her abstract paintings has usually been even and smooth. But that is not the only option. At Sonia Delaunay's exhibition at Tate Modern in 2015, Eva Jänes found a confirmation to her belief that the geometric style in art could be combined with free brush-handling that enlivens the pictures instead of spoiling the style. It does not matter whether the surface is smooth or not, she paints anyway. She even regards frames as a part of the whole, and to prove her point, she has created a set of pictures „Painting within a Painting“, which were displayed at the gallery of the Tallinn Central Library in 2013. Among the creative work of Eva Jänes there are several groups of small-scale paintings in it. Usually such groups or pairs shearing a similar spirit, tonality, shapes and rhythms are created simultaneously. For example, the painting with the image of square, „With Your Word You Touch Me", is seconded by the painting „Touch" (2015), where light-coloured squares seem to be gliding over the surface of the canvas. The two paintings in „A Midsummer Night's Dream" (2015) are united by white translucent squares in a deep brown and bright green background, which create an enchanting mood. 112
While her small-scale paintings impress the viewer with their pictorial denseness and concen tration and strike as being perfect and complete, the medium-sized pictures have sometimes retained the artist's yearning for an even larger background for the images. Eva Jänes is strongly inclined towards monumentality, she believes many compositions would benefit from being enlarged. Some golden section medium-sized compositions have succeeded perfectly, such as the dominantly blue „Exterior“ (2015). Squares, circles, diagonal lines shooting across the canvas or sharp angles penetrating the space of the picture ֊ those and other shapes that Eva Jänes operates with offer infinite possibilities for compositions. Colour is another endless source. Her colours are clean and bright. Earlier her palette included warm reds, browns and ochres, and they still play an important role in the works which are based on the contrast of colours. Some years ago, however, cold blues and greens began to prevail. According to V. Kandinsky, blue expresses a strive for transcendental perception and pure spirituality. The partings created in 2016-17 that are inspired by the Estonian folklore, prove that her colour scheme is very ingenious and variable, pursuant to different pictorial ideas. Eva Jänes has considered it her mission to display the works of artists who create religious art, or who stand close to such art, at exhibitions, which she has helped to organize in Estonia as well as in Finland. Thanks to Eva Jänes the South Hall of St. John's Church in Tallinn has become an active art gallery.
Still she never forgets where she came from, and is often a guest at the Järvamaa Museum in Paide. She often thinks about the nice traditions, peculiar people and eventful history of the small town. In 2008, she created a symbolic pair of paintings „To the Kings“ I - II, devoted to the four Estonian kings who were killed in 1343 during the St. George's Night Uprising in the castle of the Teutonic Order in Paide. In 2016 she started a series of paintings depicting Paide’s past, entitled with Latin name of the town, Albus Lapis (Weissenstein, White Stone). The mural paintings and stained glass windows of Eva Jänes evoke thoughts about the development of this genre during the second half of the last century, urge us to seek for the reasons why the Church has become the main commissioneer of such art, and wonder at the audacity of the artist undertaking such complicated art projects. Her easel of the last decade gives us the ground for a discourse upon the vitality of abstract art, persuades us that the unity of contemplation and emotion in the creative process is possible. Eva Jänes has become a distinguished person in the Estonian abstract art. Her works prove that one can truly enjoy painting forever. 113 |
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| author | Jänes, Eva 1942- |
| author2 | Levin, Mai 1942- |
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| bvnumber | BV048661577 |
| ctrlnum | (OCoLC)1362879592 (DE-599)BVBBV048661577 |
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| spelling | Jänes, Eva 1942- Verfasser (DE-588)1126255793 aut Eva Jänes geomeetria kaudu harmooniale : maalid koostanud Eva Jänes ja Mai Levin ; tekst: Mai Levin Tallinn Tallinna Raamatutrükikoda 2019 119 Seiten txt rdacontent sti rdacontent n rdamedia nc rdacarrier Jänes, Eva 1942- (DE-588)1126255793 gnd rswk-swf Abstrakte Kunst (DE-588)4141146-8 gnd rswk-swf Monumentalmalerei (DE-588)4170514-2 gnd rswk-swf Estland (DE-588)4015587-0 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content (DE-588)4006804-3 Biografie gnd-content Jänes, Eva 1942- (DE-588)1126255793 p Estland (DE-588)4015587-0 g Monumentalmalerei (DE-588)4170514-2 s Abstrakte Kunst (DE-588)4141146-8 s DE-604 Levin, Mai 1942- (DE-588)132461889 edt 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=034036253&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis 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=034036253&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Jänes, Eva 1942- Eva Jänes geomeetria kaudu harmooniale : maalid Jänes, Eva 1942- (DE-588)1126255793 gnd Abstrakte Kunst (DE-588)4141146-8 gnd Monumentalmalerei (DE-588)4170514-2 gnd |
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| title | Eva Jänes geomeetria kaudu harmooniale : maalid |
| title_auth | Eva Jänes geomeetria kaudu harmooniale : maalid |
| title_exact_search | Eva Jänes geomeetria kaudu harmooniale : maalid |
| title_exact_search_txtP | Eva Jänes geomeetria kaudu harmooniale : maalid |
| title_full | Eva Jänes geomeetria kaudu harmooniale : maalid koostanud Eva Jänes ja Mai Levin ; tekst: Mai Levin |
| title_fullStr | Eva Jänes geomeetria kaudu harmooniale : maalid koostanud Eva Jänes ja Mai Levin ; tekst: Mai Levin |
| title_full_unstemmed | Eva Jänes geomeetria kaudu harmooniale : maalid koostanud Eva Jänes ja Mai Levin ; tekst: Mai Levin |
| title_short | Eva Jänes |
| title_sort | eva janes geomeetria kaudu harmooniale maalid |
| title_sub | geomeetria kaudu harmooniale : maalid |
| topic | Jänes, Eva 1942- (DE-588)1126255793 gnd Abstrakte Kunst (DE-588)4141146-8 gnd Monumentalmalerei (DE-588)4170514-2 gnd |
| topic_facet | Jänes, Eva 1942- Abstrakte Kunst Monumentalmalerei Estland Bildband Biografie |
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