The Society of Estonian Artists in Toronto (EKKT) is more than just the typical art society - it is an embodiment of Estonian culture and history for many of the artists. This year’s 50th Anniversary exhibition is an expression of that heritage. EKKT allows Estonian artists to carry on their heritage, passing it on to other generations and cultures.
Art has always been a passion of mine. Until her death in 1999, my grandmother, Ly Lunter, was a long time supporting member of EKKT. She instilled a love for art in me by painting at the cottage and taking me to the Art Gallery of Ontario during March Break. Now my Aunt Armilde Sarapuu-Siekierski (current participating member since 2001) continues to nurture this passion. My grandmother and my aunt’s influences lead me to study Art History at the University of Toronto where I recently graduated with an Honours B.A. in History and Fine Art History. For this reason I have been granted the wonderful opportunity to write about the recent exhibition held at the Estonian House in Toronto for the EKKT.
The official celebrations for this year’s 50th Anniversary began on Saturday September 24, 2005 at the Estonian House in Toronto. There were well over 200 people in attendance which filled up the Crystal Room. Jean Augustine (MP) sent official greetings and well wishes that were read by Mrs. Stella Pahapill. Ivi Kiilaspea also gave greetings from the Estonian National Federation in Canada and was presented with flowers. Those who also received flowers were Julia Moser from the Austrian Consulate and Ms. Goldfarb from the Finnish Consulate.
This year’s recipient of the 2005 EKKT scholarship was Randel Palo who is currently attending Max the Mutt Animation College in Toronto. This scholarship has been offered by EKKT to an outstanding student of Estonian heritage pursuing the arts. This year Randal’s submission Beerstein is a piece reflecting his Estonian heritage. He uses strong colours and clean lines to represent a typical domestic item. The solid bright blue background gives the subject matter importance that would otherwise been overlooked. It is important to recognize young artists like Palo because they will continue the longevity of EKKT.
To end the formal part of the celebration, pianist Armas Maiste played one of his own compositions. As I listened to the music play in the crowded room I was continually reminded of my Estonian heritage and how proud I was to be a part of this moment. Over 50 years ago the generation of Estonians who came to Toronto and founded EKKT lived through many difficult times. Hardship, with strength as its underlying tone, was reflected in the music. This ended the formal part of the opening and the guests flowed into the gallery to see the art.
This hardship is emulated in the painting Refugee Boat by Hille Viires. It captures a very dramatic moment, representing movement and chaos. The boat is abandoned now, but the viewer cannot forget that it was once occupied. Has the ship been abandoned because of military attack targeting fleeing Estonians to Sweden on the Baltic? The silk screening technique that has been employed here gives this piece a dream-like quality which is further heightened by the use of purple and black. The two-tone palette allows for the subject matter to stand out causing the viewer to meditate on the scene. What happened to the refugees? Viires has depicted a solemn moment in a very effective way.
My grandmother introduced me to art and brought me to many EKKT exhibitions. I remember the society’s 40th Anniversary because the painting by Benita Vomm (1908-2005) entitled Performance stands out in my mind. I was taken by this image for both its soft colouration and contrast in its strong compositional value. Sadly this year’s anniversary went by without Mrs. Vomm. She was the backbone of the society and one of the last surviving founding members. She was elected president for a total of 25 years and exhibited in every EKKT art show since 1956.
Today her daughter, Mai Vomm-Järve, carries on her legacy as president of the society and as an artist. This year Vomm-Järve submitted a highly whimsical piece entitled Rainbow Over Kelowna B.C. She used bright vibrant colours to execute this landscape. It is highly linear and fresh, evoking feelings of joy and warmth. This image is reminiscent of Vincent van Gogh’s Wheatfields under Thunderstorms. Both images have bright colours and use simple parallel lines. However Vomm-Järve balances her image by employing soft curves to represent the mountains. The rainbow in the background further echoes these curves.
Landscape paintings were very important this year as they were strongly represented. Hanging nearly side-by-side, one could easily compare Ludwig Raun’s Forest Landscape and Peeter Kaups’ Winter Shadows. Landscape painting has a strong significance to Estonian culture, as is evident in our flag: blue for the sky, black for the rich soil and white for the purity of heart. Both images are respectfully traditional. However, Raun and Kaups effectively employ modern techniques by using fast brushstrokes, paying little attention to background detail.
Raun’s landscape is an autumn scene. He uses a wide range of bold colours and applies the paint thickly onto the canvas. The composition is humble; however, the fast, thick brushstrokes create a sense of movement and intensity, capturing the strong fall wind blowing the leaves. Movement is portrayed in the river that flows through the larger section of the forefront and disappears in the background by using several shades of green, pink and brown. Areas of the canvas are left exposed, giving it an unfinished quality. He does this especially when he incorporates the ever so important birch trees.
Kaups’ piece is a winter scene. Using soft mauves and blues contrasted by the white snow creates winter shadows. Even though this scene takes place in the dead of winter, it contains life as birds fly away in the far left corner. The artist creates a sense of movement in the river intersecting the lower mid half of the canvas. Similarly to Raun’s painting, blurs of paint are used in the background to roughly indicate detail.
However, this year my favourite genre was the portraits. Samuel Vainola is new to the society and submitted At the Wall. This painting is thought-provoking and leaves the viewer asking questions. Shadows are represented subtly, seeming as if the light source is coming from a high angle directly above the female nude figure. The composition is highly linear; the palette is simplistic and earthy. This is reminiscent of Christopher Pratt’s nudes Shy Girl or Fisher’s Maid (Nude by a Night Window). Why is this woman standing against the wall? Is she hiding? Does she know she is being watched? We cannot see her face or know her identity. Nor do we understand why she uses her forehead to support herself against the wall instead of her hands. Perhaps she is symbolically trying to walk thorough the wall but is stopped for some reason. We catch this unidentified woman in a very intimate moment - could she possibly be ashamed of being nude? The woman’s tan lines evoke a memory of what once covered her naked body. We have seen something that was intended to be hidden. Much like the human inability to completely hide ourselves from others, somehow the truth becomes exposed.
Another portrait capturing an intimate moment is Aapo Pukk’s My Mother Laine. Many great masters have captured their mother in art, for instance, James Abbott McNeill Whistler’s Arrangement in Black and Gray (Portrait of the Artist’s Mother). This artist has had clear inspiration from the Impressionists by using quick, thick brushstrokes and by the use of light. Light is represented beautifully as if the artist has recaptured this woman’s youth again; similarly to the way which Rembrandt does in his Portrait of the Artist’s Mother. The canvas is given an unfinished quality by the variety of paint applications and limited colour palette of purples, blues, and warm peaches. The colours are chosen carefully, bringing to mind a mother’s comfort and love. Skilfully the artist uses paint to blend the colours and create a sculptural quality, thereby giving the figure a sense of presence and strength. What a wonderful tribute to motherhood.
I have only been able to highlight a handful of works featured at the exhibition. However, all of the pieces are noteworthy. The various medium and genre surpass this discussion. I strongly encourage anyone to review the rest of the EKKT artists in the EKKT 50th Anniversary book which is available for purchase. This book features important recognition pertaining to the society, along with works by the EKKT artists, honorary members, and supporting members over the years. With over 70 members across Canada, the US, and Estonia this book would be a wonderful addition to anyone’s library. To purchase the book or to find out more about becoming a member, please contact Mai Vomm-Järve at 416-250-1245 or by email . You can also visit www.ekkt.org.
50 years of Estonian art: Carrying on a Heritage
Archived Articles | 25 Nov 2005 | Krista Lunter-ScottEWR
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