Exhibition > Past > Haus Gallery

Haus Gallery 03.06.2003-27.06.2003



Haus Gallery starts with a new tradition. Every year young artists get the possibility to exhibit their works in Haus Gallery.

Margus Meinart (1969) and Maris Tuuling (1968) are artists, whose activity and creation before World War II would have been in the centre of attention of the world of arts. But after the decision of the Soviet power structures to destroy the \"Pallas\" school of painting (both as a school and a school of painting) and after the shifts in the artistic world of the 1990ies, the creation of Meinart and Tuuling is a rarely powerful and convincing wave towards the traditions of painting.

Both Meinart and Tuuling have graduated from the Konrad Mägi studio that was founded by art society \"Pallas\", where as lecturers worked the former \"Pallas\" students Kaja Kärner, Lembit Saarts and Heldur Viires. System of free studios that is known to have originated from France, where to strict discipline and concrete following of natural depiction is preferred the study of the main part of the art of painting: transfer of colours, shadows and artist\'s impressions onto canvas, cardboard, masonite. This is pure aesthetics which completely lacks all possible claims to step out of the surface of the painting in order to start \"fighting\" with alien phenomena. Because everything is anyway familiar.

If we try to find an equivalent to the works of Maris Tuuling from \"Pallas\" itself, first of all we find Endel Kõks. Similar undisturbed cheerful colours and pictures, seizing a concrete moment that do not try to document, but to find  atmosphere, being characteristic to the situation. Already the titles - \"Before the rain\", \"Spring evening\", \"Midday\" - do not actually refer to people, being depicted on paintings, but to colours, smells and senses that surround the human being and are simultaneously visible and still invisible for the eye. Also the cityscapes by Tuuling are not cold recordings of architecture or environment, but rather searches for genius loci. The latter has drowned into colours and light, but Tuuling makes no attempts to drag it out. She leaves it there and watches from the distance.

Margus Meinart tastes different possibilities of painting. Here and there we absent-mindedly grab for Picasso, then again we try to classify Meinart into the company of form-twisters and colour-pickers. But - in vain. Meinart changes registers with playful simplicity. He restores different situations again into an integer, bringing back home colours which are abroad. The inner world of  Meinart paintings is endlessly harmonious and complete, sure in belief in itself. Flower portraits and self-portraits, colour scales and room geysers, several people next to each other and the impression alone. With others, of course.

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