Early Estonian modernist art definitely has a rustic character. The young artists who from the get-go worked under the influence of modern artistic currents were of peasant origin, from a traditional village society, and the themes and motifs in their art often remained permanently linked to the nature and landscape of their home. Even the countryside, where old patterns of life were more entrenched, felt the coming spirit of a new age, which valued personal freedom. Bernard Kangro recalled that in his youth the billows of smoke from a train’s smokestack seen over the treetops made the boys of the village of Antsla dream of the opportunities and freedoms of the wider world. The same was probably true for Karl Pärsimägi, who was born in the same village as Kangro. Perhaps from the very beginning he dreamt of Paris, even before he could name it.
The generation which began acquiring a modernist artistic language was in large part from rural areas, particularly from Southern Estonia. This can clearly be seen in the subjects they depicted in their works. The deep rusticity apparent in the history of Estonian modernism is its unique characteristic. Is it possible that artistic innovation could also have emerged in the countryside? In what ways was modernist art shaped by village geniuses? How could Karl Pärsimägi, who was born at the beginning of the 20th century into a peasant family near Antsla, become an artist whose paintings are still relevant to people in the smartphone age of the 21st century?
In Karl Pärsimägi’s case it can be considered a stroke of luck that his contacts with artistic education brought out something that was already present inside him. Pärsimägi stood out both as a student and when participating in exhibitions. His art harmoniously combines an extremely modernist attitude, apparent in his use of colour, which in the local artistic context was extremely striking, with an earnestness, a genuine sincerity, which one is tempted to chalk up to his country background. Might not this earnestness be the most contemporary aspect of Pärsimägi’s work?
Colour and the way it is used is what makes Pärsimägi’s paintings come alive. His relationship with art must have gotten its start from colour, which set off his imagination. Through colour Pärsimägi found the world which he wanted to inhabit. Pärsimägi’s contemporaries remarked repeatedly on how he used to disappear into his art and “escape” from the mundane world. Art was Pärsimägi’s favourite place to be, probably followed closely by his home and the landscape of Võru County.
Curator: Liis Pählapuu
Exhibition design: Peeter Krosmann
Graphic design: Angelika Schneider
Coordinator: Rene Kriisa
Exhibition team: Richard Adang, Nele Ambos, Siim Asmer, Indrek Grigor, Joanna Hoffmann, Mare Joonsalu, Margus Joonsalu, Katrin Lõoke, Kadri Mägi, Jaanika Peebo, Anti Saar, Ago Teedema
