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:- Ludwig von Maydell. Explanations relating to the fifty illustrations of the history of Russia’s Baltic provinces. Dorpat, 1839. Pp. 1–2. | :- Ludwig von Maydell. Explanations relating to the fifty illustrations of the history of Russia’s Baltic provinces. Dorpat, 1839. Pp. 1–2. | ||
<loop_figure title="Ludwig von Maydell. ''The battle against the Osilians'', 1839." description="" show_copyright="true" copyright=""> | <loop_figure title="Ludwig von Maydell. ''The battle against the Osilians'', 1839." description="" show_copyright="true" copyright="" id="5f5a33162d3f0"> | ||
[[Image:lahing_saaremaa_mereroovlitega.png]] | [[Image:lahing_saaremaa_mereroovlitega.png]] | ||
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:- Astaf von Transehe-Roseneck. ''Zur Geschichte des Lehnswesens in Livland. In: Mitteilungen, Vol. 18''. Riga, 1908. pp. 1–309, pp. 225–226. | :- Astaf von Transehe-Roseneck. ''Zur Geschichte des Lehnswesens in Livland. In: Mitteilungen, Vol. 18''. Riga, 1908. pp. 1–309, pp. 225–226. | ||
Hans Kruus ( | Hans Kruus (1891–1976) is regarded as the founder of Estonian historiography as an academic discipline. He was chief editor of the multi-volume History of Estonia published during the 1930s. Being politically left wing throughout his life, he joined the Communist Party in 1940 and spent most of the Second World War behind the Russian Front. After the war, he was one of the victims of Stalinist repression. | ||
:The suppression of the Estonians by a foreign power was for centuries a decisive factor in determining the fate of this people. The very essence of its national individuality, developing rapidly towards the end of its period of independence, was severed when the country lost its independence. From being a people developing under favourable conditions, the Estonians became an object ruled by a foreign force, a body oppressed and dominated. Out of this subjected mass there could not rise the circles who could foster national culture. Under such conditions, the cultural fabric of the Estonians now with a sharply-defined democratic character, as proved by the archaeological excavations, was not stimulated by any foreign ideas. The new order of the ruling class could not offer any, as it lived apart from the Estonian people. During this transition from independence to servitude, the country lost its creativity and the opportunity to be vibrant. The national culture of the Estonians was paralysed for centuries until the second half of the 19<sup>th</sup> century when, during the period of national renaissance, there was a renewed upsurge of self-determination. | :The suppression of the Estonians by a foreign power was for centuries a decisive factor in determining the fate of this people. The very essence of its national individuality, developing rapidly towards the end of its period of independence, was severed when the country lost its independence. From being a people developing under favourable conditions, the Estonians became an object ruled by a foreign force, a body oppressed and dominated. Out of this subjected mass there could not rise the circles who could foster national culture. Under such conditions, the cultural fabric of the Estonians now with a sharply-defined democratic character, as proved by the archaeological excavations, was not stimulated by any foreign ideas. The new order of the ruling class could not offer any, as it lived apart from the Estonian people. During this transition from independence to servitude, the country lost its creativity and the opportunity to be vibrant. The national culture of the Estonians was paralysed for centuries until the second half of the 19<sup>th</sup> century when, during the period of national renaissance, there was a renewed upsurge of self-determination. | ||
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Richard Sagrits (1910–1968), Estonian painter who was educated in the art schools of Tallinn and Tartu. During the second World War he was behind the front in Russia, where Estonian artists gathered in Yaroslavl. Sagrits is mostly esteemed for his landscapes, but during the war and after, he has painted also a series of depictions of ancient and medieval Estonian history.<br /> | Richard Sagrits (1910–1968), Estonian painter who was educated in the art schools of Tallinn and Tartu. During the second World War he was behind the front in Russia, where Estonian artists gathered in Yaroslavl. Sagrits is mostly esteemed for his landscapes, but during the war and after, he has painted also a series of depictions of ancient and medieval Estonian history.<br /> | ||
<loop_figure title="Richard Sagrits, ''After punitive expedition'', 1943." description="" show_copyright="true" copyright=""> | <loop_figure title="Richard Sagrits, ''After punitive expedition'', 1943." description="" show_copyright="true" copyright="" id="5f5a33162d40b"> | ||
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Bernhard Borchert (1862–1945) was born in Riga. He studied art in St Petersburg, On returning to Riga, he became a painter, illustrator and teacher. In 1919, he left Latvia and settled in Berlin.<br /> | Bernhard Borchert (1862–1945) was born in Riga. He studied art in St Petersburg, On returning to Riga, he became a painter, illustrator and teacher. In 1919, he left Latvia and settled in Berlin.<br /> | ||
<loop_figure title="Bernhard Borchert. ''Teutonic Knights'', 1911." description="" show_copyright="true" copyright=""> | <loop_figure title="Bernhard Borchert. ''Teutonic Knights'', 1911." description="" show_copyright="true" copyright="" id="5f5a33162d423"> | ||
[[Image:bernhard_borchert_ordensritter.png]] | [[Image:bernhard_borchert_ordensritter.png]] | ||
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Juhan Kreem, Anders Fröjmark, Jörg Hackmann
During the 13th century, the countries on the eastern coast of the Baltic Sea were profoundly transformed. Crusaders from the West conquered and converted many of the local tribes and established new medieval polities, now known as Livonia and Prussia. Whereas Prussia became largely Germanised in later centuries, the German settlers in Livonia remained a minority, and the local ethnic groups retained their identities, while the groups grew in strength during the second half of the 19th century to become modern nation states.
Our view of the Crusades in the Baltic region is dependent on a number of circumstances. Reading medieval chronicles written by the crusaders can result in diametrically opposed interpretations depending on the view of the reader. The Baltic German nobility saw the crusaders as their ancestors, and while they did not try to glorify them, they did at least try to understand and justify the conquerors’ actions. Criticism of the Crusades began during Enlightenment when it was linked to the rejection of the ancien régime. From the Estonian and Latvian point of view, the identification with these pagan tribes is a vital part of their understanding of the past, thus the same war (the Baltic Crusades) is also called the fight for freedom in Estonian and Latvian historiography.
Although the crusades to Finland had a more modest scope, the resistance of the locals towards the conquering westerners also has its place in Finnish historiography. Lalli, the Finn who killed Bishop Henry of Uppsala, has been treated as a national hero, whereas Henry became a Catholic saint due to his martyrdom – the patron saint of Finland.
The German and Polish perceptions of the Teutonic Order and its territory in Prussia was shaped by the national conflict of the 19th and 20th century. Controversies included the issues of whether the Order forged documents in the early 13th century in order to claim rights to the Prussian territory, and whether the Order brought civilisation to the region or conquered it by violence. Finally, the victory of the Polish-Lithuanian army over the army of the Teutonic Order at Tannenberg / Grunwald / Žalgiris in 1410 was the subject of various national commemorations between the late 19th century (painting by Jan Matejko), World War I (German victory at Tannenberg), and post World War II (movie Krzyżacy - in English: Black Cross - by A. Ford, 1960).
Questions of the more or less forced Europeanization of the Baltic Sea Region were examined anew in the multinational Culture Clash or Compromise project, which was led by Professor Nils Blomkvist at the then Gotland University College (now Uppsala University, Campus Gotland) from 1996 to 2009. This project, conceived in the wake of the new political situation in the Baltic Sea Region, resulted in a number of publications and created research networks that are to some extent still in place.
Ludwig von Maydell (1795–1446) was one of the most important artists of Baltic Romanticism. He was born into a large Baltic-German family and studied art in Berlin, Dresden, Stuttgart and Rome. Returning to Tartu, he founded the first xylographic workshop in the Russian Empire. His interest in history led to a very influential series of pictures on the Livonian Middle Ages.
Garlieb Helwig Merkel (1769–1850), the son of a Livonian pastor, was a private tutor, secretary, writer and publisher. He is particularly well-known for his critical works of serfdom in the Baltic provinces. The spirit of the Enlightenment enabled him to see the Baltic people as they once lived, in what was the most golden age of their land before their conquest and Christianisation.
Astaf von Transehe-Roseneck (1865–1946) was a Livonian fief holder and Baltic nobleman in Berlin in 1918. After the land reform and abolition of the Estates, he left the country and settled in Mecklenburg. Being a historian, his main works focus on the legal history of the Baltic countries and on the genealogy of the Baltic nobility.
Hans Kruus (1891–1976) is regarded as the founder of Estonian historiography as an academic discipline. He was chief editor of the multi-volume History of Estonia published during the 1930s. Being politically left wing throughout his life, he joined the Communist Party in 1940 and spent most of the Second World War behind the Russian Front. After the war, he was one of the victims of Stalinist repression.
Heinrich von Treitschke’s essay was first published in German as “Das Deutsche Ordensland Preußen” in 1862 and marked a significant turn towards a German nationalism claiming hegemony over the territories that once formed the state of the Teutonic Order with a clear negative attitude toward the “easy-going” Slavonic nations. The text stimulated Polish counter-narratives of the treacherous and cruel behaviour of the Teutonic knights.
Richard Sagrits (1910–1968), Estonian painter who was educated in the art schools of Tallinn and Tartu. During the second World War he was behind the front in Russia, where Estonian artists gathered in Yaroslavl. Sagrits is mostly esteemed for his landscapes, but during the war and after, he has painted also a series of depictions of ancient and medieval Estonian history.
Bernhard Borchert (1862–1945) was born in Riga. He studied art in St Petersburg, On returning to Riga, he became a painter, illustrator and teacher. In 1919, he left Latvia and settled in Berlin.