Английская Википедия:Helmi Üprus

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Helmi Üprus (15 October 1911 – 27 August 1978) was an Estonian architectural and art historian. She trained in romance languages, studied English and ethnography, and earned a master's degree in art history from the University of Tartu in 1936. She worked her way up to head the cultural history department of the Estonian National Museum, where she researched folk art. In 1947, she began working at the Шаблон:Ill of the Academy of Sciences of the Estonian SSR. Persecuted by Stalinism she lost her job in 1950 and worked in a factory until Stalin's death. From 1953, she was the chief specialist in architecture and history for the government monument restoration service.

Üprus analyzed architecture employing an interdisciplinary method, which looked at both functional use and natural features in regard to construction and cultural significance. Although under Khrushchev's regime preservation and restoration were not a priority, her comprehensive work to uncover the architectural history of the medieval town center of Tallinn and develop a conservation plan, was eventually adopted in 1966. Her plan called for preservation and conservation of historic buildings, zoning to meet the needs of the local community, and limiting traffic and tourism. It was the first legislatively protected preservation area in the USSR and became a model for later conservation projects throughout the Soviet republics. She was honored twice – 1967 and 1980 – with the Шаблон:Ill for publications on the history of Estonian art and architecture and was awarded the 1974 prize of the Estonian Association of Art Scientists and Curators (Шаблон:Lang-et). In 1975 and 1977, along with other authors, she received the State Prize of the Artists' Union of the USSR, for two volumes covering the history of Estonian art through 1940. Üprus died in 1978, and her work to compile the inventory of Estonia's manor houses was completed by members of the team she had supervised.

Early life and education

Helmi Üprus was born on 15 October 1911 in Viljandi, in the Governorate of Livonia of the Russian Empire,Шаблон:Sfn[Notes 1] to Ann (née Anderson or Andreusov) and Jaak Üprus.Шаблон:SfnШаблон:Sfn Her father was the conductor of the brass band in Riidaja.Шаблон:Sfn She had three older siblings, Eduard, Шаблон:Ill, and Шаблон:Ill.Шаблон:SfnШаблон:Sfn By the time Estonia had gained its independence from Russia,[Notes 2] she was already studying the romance languages in junior high school.Шаблон:Sfn Üprus graduated cum laude from the high school in Viljandi in 1929,Шаблон:Sfn and in 1930 began studying philosophy at the University of Tartu.Шаблон:Sfn Her mother died in 1934.Шаблон:Sfn Üprus studied under Swedish art history professor Шаблон:Ill,Шаблон:Sfn alongside Villem Raam, who would later be a colleague interested in the history of art and architecture, as well as their conservation.Шаблон:SfnШаблон:Sfn Üprus completed her studies in 1936,Шаблон:Sfn with a master's degree in art history and a degree in French, Italian, and Spanish, with a minor in ethnography and English.Шаблон:Sfn

Career

Upon her graduation, Üprus began working at the Estonian National Museum.Шаблон:Sfn Initially, she was the academic secretary of the museum and worked her way up to head the cultural history department. Her research in this period was primarily devoted to folk art.Шаблон:Sfn One project involved inventorying and photographing historic buildings in Kuressaare on Saaremaa Island,Шаблон:Sfn while others examined the work of silversmiths, stone markers, and illustrations of the poem Kalevipoeg.Шаблон:Sfn She began working at the Шаблон:Ill of the Academy of Sciences of the Estonian SSR in 1947, which had been reorganised following the Soviet occupation of the Baltic states.Шаблон:Sfn[Notes 3] Üprus earned her magister degree in philosophy and art history in 1942, completing a thesis which examined the history of Neoclassical architecture.Шаблон:SfnШаблон:Sfnbut lost her job in 1950 under Stalin's political repression policies. Her academic credentials were cancelled, forcing her to spend three years working in a factory.Шаблон:SfnШаблон:Sfn

When Stalin died in 1953,Шаблон:Sfn Üprus was appointed as the chief specialist in architecture and history for the government monument restoration service.Шаблон:Sfn[Notes 4] According to scholar Olev Suuder, her approach to restoration was "the future of the past", meaning that cultural heritage should be preserved so that it would survive into the future.Шаблон:Sfn Her views were at odds with Khrushchev's policies, which eliminated restoration budgets as a waste of state funds and favored low-cost developments based on large-scale prefabricated panel construction.Шаблон:Sfn In the late 1950s, the Soviet regime began to allow citizens to travel to other Soviet states and a handful of non-Soviet locations.Шаблон:Sfn In 1969, Üprus participated in a seminar on restoration projects in East Germany and the following year attended a similar conference in Italy. She presented a paper on the revitalization of the center of Tallinn at a 1971 conference in Lübeck, in West GermanyШаблон:SfnШаблон:Sfn and traveled to a symposium of the International Council on Monuments and Sites (ICOMOS) held in Vilnius, Lithuania, in 1972.Шаблон:Sfn

Research

Because of her educational background, Üprus was not influenced by any particular style or philosophy when writing about architecture. Drawing on her studies in art, ethnography, and history, she adopted an interdisciplinary approach. When evaluating architecture, she examined factors such as natural features and functional aspects behind a structure and its surroundings. This method was completely new to the evaluation of medieval buildings in Estonia and her work revealed that as a result of various factors influencing construction, there was no singular dominant style.Шаблон:Sfn Taking a special interest in public buildings, she researched structures including the Шаблон:Ill in Kolga; Narva fortress and bastions in Narva; the Шаблон:Ill in Saue; the Шаблон:Ill, the House of the Brotherhood of Black Heads; St. Catherine's Monastery, and the Town Hall Pharmacy in Tallinn; and Teller's Chapel, Uspenski Cathedral, and the main building of the University of Tartu, as well as the university's observatory, in Tartu.Шаблон:Sfn Üprus wrote numerous chapters for Estonian and Soviet encyclopedias on art and architectural history. She also analyzed the works of contemporary artists,Шаблон:Sfn such as Ado Vabbe, whose works were studied in her 1976 book, Шаблон:Lang (Sun Games).Шаблон:SfnШаблон:Sfn

Throughout the 1950s and 1960s, Üprus analyzed the Tallinn Old Town center.Шаблон:Sfn She and Шаблон:Ill were responsible for meticulously documenting the medieval town and preparing a strategy for urban preservation and development.Шаблон:Sfn Their work led to it being designated as a state protected conservation area in 1966,Шаблон:Sfn the first of its kind in the USSR, serving as a model for later projects.Шаблон:Sfn[Notes 5] In attempting to reconstruct the area, she developed a comprehensive plan on how to preserve the historical buildings while addressing functional zoning and urban renewal.Шаблон:Sfn Her ideas meant limiting developments liable to promote traffic and attract tourists, instead focusing on small restaurants and cafes, with spaces that served the local population.Шаблон:Sfn In 1967, Üprus and Шаблон:Ill and other scientists were awarded the Шаблон:Ill (Prize of Soviet Estonia) in the category of art historians, for their work Шаблон:Lang (History of Estonian Architecture).Шаблон:SfnШаблон:Sfn The majority of the chapters in the book were written by Üprus and Voldemar Vaga.Шаблон:Sfn

In 1975, Üprus was honored by the Estonian Association of Art Scientists and Curators (Шаблон:Lang-et) with the 1974 annual prize for her article which appeared in the journal Шаблон:Ill (Construction and Architecture).Шаблон:Sfn She worked with other editors to produce Volume 1, Parts 1 and 2 of Шаблон:Lang (History of Estonian Art), published in 1975 and 1977. The first part covered art up to the middle of the nineteenth century and the second part continued with art up to 1940. Üprus's contributions included papers on folk art, classical architecture, and architecture and stonework of the Renaissance and baroque periods. In 1977, all of the writers involved in the project received the State Prize of the Artists' Union of the USSR for each of the two parts.Шаблон:Sfn Üprus wrote the year before her death "I have had three grand projects in my life: the History of Estonian Architecture ['Eesti arhitektuuri ajalugu'], the regeneration of Tallinn’s Old Town and now the architecture of the manors. If I can complete the latter, my life work is done".Шаблон:Sfn

Üprus began inventorying Estonia's manor houses at the request of Шаблон:Ill, who in the 1970s was leading the restoration of estates in the Lahemaa National Park.Шаблон:Sfn When she began compiling the list in 1975, there were only fragmentary records of manors built in the Swedish era prepared by Gustav Ränk and a study of 150 Estonian mansions collected by the Latvian architectural historian Шаблон:Ill in his study of Baltic estates.Шаблон:Sfn Using pre-World War I-era topographical maps and an address directory, she and her team had to compare German, Estonian, and Russian place names to create the list of 2267 manors.Шаблон:Sfn Although she published reports and articles on the progress of her research, her untimely death left Juhan Maiste in charge of assembling a team to complete the project.Шаблон:Sfn

Death and legacy

Üprus died on 27 August 1978, in Tallinn,Шаблон:Sfn and her ashes were placed in the Шаблон:Ill in Tinnikuru.Шаблон:Sfn She was memorialized for her work to preserve the history of art and architecture in Estonia.Шаблон:Sfn According to historian Шаблон:Ill,Шаблон:Sfn Üprus was the "leading specialist" on architecture in Estonia, while Шаблон:Ill, heritage conservationist for the Estonian Academy of Arts, called her work "outstanding" noting that her study on Tallinn's historical center led to its becoming protected by the state and fostered new research.Шаблон:Sfn The obituary prepared by the Association of Architects of the Estonian SSR for the newspaper Sirp ja Vasar, called her one of the most important researchers of Estonian architectural heritage.Шаблон:Sfn In both the Soviet era and later independent Estonia, her work was recognized as authoritative.Шаблон:Sfn

Üprus was posthumously honored, along with the other authors of History of Estonian Art, the Шаблон:Lang (Prize of Soviet Estonia) in 1980,Шаблон:Sfn and commemorated on her birthday by newspapers in every decade from 1981 to the twenty-first century.Шаблон:SfnШаблон:SfnШаблон:Sfn Vaga edited and published her unfinished work, Шаблон:Lang (Stone Carving in Estonia from the Thirteenth to the Seventeenth Centuries) in 1987.Шаблон:Sfn The following year, the film Шаблон:Lang (The Üprus Sisters) aired on Eesti Televisioon. Directed by Aime Kala and written by Airi Kasera, who also narrated the production, it told the story of Helmi and Hilda Üprus, through interviews with their friends and colleagues.Шаблон:SfnШаблон:Sfn Numerous dissertations, lectures. seminars and conferences hosted by academics and museums have paid homage to her life and work.Шаблон:Sfn The Baltic Journal of Art History dedicated an entire issue to her and her works in 2011 in honor of her 100th birthday.Шаблон:Sfn Her papers have been deposited at the National Heritage Board Archives.Шаблон:Sfn

Selected works

Notes

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References

Citations

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Bibliography

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External links

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