Aino Bach | |
---|---|
Born | |
Died | 6 August 1980 | (aged 78)
Nationality | Estonian |
Other names | Aino Bach-Liimand |
Occupation | Graphic artist |
Awards | People’s Artist of the Estonian SSR |
Aino Bach (1 December 1901 – 6 August 1980) was an Estonian artist known for her engravings and her portrayals of Soviet-era femininity. [1] [2]
Aino Bach was born in Koeru, Estonia in 1901. [1] As a child, she lived in Narva, and she attended secondary school in Siberia, before returning to Estonia in 1921. [3] She studied painting at the Pallas Art School [3] in Tartu under the supervision of Nikolai Triik, and engraving with Ado Vabbe, [3] whom she shared socialist ideals with. In 1937, Bach married the painter Kaarel Liimand. [4] She worked as a lecturer at her former art school (now renamed after Konrad Mägi) from 1940 to 1941. [5]
In 1941, during the German occupation of Estonia, Bach was exiled in Yaroslav in the Soviet Union. [3] There, she was an active member in the Union of Estonian Artists (ENSV Kunstnike Liidu), founded in 1943. She played a large role in the reorganization of Estonian artistic life with this organization. [6] She was a mentor to fellow Estonian artist Evald Okas.[ citation needed] Bach was awarded the State Prize of the Estonian SSR in 1947. [7]
After the war, Bach settled in Tallinn. [1] She was awarded People’s Artist of the Estonian SSR in 1961. [7] Bach died in Tallinn on August 6, 1980. [4]
Many of Bach's works portray women, representing many different settings and professions. Her style has been described as including both poetic realism and Socialist Realism. [1] Many of her pieces were created using intaglio engraving techniques and she broadened the expressive abilities of the technique. [3] She was praised to have a wealth of nuances and original style, utilizing metal point engraving, etching, and colored monotype, which she often used multiple of in her works. [3] [8] While some of Bach's art has been characterized as a product of Soviet propaganda, art critic Eha Komissarov has argued that Bach, a genuine political leftist, used Soviet iconography as a means to portray women's participation in public life. [6] Later in her career, Bach painted portraits of public figures including Debora Vaarandi. [9]
Aino Bach | |
---|---|
Born | |
Died | 6 August 1980 | (aged 78)
Nationality | Estonian |
Other names | Aino Bach-Liimand |
Occupation | Graphic artist |
Awards | People’s Artist of the Estonian SSR |
Aino Bach (1 December 1901 – 6 August 1980) was an Estonian artist known for her engravings and her portrayals of Soviet-era femininity. [1] [2]
Aino Bach was born in Koeru, Estonia in 1901. [1] As a child, she lived in Narva, and she attended secondary school in Siberia, before returning to Estonia in 1921. [3] She studied painting at the Pallas Art School [3] in Tartu under the supervision of Nikolai Triik, and engraving with Ado Vabbe, [3] whom she shared socialist ideals with. In 1937, Bach married the painter Kaarel Liimand. [4] She worked as a lecturer at her former art school (now renamed after Konrad Mägi) from 1940 to 1941. [5]
In 1941, during the German occupation of Estonia, Bach was exiled in Yaroslav in the Soviet Union. [3] There, she was an active member in the Union of Estonian Artists (ENSV Kunstnike Liidu), founded in 1943. She played a large role in the reorganization of Estonian artistic life with this organization. [6] She was a mentor to fellow Estonian artist Evald Okas.[ citation needed] Bach was awarded the State Prize of the Estonian SSR in 1947. [7]
After the war, Bach settled in Tallinn. [1] She was awarded People’s Artist of the Estonian SSR in 1961. [7] Bach died in Tallinn on August 6, 1980. [4]
Many of Bach's works portray women, representing many different settings and professions. Her style has been described as including both poetic realism and Socialist Realism. [1] Many of her pieces were created using intaglio engraving techniques and she broadened the expressive abilities of the technique. [3] She was praised to have a wealth of nuances and original style, utilizing metal point engraving, etching, and colored monotype, which she often used multiple of in her works. [3] [8] While some of Bach's art has been characterized as a product of Soviet propaganda, art critic Eha Komissarov has argued that Bach, a genuine political leftist, used Soviet iconography as a means to portray women's participation in public life. [6] Later in her career, Bach painted portraits of public figures including Debora Vaarandi. [9]