Sirp ja Vasar (art newspaper) 

The third performer, Einar Vene would require in itself separately a longer treatment, what he deserves as more fanciful  young painter. I shall make only a few observations relating directly with the exhibition . Vene art exhibition tells us a whole new phenomenon - Mannerism get arrival . The point is that how much we do speak of mannerism like stile  in Estonian newer art, however, the system mannerism has been still lacking of us. Vene will follow the beautiful example of the high life in post-war art , which is dedicated to the invasion of the human soul secrets, and who dissect in name of the goal their dreams and visions, treats these mysterious areas of wildly unusual angle.  A long time glued onto them derogatory labels for their extremely consumerist attitude to the history of art, an example of which rely mostly representatives of all the fantastic realism. One of the steps has been valuable to follow is the mannerism  after Renessans. " All of this offering him selves spiritually too Iight can not be considered art, " said Vasari already 1547.y. and more likely to have here is a timeless wisdom . Closer to the topic of the Einar Vene leads us the fact that the last decade has given to mannerism supreme historical meaning and it is seen in action in all overripe cultures, witch is subject to the all kinds of influences. Einar Vene`s creation rely entirely against allegory and follows in principle a rather complex program of picture. Layered, ambiguous presentation going on in general with the help of the surprised topics and  the controversial  form - but just as required - and this has not already learned in following the example is the uniqueness of a plane with relations to substance. In Vene`s pictures we  perceive such an aspiration towards the plane than its existence. It is very pity, because the latter depends to a large extent, such an artistic idea. From a purely conscious artificial endeavor is very easy to ridicule because of the props , which creates artificiality , it is often extremely flat and tasteless. I do not raise so much in the case of Vene tasteless problem as powerless. His visions is still quite similar and boring in solutions. Better is the story with stagings about art history substances, which the artist hurries to help saving specific plane. It is possible that some of refined taste may satisfy Manet interpretation in harsh, forced postures of the figures through a vast array of colors and naive solution, I am fully prepared to do so. However, despite all of seem the stagings productions fit better to Vene than the work that is only his own fanciful. The exhibition presented a few still-life`s talked about a young painter immature color treatment. It is possible that this is the way forward into the secrets of the magical influence, who knows. What is positive in Vene`s creations? Although I do not belong among adherents of  conscious artificial nature so striking statement forms, however, I appreciate his request for put thing in a system. I am willing to accept the request of old painting mastery, when he learns to do something more exciting . All is still in front . At least as long as proceed the postmodern call to artificiality, historic ism and mannerism.

Eha Komissarov   3 April 1987 

 

 

 

 

 

Einar Vene's world  (Vikerkaar - arts magazine)

 

   It is difficult to think of a painter in Estonian contemporary art who gives so much food for thought as Einar Vene. His works are some of the most memorable which have been recently exhibited.

   On the one hand he appears to be an impudent excentric, taking into account the current public taste, on the other hand there is evidence in his work of a naive idealistic philosophical mode with a mockery people as situations. This is largely symbolic. However, it would be difficult to take Einar Vene's pictures seriously, especially without his unique sense of reality, which is developed from his existentialist means of expression as portrayed in his work. Einar Vene's art is influenced by his study of the late medieval and the early renaissance traditions. He uses the techniques practiced by these masters.

   He draws from the fourteenth and fifteenth centuy masters their techniques of detail and bright color. Some of his compositions of figures and symbols are in a mutilated form.

   E. Vene not only uses their techniques but also finds it necessary to explore the same problems which exited the early Italian and German masters of the l4 th and l5 th Centuries. Like Hieronymus Bosh he constructs a «picture puzzle» from allegorical figures where every symbol is interpreted literally. The figures are concrete, clear cut and detailed. Everyone and everything has a meaning. Taken together, the picture forms a unity. All his pictures display this theme. He uses this format in all his works, occasionally modifying it to suit his purpose.

   Einar Vene attempts to construct models of an inner harmony. He adds, however, doubts. A super idyllic feeling runs through his work, dominates it and attempts to shock the viewer. The painter achieves this rather toughly. For instance, in one of his works he shows as a pink woman's body standing in a bright green landscape or as in another paintings, a background in blue red colors. His works can seem to many as a form of impressionism. However, he does not go so far along the impressionist path. He prefers to express a nihilistic approach rather then a defined view of nature. He uses his paint-brush to paint, for example, grass in glaring colors. This gives an impression of permanence, boldness and fun (enjoyment).

   Einar Vene's works are a paradox. He contrasts a naive idealism with a destructive nihilism. It is bolt brittle and constructively Strong. We are led to think that E. Vene is jeering at himself. His audience is often shocked at his mockery. They feel uncomfortable with his benevolent irony, his naivety and the simple way in which he portrays an ideal. The paradox in his work neutralizes itself. Einar Vene's aim is to put a global concept in to his paintings in philosophical and nihilistic manner, so that his audience will be interested. His pictures 'are full of an emotional force which emanates from the artist's own inner feelings. We associate Einar Vene with surrealism and the subconscious world, but his pictures are neither in natural nor in metaphysical form. On the contrary, his simplicity is neither for cede nor does it stem from a complex. In the depths of his  subconscious, he attempts to arrive at the truth, having weighted up in his mind about what is rational or irrational.

   I consider that E. Vene is a unique artist. He is able to express the absurd in life as well as to express his inner feelings concerning the subconscious.

 

Raoul Kurvits  4/1988

 

 

 

NON - FRENCH WORLD . GOTHIC!     Eesti Ekspress (newspaper) 

"Dragon " and " Whale " Gallerys showed Einar Vene`s paintings at the same time.

Raoul Kurvits : " In Estonian contemporary art it is difficult to find authors who would provide such an abundant food for thought as Einar Vene. "So it is . Of Einar Vene pictures speak, they provoke disputes, They have so the convinced   proponents , as well as the wrath of numerous deniers. Deniers accuse the Vene`s art about neglect of taste,  narrative, inadequate in form. The last complaint must be accepted :  solving problems of such high themes requires a higher form  culture . But this is it . I would like to talk about another fact of looking while standing vis-a-vis at Vene`s pictures.                                 Estonian art has evolved from the beginning of this century under the influence of French. Latest French art , however, is characterized by a preference for formal substantive values​​. Henri Matisse, the brightest representatives of  French School has described the principles of his art as : " I can not find the vividness in passion , which is glowing from face, or made visible through any sudden movement of it.   It contains in all disposition of my picture - a place occupied by figures, the empty space around them , the proportions - every thing is playing its part . Composition is the ability to place them decoratively a variety of components  by the painter uses to express his feelings . Every single part of the picture is visible and positioned over whether major or distracting, which suits him best. Every thing about the picture is not urgent purpose , therefore, is harmful. The work of art requires the harmony of all things together: every detail is superfluous carry out the spirit of the place of another important detail . "Many Estonian artists could sign that manifesto of form harmony: just as they have act all the time. Vene`s art is based on a completely other principles . Call it the TRADITIONAL GOTHIC by Herbert Read'i way . This tradition strikes over and over again through the German and Scandinavian art. Gothic tradition values ​​are not simply aesthetically, as we can see it well in Van Eyck, Breughel, Bosch and many others the Nordic artists who use his painting gift to convey the idea of symbolic imagery. Also, looking at Vene`s pictures should not be any doubt that these imagine a world which is significantly different from all that has been created in Latin imagination. That 's knights and dragons , virgins and demons , mathematical  dwarfs, and musical fairy`s world: the world of Gothic !                                                                                                                   

 Let`s take it as such , and then let's not try to pull it on French rails .

Jaak Olep  1990 22:06

 

 

 

Seeking God through the art in Pärnu

26.05.2000 "Pärnu postimees"    (newspaper)

The field of mental games

Einar Vene, whose works is in the museum barn is the intellectual tester and bold experimenter.                                                                                                                                             

 Although in his works are lost iconography elements of the Christian faith, he mixes symbols and characters from mythology, fairy tales, quotes predecessors in art. There happen a interesting game with consciousness, the objects are ripped out of normal context, and added in new  relations.                                                                                      

One gets the impression, as the author lets us share his psychoanalysis, which performs on canvas. Through such a semiotic deconstruction and again building up, born the artist's personal narrative of well-known myths. Result is intellectually intriguing creation full of novel shades of meaning and imagery („A thirsty deer“  1998," King of the Jews "1998).

Feliks Krapp

 

 

Searcher Einar Vene goes his own way

Einar Vene exhibition " Researcher Confessions » Dragon Gallery 20.11. - 12.02.06 

As we start by saying that the painter Einar Vene`s image world has been not changed much over the years, it is easy to see too, that he remains committed to search for the truth, the nature and appearing statements of which does not depend from change of rulers, nor the regime. Not to mention all of this more or less  fashionable what art world is in the last few decades discovering in moments for his own purpose, and often forgotten too.

He moves in permanent stability on the track, what he uses alredy long time, which should lead to the source of fundamental existential questions, nor care about, there are a lot of fellow travelers, or whether this road is bordered with plenty of audience with encourage shouts. Experienced on the moments of contemplation he wears on his paintings, which he shares with the viewer in rare exhibitions.                                               

To confirm foregoing lets only remember Vene`s painting the " The river flows into the sea " (1986 y) couple of decades ago, where you can find the same symbols which we find on the current exhibition. Still we can see on the paintings of burning Pirita abbey.                                                                                                                                                 If, on the one hand, it could be interpreted simply as the artist's childhood in a retrospective emotional character, which has become the center of his pictures world, then when viewed against the background of the artist's spiritual quest, its meaning is far richer in contents.

Vene 's own words, it is "a place of romantic escape, a spiritual pillar of ethical standard, unchanging factor, as opposed to all of the world's glitch, secular aspirations, sinfulness, shallowness, everything unclean. However, this is the ideal that a person strives for , and perhaps will never be achieved ".

Approaching  to artist's works in this key - and it seems inevitable to understand his aspirations and images - we can see that each symbol has a definite meaning here . Whether it is the facade of the monastery architecture, it shows on the slice a human face or a cross - all this points out that an understanding of which should not be too difficult, at least in traditional sense.

The flames ( burning monastery) would symbolize the cleansing flames, scales for weighing the souls, etc. . In some respects, though, it seems that in Vene 's paintings are with symbols abundance even exaggerated, so they sort of " congeal  " to convey the religious - mystical meanings, but at the same time reducing their scenic values.

Of course, the modern viewer can interpret all the symbols according to his own will, to see in Vene`s pictures -  just one lyric – naive or maybe surreal - religious world . It hardly particularly disturbing Einar Vene, because " all the artists around him were looking for something new. This artist was looking for an old, out of which searched a long time ago ".

Teet Veispak   11/29/2006

 

 

 

 

 

Eesti Päevaleht  (newspaper)

An exceptional artist Einar Vene visionary exceeds even Arrak and Sarapuu.

Whenever i write some of the artist's exhibition, i leaf through the Estonian artists  biographical lexicon. About Einar Vene we read through Vappu Vabar: "Considered naive lyrically and philosophically antic and biblical themes. He have used 14. - 15. sentury painting motifs, vision mode and painting Technic at that time, paintings idyllic state of mind intertwines with irony. " All  are correct, but as Lembit Sarapuu, also will be in Einar Vene`s case, the question is how much of deep seriousness, how much irony are there. In any case, I do not doubt the sincerity of Vene, when he says that the exhibition is "Meeting with himself through the Son", leaving open the question which of these is the Solar Boy.

Esoteric nuances

The elements of self-portraits can be seen in his early works, now is a series of pure self-portraits, which may indicate the search for identity: on one of the portrait he is Solar Boy, then a firefighter, police officer, and finally Henri VIII. Of course not devoid the religious themes and Christian symbolism, which he interprets freely and kind of self. For example, we know that the role played by the Bible, the snake and the apple. Now, they are attributes associated with  Christ. In „North en light“ a  serpent is under the feet of the Redeemer , also „boy with apple“ is a snake. Much has been fluttering or levitation . " In the picture „Lennuharjutus“ seems that in upper air is one naked flesh and blood person, below jumping down from the bank into the sea suicidal characters. Vene fantasies has flight. Meanwhile remembers Marc Chagall, who also was interested in levitation. It is possible that Vene is engaged with esoteric sciences. In summary, Vene is exceptional phenomenon in Estonian art that exceeds his visionariy even Lembit Sarapuu and Jüri Arrak. KUMU curators would advise to put together an exhibition with the surrealists , with all of our fantastic Realists , and Symbolic and naive village crazys .

Ants Juske  26.02.2009  

 

 

 

 

 

Einar Vene`s dreamlike world   Sirp (art newspaper)

Waving bearded scholar, dancing with a small red-headed girl on a frozen time-bank shores. Probably Nicholas Roerich. Astonished - looking red - haired Madonna, breasts like the bunches, rising flight in erotic dream. Ominous grub clinging to carrot steam, a bowler hat on his head, surround himself with a  house from human faces. The child steps on the dangerously breakable ice with  a clown deformed to gooseberry... Somewhere on the shores of the Ganges occur the haircut in a ritual way while under the sacred tree under the eyes of contemplative sanjasy landing ships all kinds of religions in harmony.

Why not understand a man nailed to the cross? The ancient Teutons recognize him immediately long time ago. He was also Odin,  who let hang himself up to Igdrasil tree to get  see things invisible. But one Sunday in May, was born to  Madonna small son with golden hair. It was snowing in this Sunday. The sun-boy was born.

This a dreamlike has been Einar Vene`s world for over twenty years. The painter has remained faithful to the Quattrocento artists openly and direct view of the world. On the pictures operate separately beautifully painted concrete nature views often with buildings in flames, and on thees landscapes are painted characters who doing some dreamy things.

Einar Vene had never care centuries old perspective doctrine and why. Painting is not, after all, a kind of window to the realistic world, but still the artist's world view philosophical projection on the surface of the canvas. And in Tallinn around for centuries has been able to watch such a large painting story es with magnificent details. For example the center of the Rode altar, or Nicholas and Viktor`s incidents described in detail, which will expire as expected in glory and where the artist fantasy travels is limited with canons of only one religion.

 Also Einar Vene`s world of Symbolic stories was limited through the years with allegory, derived from the New Testament mythology, or bordered with this. But in this exhibition, that what`s going on in his paintings, combines the mythological fragments of many European and Asian cultural layers. In today's world Christian imaginations in human minds are hopelessly confused with mythological welter reached to them through a storage s of different level. Mixed is also the banal and the sublime, temporary and timeless. The message in Vene`s paintings  is in most cases timeless and humanly understandable. The well-known iconography characters of Christian symbolism and oriental cultures integrate seamlessly with the author 's own iconography reserved signs. Also like the old  masters, Einar Vene depicted his events scenery at his hometown and if desire in a recognizable  Estonian landscapes. On his many paintings through many years, the author has depicted  the historic facade of the Pirita convent and the Pirita River, the artist's childhood - related sites, which is in an intricate assotsiations process have appeared in paintings as very important symbols but which change his meanings.

In relation with his paintings are often emphasized the surrealism basis. An illusion of dreamlike reality is on this paintings suitably absurd, suggestive and overwhelming. If delve in symbols, we may find in Einar Vene`s paintings also a funny story es, the real meaning of which is probably known to the painter himself. One of the more bizarre would be considered the myriad of suicide-rs on the Rannamõisa beach bank (if it's all still going on there). Childlike memories ever heard stories from the miserable peoples jumped from bank have increased, but from the same bank begin to fly victorious women s. Is there some kind of dreamlike logic between failures and flyers, this remain to guess observers.  Flying women, Living Well, and near the well hopelessly orbit blinds, who led by the blind man again, is known scenario of old parable and the old and famous paintings. But where we are going here in Estonia right now, and who knows to manage us?

Compared to earlier times, has Einar Vene`s paintings become more spacious and azure. The painted openness ratio has risen and a meaningful elements which perpetually haunted viewers on the painting surface is less than before.

The exhibited artist's self-portraits painted in different years is a significant dominant. Self-portrait is one of the ways to exhibit his self – image, as melodramatic performance, so as  Einar Vene did  repeatedly. This is an opportunity to present himself as idealized king in Renaissance clothes,  as Macho policeman or as a sun-boy. This is an opportunity to place himself in some extraordinary situation, and to emphasize his artistic personality.

Juta Kivimäe   06.03.2009

 

 

 

„Draakon“ Gallery

 

Einar Vene`s style is rare and immediately recognizable in Estonian art, but if to co-play with artist is good to have a little knowledge about Christian symbolic and mythology of nations, not bad to have a quick curs of dream symbols. His pictures are attractive and make an interest with his philosophical allusions and fairy tales like reality and with elegant costumes remembering quattrocento heritage and fantasy full details with many meanings. He moves easily and somnambulicaly telling us his strange story`s. In the same time he is naive like child and seriously hypnotic. The persons whom we know transform in Vene`s paintings unrecognizable and strangers, unknown stands in his unbelievable way recognizable.     

 

 Juta Kivimäe  2012

 

 

 

artist Einar Vene painting exhibition „REVELATION“

Viimsi St. Jacob 's Church   4 September - 31 October 2011

 

On exhibition in Viimsi church is on display choice of Einar Vene`s creations that are inspired by the book of books - the Bible - most important texts. The paintings „Annunciation“, „ Redeemer“, „ Fish" and others describe Christianity through all his entity.

Without the mightier withdrawal from his hidden state anyone can not recognize him. It's a basic truth of the New Testament. God's revelation does not yet open your eyes, but it makes God`s self revelation. According of these truths has Einar Vene in his mind and realization composed works, in center of which are the message, or skopus and decorativeness or cases has important accurate  balance.

Issues raised by the paintings are interwoven with different ages and levels, but fist and foremost the artist 's own personal revelation experiences amount. In large format, expressive, and speaking the viewer works are lighthouses of  temporal and the timeless idea, which are presented to us as viewers the story with question, but the answer will not be known until the revelation itself concerns the viewer.

 Curated by  Erkki Juhandi