Kumu is the main building of the Art Museum of Estonia, as well as one of the largest and most monumental exhibition venues in the country. The museum provides a survey of the various time periods of Estonian art: from the Academic Style to Modernism, from Soviet Pop Art to contemporary art. The modern architecture of the building is an attraction in its own right.
The Kadriorg Art Museum is the only museum in Estonia dedicated to early European and Russian art. Interpreting the art of old masters is also the focus of its exhibitions and educational programmes. The museum is located in Kadriorg, in the Baroque palace built for the Russian tsar Peter the Great.
The Mikkel Museum in Kadriorg introduces private collections and the collecting of art in general. The bulk of the exhibition consists of the purchases of Johannes Mikkel; temporary exhibitions offer the visitor access to contemporary and historical private collections.
The Niguliste Museum, in the Old Town of Tallinn, is one of the few northern European museums located in a former church, where ecclesiastical art can be presented in its historical context. The museum houses the largest and most valuable ecclesiastical art collection in Estonia.
The permanent display at the Adamson-Eric Museum in Tallinn’s Old Town provides an overview of the oeuvre of one of the most versatile Estonian artists, Adamson-Eric (1902–1968). In addition, the museum organises two to three temporary exhibitions each year on various topics.
Ando Keskküla’s (1950–2008) retrospective solo exhibition covers the creatively most active period of his career, from the end of the 1960s to the end of the 1990s.
The exhibition focusses on one of the largest private art collections in Estonia and on its owner, Mart Lepp.
The permanent exposition of the Kadriorg Art Museum presents the cream of the foreign art collection of the Art Museum of Estonia, which consists mostly of paintings, sculptures and applied art from Western Europe and Russia from the 16th to the 20th centuries.
The exhibition will tell the story of the Virgin Mary through medieval and early modern art works from houses of worship in Estonia and Livonia, and will also introduce masterpieces of Estonian medieval art from various churches.
The core of the permanent exhibition of the museum is made up of European and Chinese ceramics and porcelain, and Western European paintings from the former collection of Johannes Mikkel.
After his deportation and imprisonment in Siberia from 1949 to 1957, Olev Subbi (1930–2013) returned to Estonia and resumed his art studies. During the 1960s–1980s his art was exceptional under the strict Soviet Estonian regime.
The collection in the Niguliste Museum holds the most remarkable and valuable part of the medieval and early modern ecclesiastical art of Estonia. Most of the works of art in the Niguliste Museum’s collection originate from the church itself and have been displayed in their former locations.
The museum is dedicated to Adamson-Eric (1902–1968), one of the most versatile creative personalities in Estonian art in the 20th century.
This exhibition represents one possible approach to the Estonian art of the second half of the 20th century, when it was characterised mainly by conflicts with and adaptations to the new political order established after World War II.
The exhibition brings together three artists whose work deals with the topics of materiality and storytelling.
The rooms of permanent exhibition are filled with the early classics of Estonian art from the 18th century until the end of the Second World War.
This is the first exhibition of ancient Egyptian art in Estonia. It includes archaeological findings that are thousands of years old and that belong to one of the most prominent ancient Egyptian art collections in the world: the Museo Egizio in Italy.
The exhibition introduces the more than 300-year-old creative legacy of Estonia’s most renowned Baroque-era sculptor and his co-workers.
The magnificent exhibition introduces the abundant 15th‒17th-century Flemish art collection of The Phoebus Foundation, and provides an overview of the versatility of Belgian art culture of that time.
Subscribe to our newsletter!