|Birthplace:||Oe, Vana Antsla, Estonia|
|Death:||Died in Auschwitzi vangilaager|
|Managed by:||Villi-Heinz Liibert|
About Karl Pärsimägi
Traagilise saatusega kunstnik Karl Pärsimägi läks tänu oma mitmekülgsusele, artistlikkule loomusele ja erakordsele värvitajule meie kunsti ajalukku “Eesti Matisse’ina”.
Pärismäe jaoks kestis loomise aeg vaid kümmekond aastat. Ometi kujutab tema looming endast ande, pühendumuse, omakasupüüdmatu loomiskire ja boheemlasliku ebapraktilisuse triumfi.
Eelnev hinnag on pärit Pärsimäe loomingule pühendatud ülevaatest. Vt.
Sellel aadressil on ka näha väljavõtet Karl Pärsimäe maalidest.
Karl Pärsimäe elu ja loomingut on uurinud kunstiteadlane Heie Treier. Tema sulest ilmus 2003 aastal monograafia: "Pärsimägi: Võrumaa-Tartu-Pariis".
Ülal viidatud artkkel ilmus Eesti Ekspressis 13.03 2003 pealkirja all "Juudina hukatud".
Alljärgnev on väljavõte veel ühest Heie Treieri kirjutisest, selle aadress on:
Portreed, millest jutt on on all olemas. Wiiralti tehtud portree on Geni profiilipilt.
"Let us take a look at Pärsimägi's mysterious personality with the help of his portraits - it is impossible to understand his work without examining his life, which floats above his bright-coloured paintings and monotypes like an invisible halo.
Here are the facts, very quickly. Pärsimägi's creative period precisely coincides with the political independence of the Estonian Republic in the 1920s-1930s. Although none of his paintings exhibits a hint of politics, world politics shaped his destiny only too powerfully. The artist obviously had an extraordinarily strong sense of justice. As a teenage schoolboy he participated in the 1919 War of Independence and later, when he settled in Paris, the Mecca of art, he apparently joined the French resistance movement as a courier. (This information comes from Evald Saag, a professor of theology, who served as a reconnaissance officer in the Estonian army in the 1930s.) Pärsimägi was arrested in September 1941 and was executed on 27 July 1942 in Auschwitz, having been taken for a Jew. Pärsimägi's work contains four self-portraits from different periods of his life. Two of them - Self-portrait with a Hat and Self-portrait with Pearls - date from the first half of the 1930s, and seem rather odd in comparison. Is this the same person in both pictures? Looking at photographs and considering the memoirs of his contemporaries, and finally Eduard Wiiralt's two portraits of the artist in 1925, the confusion increases even further. Pärsimägi is remembered as a very modest and shy young man. In photographs too we often see the artist trying to hide from the camera. He communicated easily with only a few people. At the Tartu Pallas Art School, he mostly befriended other students like himself from the Võrumaa area in southern Estonia who spoke the Võro dialect. His perception of himself must have been of someone different who failed to completely blend into the prevailing cultural context. Additionally, as an artist he was destined to remain at the margins of society.