Finland Arts and Sculpture Part II

By | December 17, 2021

While in the first decades after the Russian conquest (1809), official architecture flourished, painting and sculpture had to contend with enormous difficulties. The educated classes of the country seemed to have lost all interest in the visual arts. For lack of economic and even more moral support, the portraitist GW Finnberg (1784-1833), a distinguished colourist, was forced to emigrate to Stockholm, where he had received his first artistic education and where he soon died in absolute misery. Ten years earlier his companion and contemporary Alexander Lauréus (1783-1823), one of the most eminent draftsmen of Finland, acute observer, who represented Italian popular life with frank realism, had died in Rome, but who was sometimes pleased to portray a romantic Italian brigandage. For Finland 2015, please check dentistrymyth.com.

It was only with the awakening of national consciousness in 1840-50 that a solid foundation for a national art was established in Finland. The center of this movement, which was able to penetrate the cultural life of the country, was the Finnish artistic association founded in 1846; as a result of his initiative, the first art schools and the first museum, the Ateneum in Helsinki, were built, still the largest in Finland today. In this period RW Ekman, court painter in Sweden (1804-73) returned to his homeland (1845). Prominent representatives of this generation of pioneers are also the almost self-taught brothers Magnus and Wilhelm Ferdinand von Wright (1821-1906). Towards the middle of the century XIX the Academy of Düsseldorf acquired an ever more decisive importance for the young Finnish artists; the leading personality of this new generation was the landscape painter Werner Holmberg (1830-60). Next to him are mainly remembered Hjalmar Munsterhjelm (1840-1905), Berndt Lindholm (1841-1914), Fanny Churberg (v.) And Victor Westerholm (1860-1912), while the genre painting of a narrative character of the Düsseldorf school found a notable representative in KE Jansson (1846-74), a young man to whom A. von Becker (1831-1909) was particularly close. In these decades the French influence had increased, the importance of which became decisive when Albert Edelfelt (1854-1905), who had begun his studies in Antwerp, moved to Paris in 1874. Representatives of this French school include, among many others, the elegant Gunnar Berndtson (1854-95), Aukusti Uotila (1858-86), Helene Schjerfbeck (born 1862). Around 1890, in open contrast to this address, a passionate current of a romantic-national character emerged, which found its most audacious and independent representative in A. Gallen-Kallela (1865-1931), followed by Juho Rissanen (born in 1873), who in the figures of his compositions full of primitive expressive force recalls the peasants of Brueghel. Pekka Halonen (born in 1865) and Eero Järnefelt (born in 1863) are closer to the French tradition. The eminent colourist Magnus Enckell (1870-1925), the original painter-poet, full of imagination, Hugo Simberg (1873-1917), Antti Favén (born in 1882), appreciated for his portraits, belong to a younger generation and his caricatures. Among the leading personalities of the Finnish Impressionist movement,

Finnish modern sculpture counts among its founders the classical sculptor Erik Cainberg (1771-1816), who completed his studies in Stockholm and Rome, and spent only the last years of his life in his homeland, and the Swedish CE Sjöstrand (1828- 1906), who, like the first master of sculpture, had a decisive influence on this art; his first rough, archaic sculptures have a monumental aspect. Walter Runeberg (1838-1920) and Johannes Takanen (1849-85), with classical idealism, a legacy of Thorvaldsen, then dominant in the Academy of Fine Arts in Copenhagen, gradually turned to the modern realistic address, which found a grandiose expression in the virile and rude art of Robert Stigell (1852-1907). This naturalistic current was merged with national romanticism, rekindled around 1890, by Emil Wikström (born in 1864) and by Eemil Halonen (born in 1875). Among the representatives of the older generation, noteworthy are: Ville Vallgren (born in 1855), Felix Nylund (born in 1878), author of numerous portraits and monuments; while Victor Jansson and Gunnar Finne, a few years younger, adhere to a refined eclecticism, marked by a decorative spirit. The wood sculptor Hannes Autere, animator of extinct popular art, is an almost unique figure in the history of modern art. Chief of the young sculptors is Wäinö Aaltonen (born in 1894), whose art, now modernly stylized, now realistic, is always marked by exceptional plastic power. Among the representatives of the older generation, noteworthy are: Ville Vallgren (born in 1855), Felix Nylund (born in 1878), author of numerous portraits and monuments; while Victor Jansson and Gunnar Finne, a few years younger, adhere to a refined eclecticism, marked by a decorative spirit. The wood sculptor Hannes Autere, animator of extinct popular art, is an almost unique figure in the history of modern art. Chief of the young sculptors is Wäinö Aaltonen (born in 1894), whose art, now modernly stylized, now realistic, is always marked by exceptional plastic power. Among the representatives of the older generation, noteworthy are: Ville Vallgren (born in 1855), Felix Nylund (born in 1878), author of numerous portraits and monuments; while Victor Jansson and Gunnar Finne, a few years younger, adhere to a refined eclecticism, marked by a decorative spirit. The wood sculptor Hannes Autere, animator of extinct popular art, is an almost unique figure in the history of modern art. Chief of the young sculptors is Wäinö Aaltonen (born in 1894), whose art, now modernly stylized, now realistic, is always marked by exceptional plastic power. marked by a decorative spirit. The wood sculptor Hannes Autere, animator of extinct popular art, is an almost unique figure in the history of modern art. Chief of the young sculptors is Wäinö Aaltonen (born in 1894), whose art, now modernly stylized, now realistic, is always marked by exceptional plastic power. marked by a decorative spirit. The wood sculptor Hannes Autere, animator of extinct popular art, is an almost unique figure in the history of modern art. Chief of the young sculptors is Wäinö Aaltonen (born in 1894), whose art, now modernly stylized, now realistic, is always marked by exceptional plastic power.

Finland Arts and Sculpture Part II