Akseli Gallen-Kallela (1865-1931) was a true homo universalis, a Renaissance man best known as a painter, but also an important figure in graphic art and an illustrator, and who designed his own live/work studios, furniture and soft furnishings. Over the course of his fin de siecle career, Gallen-Kallela progressed from realistic naturalism towards symbolism and linearity, progress particularly marked in his painted illustrations of the Scandinavian epic the Kalevala, and in sensitive portraits of subjects including Edvard Munch, Maxim Gorky and his friend Jean Sibelius. This long-overdue survey of his work appears on the 75th anniversary of his death, and on the occasion of the Holland Groninger Museum's full-scale retrospective, the first to bring such a large selection of Gallen-Kallela's work out of Scandinavia--and to the world.
The late nineteenth and early twentieth centuries marked a defining moment in Nordic art. From the cozy domestic landscapes of Carl Larsson to Edvard Munch's darkly beautiful The Scream, the diverse artwork of the period mirrored shifting literary and intellectual pursuits in their attempts to broaden the cultural conversation to incorporate the identities and traditions of the region. Through more than two hundred paintings, Nordic Art tells the story of this important period. In conversation with both Scandinavian culture and the contemporary art of the time, turn-of-the-century artists developed distinctly Nordic interpretations of realism, impressionism, and symbolism. The book focuses on the transitions between these forms of expression, as well as the impact of Nordic art on mainstream European art. Featuring works by well-known artists, including Carl Larsson, Edvard Munch, Akseli Gallen-Kallela, and Vilhelm Hammershøi, the book also introduces artists from Norway, Sweden, Denmark, Iceland, and Finland whose contributions, though crucial, may be less familiar to international audiences. With Nordic Art, David Jackson offers the first comprehensive look at this critical period of cultural development in the Nordic countries and the extraordinary art that arose during this time.
This extensive publication, complete with hundreds of illustrations by such renowned artists as Carl Larsson, Edvard Munch, Vilhelm Hammershøi, Helene Schjerfbeck, Pekka Halonen, Akseli Gallen-Kallela, Gerhard Munthe, Pietro Krohn, and Frida Hansen, among others, offers an unprecedented study of Japanese influence on the visual arts in the Nordic countries. This unlikely diffusion of Japanese culture, known collectively as Japonisme, became increasingly apparent in England, France, and elsewhere in Europe during the 19th century, although nowhere was the influence seemingly as pervasive as it was throughout the Nordic countries. The book reveals how the widespread interest in Japanese aesthetics helped to establish notions of a fundamental unity between the arts and transformed the region's visual vocabulary. The adoption of Japanese motifs and styles in Finland, Norway, Sweden, and Denmark gave a necessary cohesion to their existing artistic language, creating a vital balance within and among all of the decorative arts. Distributed for Mercatorfonds Exhibition Schedule: Ateneum Art Museum, Finnish National Gallery, Helsinki (02/18/16-05/15/16) National Museum of Art, Architecture and Design, Oslo (06/16/16-10/16/16) Statens Museum for Kunst, Copenhagen (01/19/17-04/23/17)
Akseli Gallen-Kallela is one of Finland's most famous artists. His art is thought to reflect the essence of the Finnish national character, but his sources were modern and international. Marja Lahelma leads the reader on a journey through the intriguing life of Gallen-Kallela, offering a wide array of perspectives on his art.00Akseli Gallen-Kallela. (1865-1931) was a highly original and prolific artist. He is best known for his Kalevala motifs, which depict universal aspects of the Finnish national epic. With sights set on an international career, the young and talented Gallen-Kallela enjoyed a cosmopolitan, bohemian lifestyle in the company of a wide circle of artist friends.00The Ateneum Art Museum forms part of the Finnish National Gallery, which has over 450 works by Gallen-Kallela in its art collections as well as the artist's letters and other material in its archive collections.
Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).
Poetry. Drawing episodes from the Kalevala, a Finnish epic, Peter O'Leary has created a poem of atmospheric intensity, full of elemental forces harnessed by supernatural craft. Line by line, it is composed of images and epithets that flicker into animation, condensed phrases that cascade into sequences of unfolding action. Throughout the quest, THE SAMPO returns us to the hazards of making, the power of singing, and the adventure of poetry.
Signe and Ane Gyllenberg wanted to have beautiful pieces of art surrounding them, pieces that opened one?s view. Their collection is comprised of paintings, sculptures, graphic art, and other artworks that were done between 1920 and 1960. The couple wanted their collection to be available for viewing by the public and, therefore, gave it to the Signe and Ane Gyllenberg Foundation, to be maintained in the Villa Gyllenberg art museum. The art collection, the original furnishings of Signe and Ane?s home, and the beautiful nature of the surroundings form a harmonious ensemble.00The art collection of the Signe and Ane Gyllenberg Foundation includes Finnish art that is well represented by Isak Wacklin?s Portrait of a Man (1756) and Juhani Linnovara?s surrealistic paintings, done in the 1960s. The golden age of Finnish art and modernism is well represented also. The more than 30 paintings of Helen Schjerfbeck form the museum?s biggest collection of an individual artist.00Exhibition: Signe och Ane Gyllenbergs stiftelse, Helsinki, Finland (29.03. ? 29.10. 2017).
