Helsinki.- The Helsinki City Art Museum is pleased to present “Akseli Gallen-Kallela: European Master” on view from September 23rd through January 15th 2012. Akseli Gallen-Kallela (1865-1931) produced works of infinite sensitivity and excitement of expression. The exhibition includes both small-scale works and monumental pieces. The works are mainly taken from the years between 1884 and 1910, which can be regarded as Gallen-Kallela’s creative peak. During that time, Gallen-Kallela was known as an artist whose distinctive Scandinavian style and linguistic form stood out from the crowd of European impressionists and post-impressionists. In Finland, he was considered to be the nation’s leading artist and a pioneer in the field of visual arts. “Akseli Gallen-Kallela” is a joint exhibition organised by the Helsinki City Art Museum, Musée d’Orsay, Paris and the Düsseldorf Kust Museum and is the largest survey of Gallen-Kallela’s work to be exhibited in France or Germany.
Gallen-Kallela was born Axel Waldemar Gallén in Pori, Finland in a Swedish-speaking family. His father Peter Gallén worked as police chief and lawyer. At the age of 11 he was sent to Helsinki to study at a grammar school, because his father opposed his ambition to become a painter. After his father’s death in 1879, Gallen-Kallela attended drawing classes at the Finnish Art Society (1881-4) and studied privately under Adolf von Becker. In 1884 he moved to Paris, to study at the Académie Julian. In Paris he became friends with the Finnish painter Albert Edelfelt, the Norwegian painter Adam Dörnberger, and the Swedish writer August Strindberg. He married Mary Slöör in 1890. The couple had three children, Impi Marjatta, Kirsti and Jorma. On their honeymoon to East Karelia, Gallen-Kallela started collecting material for his depictions of the Kalevala. This period is characterized by romantic paintings of the Kalevala, like the Aino triptych, and by several landscape paintings. In December 1894, Gallen-Kallela moved to Berlin to oversee the joint exhibition of his works with the works of Norwegian painter Edvard Munch. Here he became acquainted with the Symbolists. In March 1895, he received a telegram that his daughter Impi Marjatta had died from diphtheria. This would prove to be a turning point in his work.
While his works had previously been romantic, after his daughter’s death Gallen-Kallela painted more aggressive works like the ‘Defense of the Sampo’, ‘Joukahainen’s Revenge’, and ‘Lemminkäinen’s Mother’. On his return from Germany, Gallen studied print-making and visited London to deepen his knowledge, and in 1898 studied fresco-painting in Italy. For the Paris World Fair in 1900, Gallen-Kallela painted frescoes for the Finnish Pavilion. In these frescoes, his political ideas became most apparent. One of the vipers in the fresco ‘Ilmarinen Plowing the Field of Vipers’ is wearing the Romanov crown, and the process of removing the vipers from the field was a clear reference to his wish for an independent Finland. The Paris Exposition secured Gallen-Kallela’s stature as the leading Finnish artist. In 1901 he was commissioned to paint the fresco, ‘Kullervo Goes to War’, for the concert hall of the Helsinki Student’s Union. Between 1901 and 1903 he painted the frescoes for the Jusélius Mausoleum in Pori, memorializing the 11-year-old daughter of the industrialist F.A. Jusélius. (The frescoes were soon damaged by damp, and were completely destroyed by fire in December 1931. Jusélius assigned the artist’s son Jorma to repaint them from the original sketches. The reconstruction was completed just before Jorma’s death in 1939.).
Gallen-Kallela officially finnicized his name to the more Finnish-sounding Akseli Gallen-Kallela in 1907. In 1909, Gallen-Kallela moved to Nairobi in Kenya with his family, and there he painted over 150 expressionist oil-paintings and bought many east African artefacts. But he returned to Finland after a couple of years, because he realized Finland was his main inspiration. Between 1911 and 1913 he designed and built a studio and house at Tarvaspää, about 10 km north of the centre of Helsinki. In 1918, Gallen-Kallela and his son Jorma took part in the fighting at the front of the Finnish Civil War. When the regent, General Mannerheim, later heard about this, he invited Gallen-Kallela to design the flags, official decorations and uniforms for the newly independent Finland. In 1919 he was appointed aide-de-camp to Mannerheim. From December 1923 to May 1926, Gallen-Kallela lived in the United States, where an exhibition of his work toured several cities and where he visited the Taos art-colony in New Mexico to study indigenous American art. In 1925 he began the illustrations for his “Great Kalevala”. This was still unfinished when he died of pneumonia in Stockholm on 7 March 1931, while returning from a lecture in Copenhagen, Denmark. His studio and house at Tarvaspää was opened as the Gallen-Kallela Museum in 1961; it houses some of his works and research facilities on Gallen-Kallela himself.
The Helsinki City Art Museum is an art institution with a vast area of activity and huge premises. The museum comprising two separate venues – the Tennis Palace Art Museum and the Meilahti Art Museum – which, between them host 10-15 themed temporary exhibitions every year, covering both classic and contemporary art and featuring various inter-genre projects. The museum also manages and finances the Kluuvi Gallery, an art venue focusing on exhibitions of experimental and non-commercial works by Finnish artists, opening its door to projects hard to bring to life elsewhere in Helsinki. The collection of the Helsinki City Art Museum includes all works of art purchased by the city since the 19th century, totalling some 7,500 artworks. The largest part of the collection consists of private donations, including great artwork by the renowned Finnish artists Hugo Simberg, Pekka Halonen and Eero Järnefelt. The Art Museum’s building in Meilahti was originally built in 1976 to house the Bäcksbacka donation, which includes numerous treasures of Finnish art such as Ellen Thesleff’s Thyra Elisabeth (1892) and Tyko Sallinen’s Mirri (1910). The works of art donated by Professor Gösta Becker are another important contribution to the Art Museum’s collections. Smaller donations include the outstanding collections of Elsa Arokallio, Aune and Elias Laaksonen, Aune Lindeberg, Iris Roos-Hasselblatt and Martta and Reino Sysi. Roos-Hasselblatt’s donation of seven works includes one of the best portraits ever made by a Finnish artist, namely Magnus Enckell’s ‘Tyra Hasselblatt’ (1910). More recent donations include the Contemporary Art collection of former Chief Curator Katriina Salmela-Hasan and her husband David Hasan. It comprises works by the biggest Finnish names of the 1980s and 1990s, including Leena Luostarinen, Chris af Enehielm and Outi Heiskanen. Today, the Art Museum is concentrating on building up its collection of Finnish Contemporary Art. Visit the museum’s website at … http://taidemuseo.fi