MARJA LAHELMA
Sigrid af Forselles and The Development of the Human Soul
DOI: https://doi.org/10.30664/ar.98058 Attribution 4.0 International (CC BY 4.0)
he five-part relief seriesThe Development Introduction of the Human Soul (c.1887–1903) by the Even though Sigrid af Forselles (1860– Finnish sculptor Sigrid af Forselles is a T 1935) was among the first women sculptors monumental work consisting of five large plaster reliefs. The artist’s esoteric interests have been in Finland, and the very first one to have noted in previous research, but their impact on had a full professional career in a field her art has not been properly analysed. The first that at the time was generally considered part of the relief series, which has for its subject unsuitable for women, she has not exactly a theme from Scandinavian mythology, belongs to the collections of the Finnish National Gallery, become a household name in Finnish art while the other parts, with seemingly Christian history. She is mainly remembered as a content, are situated in the Kallio Church in Hel- student of Auguste Rodin in whose Paris sinki. The separation of the parts and the appar- studio she worked for a few years in the ent inconsistency in the thematic structure of the series has caused confusion among those 1880s. Before setting off for the French who have attempted to interpret it as a whole, capital, af Forselles had studied at the although occasionally a possible Theosophical Finnish Art Society’s Drawing School in inspiration has been suggested. This article pre- Helsinki, as well as receiving some private sents the first attempt at a more profound, eso- tutoring from the sculptor Robert Stigell teric interpretation of the series, arguing that its main theme is a spiritual evolution that attaches (Konttinen 2004; Lindgren 2006: 46; itself to the idea of progress and liberation Westermarck 1937: 121–2). At the Drawing through art. The narrative evolves from material- School af Forselles befriended many other ity and physical strength towards spirituality and women artists of her generation, including immateriality. Helena Westermarck, who later became an active supporter of her artistic career, and ‘It seems clear that she is a very pro also her first biographer. Westermarck’s found and spiritual person, whose book on three Finnish women artists – thoughts often dwell in the invisible Fanny Churberg, Maria Wiik, and Sigrid af world, the realm of the spirit, because Forselles – which came out in 1937, remains from there she finds nearly all of her subjects.’ (Friberg 1912)1 syvämietteinen ja henkevä ihminen, jonka ajatukset usein liikkuvat näkymättömässä 1 Translated by the author from the original maailmassa, hengen valtakunnassa, sillä Finnish: ‘Kaikesta päättäen on hän hyvin sieltä hän valitsee miltei kaikki aiheensakin.’
Approaching Religion • Vol. 11, No. 1 • March 2021 45 an essential source of information on the befriended the master’s French assistant life of the enigmatic sculptor. Westermarck Madeleine Jouvray who was to become explains that even before her arrival in her close companion for many years (Huet Paris, af Forselles had set her mind on 2016: 15, 30; Lindgren 2015: 143–4; Ayral- becoming a sculptor. She enrolled into the Clause 2002: 28–56). Apparently Rodin Académie Julian where she studied life was happy with af Forselles’s work because drawing for two years (Westermarck 1937: she asked her to continue as his assistant for 121–2). The Académie did not offer any another monumental sculpture that he was teaching in sculpture for women, so in 1882 in the process of creating; The Gates of Hell af Forselles joined a private studio rented by (La Porte de l’Enfer, 1880–1917). However, Camille Claudel on Rue Notre-Dame-des- af Forselles declined. She probably did not Champs where a group of aspiring women think that she could learn anything new sculptors worked under the guidance of from it and, besides, she needed more time the French sculptor Alfred Boucher. Before and energy to focus on her own career. travelling to Italy in 1883, Boucher asked Before af Forselles left Rodin’s studio, she his friend Rodin to take his place in guiding received the master’s approval of sketches the young women. Both Claudel and af for a series of large reliefs (Konttinen 2004; Forselles, together with the Englishwoman Lindgren 2015: 143–4; Westermarck 1937: Jessie Lipscomb, who had joined Claudel’s 125). studio in 1884, assisted Rodin in the In 1887 af Forselles moved to Florence modelling of the human figures forThe together with Jouvray and rented a studio Burghers of Calais (Les Bourgeois de Calais, where she started the process of creating 1884–9). In Rodin’s studio af Forselles what was to become her magnum opus, the
Sigrid af Forselles, The Battle of Men, Motif from Edda, Ragnarök, plaster relief, 195 × 256. Ateneum Art Museum / Finnish National Gallery, Helsinki. Photo: Finnish National Gallery.
Approaching Religion • Vol. 11, No. 1 • March 2021 46 Reliefs by Sigrid af Forselles in the vestibule of Kallio Church. The Sermon on the Mount is on the left and a part of The Babylonian Captivity can be seen on the right. Photo: Marja Lahelma. relief cycle known as The Development of Arrival Home (Hemkomsten / L’Arri vée au the Human Soul. Interestingly, af Forselles Foyer). drew inspiration from the very same work The artist’s ambition is revealed in the that had given spark to Rodin’s Gates of scope of the work – both in the material Hell: Lorenzo Ghiberti’s Gates of Paradise, and spiritual sense. From her letters it a pair of fifteenth-century bronze doors becomes evident that she planned to cast at the Baptistery of St John in Florence the reliefs in bronze, but despite her wishes (Westermarck 1937: 126–7). Sigrid af this never happened (see Kihlman 2018: Forselles worked on her reliefs for more 115–21; Lindgren 2006: 55). The first of the than a decade, first in Florence and then plaster casts was purchased by the Finnish continuing in Paris. What resulted was a National Gallery in 1908, while the other monumental work of art that has caused four were placed in the Kallio Church a fair amount of confusion and hesitancy in Helsinki, designed by the Finnish Art among those who have attempted to inter Nouveau architect Lars Sonck and built pret it. The series consists of five indi between 1908 and 1912. The separation of vidual plaster reliefs, circa 200 × 250 cm the parts of the series and their installation in size, each presenting a significant turn in different rooms in the church makes ing point in the history of humankind and it impossible for today’s audiences to its spiritual development: 1. The Strug appreciate the grandiose narrative structure gle (of Humanity) (Människornas kamp of the whole as it was intended. Yet, despite / La Lutte), 2. The Captivity( Fången having had the luxury of seeing the entire skapen / La Captivité), 3. The Sermon on series exhibited in Helsinki in 1908, the Mount / The Acceptance of Christian the critic Sigurd Frosterus was baffled: ity (Bergspredikan / L’Acceptation du Chris perhaps there was an ‘open sesame’, a kind tianisme), 4. The Homeward Journey (Hem of password for understanding the series? färden / La Retour au Foyer), and 5. The There had to be something that would
Approaching Religion • Vol. 11, No. 1 • March 2021 47 explain the compositional details and styl The purpose of this article is to establish istic execution that seemed peculiar in a more clearly defined esoteric context for Frosterus’s eyes, but he did not know how to the series and to suggest an interpretation look for clues. He did, however, recognise within this framework. It must be pointed the connections to Italian Renaissance out that this is not an easy task, because sculpture, and he also mentioned the Dan information about the artist is scarce. ish painter Joakim Skovgaard who was Furthermore, there is nothing suggesting known for religiously themed paintings that af Forselles was ever a fully committed that were open to esoteric interpretations member of any particular esoteric move (Frosterus 1908). ment or group. She drew from different Early on many critics acknowl religious and cultural sources, committing edged that the intended meaning of The to nothing but her own personal vision and Development of the Human Soul must the quest for truth. In this sense, she quite somehow be connected to the artist’s eso perfectly fits the definition of the seeker as it teric interests, and this notion has regu has been described by Nina Kokkinen (see larly been repeated by later commenta her article in this issue). It is therefore quite tors. Nevertheless, a full account of the understandable that scholars have hesi- whole series from an esoteric perspective tated in making their interpretations. The has so far not been carried out. At least kind of mixing and matching of esoteric, to some extent, this is to do with the fact religious, scientific, literary, and artistic that anything associated with esotericism impulses that is typical for seeker-artists has tended to have an aura of suspicious makes it difficult to identify exact sources ness and, hence, this kind of contextualisa and to draw a clear line between artistic tion always holds the potential for further and esoteric activities. However, this is marginalising the artist. In her 1937 biog also what makes this kind of artistic atti raphy, Westermarck wrote briefly about tude so intriguing and worthy of serious late nineteenth-century artists’ involve examination. In addition to providing ment with occultism and Spiritualism, knowledge of a particular work of art, the remarking that in Paris af Forselles also analysis that is carried out within this art came into contact with such phenomena. icle can also open up new perspectives onto According to Westermarck this had a pro the cultural milieu of the period and the found effect on her friend’s outlook on life many ways that artists responded to it, and (Westermarck 1937: 134–5). In spite of interacted within it. this, Westermarck did not seem to think The research that I have carried out for that esotericism had any significant role in this article consists of a careful reading of af Forselles’s artistic production. However, the literary material on af Forselles that my conviction, and the motivation behind is available (most importantly, Lindgren this article, is that late nineteenth-century 2006, 2015; Kihlman 2018; Konttinen 2004, esotericism is the precise framework that 2008; Westermarck 1937). In addition, I makes af Forselles’s relief series meaning have also consulted the collection of letters ful and gives it broader significance. This from af Forselles to Westermarck that fascinating and highly ambitious sculp is kept in the archives of Åbo Akademi tural cycle therefore deserves to be taken University. While the amount of material seriously as a complex spiritual artwork as such is not insignificant c.( 160 pieces in that was inspired by esoteric thought. total), it mostly consists of postcards and
Approaching Religion • Vol. 11, No. 1 • March 2021 48 short notes, often undated, and containing The art-historical context little or no information regarding the While Sigrid af Forselles has been to a large artist’s esoteric interests. Hence, in this extent excluded from the canon of Finnish article I have chosen to focus mainly on art, the work that has received most two aspects: 1) establishing a more clearly attention from scholars of art history is defined context for the reliefs, and2 ) The Development of the Human Soul. Most examining them against that background. recently, Asta Kihlman has examined it in Even art historians often fail to recognise her doctoral dissertation (2018) from the the full potential of works of art as research perspectives of gender and identity politics. material and tend to focus more on literary She presents a detailed investigation of the or archival sources. Of course, these are all discussions that circulated the work and equally important elements in historical the historical processes that determined its research, but when the amount of available fate, which is quite interesting in regard to material is limited, contextualisation and the mechanics of marginalisation. There is close reading of artworks can provide no doubt that the artist herself considered important insight. This article constitutes a the relief her most important work and step in that direction. had high hopes for having it cast in bronze I will argue, first of all, that the main and displayed in some prestigious setting theme of the series is a spiritual evolution (Kihlman 2018: 115–21). Individual parts that attaches itself to the idea of progress of the series were exhibited at Salon du and liberation through art. This idea should Champ de Mars in Paris between the years be understood in a specific esoteric sense. 1901 and 1903, by which time the whole Secondly, I hope to provide some insight series had been completed in the form of into the mechanisms of inclusion and plaster casts. In 1901, after the first two exclusion that are at work in the narratives parts had been shown in Paris, af Forselles of Finnish art and that have pushed af was invited – the first Finnish woman to Forselles and her work onto the margins. receive such an invitation – to become an As a conclusion of sorts, I will discuss the associée of the Société des Artistes Français relief series as an ‘impossible masterpiece’, (Westermarck 1937: 135). a conceptualisation that I have adapted Since no interested buyers emerged from Hans Belting (2001; see also Lahelma in Paris, all five reliefs were eventually 2014: 237–40). It refers to the idea of a shipped to Finland where they were put on total work of art that sets out to provide display in Helsinki at the Women Artists’ answers to the most fundamental issues II Exhibition in 1908. Previously, there of human existence, but its proportions had been discussions about finding a place become so extensive and its purpose so for the reliefs in the Turku Art Museum elevated that in the end it is bound to fail (established in 1904), but the negotiations, in one way or another. I shall offer a brief in which Westermarck was actively in analysis of the relief series in juxtaposition volved, came to nothing. Westermarck also to another ambitious sculptural work that, tried to offer the whole series to be pur in my opinion, falls into the same category chased by the Finnish National Gallery, – Rodin’s Gates of Hell. but in both cases the reasons why no ac quisition was made in the end were to do with the high price of the series which af Forselles was then still hoping to cast in
Approaching Religion • Vol. 11, No. 1 • March 2021 49 bronze (at the buyer’s expense), as well as named the individual parts, and gave no the fact that the reliefs remained in Paris, name to the whole series when it was and it was therefore not possible for the exhibited for the first and last time in potential buyer to see them (Kihlman 2018: Helsinki in 1908. It is therefore not known 117–18). whether this name comes directly from af After the1908 exhibition, only the first Forselles. In her letters, and often also in part, which has for its subject Scandinavian the press, the work was referred to only as mythology, was purchased by the Finnish ‘the relief series’. According to Westermarck National Gallery, while the remaining (1937: 127–8), the purpose of the series four parts, which have been interpreted as was to represent ‘the development of the having Christian content, finally, as a result human spirit, its progress, and its ultimate of Westermarck’s active campaigning, liberation’.2 Subsequent scholars have found a place in the Kallio Church. The fact for the most part relied on information that the first part has been separated from provided by her. Liisa Lindgren has pub the rest is symptomatic of af Forselles’s mar lished articles on af Forselles that provide ginalisation, and has made the task of inter some very useful further insight. The pretation exceedingly complicated. When only attempt at a full interpretation of the the first part is removed, it is possible to relief series has been carried out by Arja understand the content of the four remain Hartikainen in her master’s thesis (1994). ing pieces in Christian terms, especially Even though Westermarck reflects when they are displayed in a church. Of on her friend’s esoteric interests to some course, this goes very much against the art extent, she does not actually put this infor ist’s intention, and apparently she was not mation to use in her description of the at all pleased with the arrangement. To add relief cycle, which, in spite of being quite a level of confusion, the four parts in the detailed, remains on a rather abstract level. Kallio Church are displayed not only in dif She explains, moreover, that like her teacher ferent rooms, but also in an incorrect order. Rodin, Sigrid af Forselles always remained The Captivity and The Sermon on the Mount a realist (Westermarck 1937: 134–5). This are placed together in the vestibule so that insistence probably originates from Wester they look like one single relief, with the marck’s own artistic ideals and those of the New Testament subject (number 3) on the time of publication (see Konttinen 2008: left hand side, and the Old Testament one 376). Even though the modelling of the (number 2) on the right. The Homeward human body in the relief series is close to Journey and The Arrival Home are found in nature, it would be impossible to grasp its the organ galleries with no public access. deeper meaning within a realist framework. Hence, even the four parts of the series Moreover, interpretations of Rodin’s oeuvre placed in the church cannot be viewed as a have evolved since Westermarck’s days, and whole. The first part, which is owned by the the deep spirituality of his art has been Finnish National Gallery has rarely been on acknowledged more fully. A large part of display. Due to poor storage conditions it is dirty and badly cracked. The name of the series was established 2 Swedish original: ‘Tanken, ur vilken de sprungit fram och som sammanhåller dem, early on as The Development of the Human har varit att i mångskiftande bilder fram Soul (Ihmissielun kehitys / Människoandens ställa historien om människoandens utveck utveckling) even though the artist only ling, framåtskridande och slutliga befrielse.’
Approaching Religion • Vol. 11, No. 1 • March 2021 50 The Homeward Journey, relief by Sigrid af Forselles in the organ gallery of Kallio Church. Photo: Marja Lahelma. his oeuvre can equally well fall into the late nineteenth-century esotericism as a Symbolist category and, as his friend Rainer vague mysticism based mainly on Neo Maria Rilke explained, his ‘imitation’ of platonism and Swedenborgianism in their nature was the kind that followed nature’s French interpretations (more or less a creative force rather than its appearance simplified version of the model provided (Rilke 1903). by Sarajas-Korte). Hartikainen also men The art historian Salme Sarajas-Korte tions Theosophy as a possible source of (1966: 76–7) was probably the first to inspiration for af Forselles, even though place The Development of the Human Soul according to her, this Theosophical inter firmly within the Symbolist realm, but her est is not revealed in her subject matter extensive study on Finnish Symbolism which remains ‘thoroughly Christian’. As only mentions the relief series in passing. Hartikainen understands it, Theosophical Lindgren follows Sarajas-Korte’s lead, con subjects would only be those related to necting the series to Symbolism, and to the Eastern mysticism (Hartikainen 1996: 19). artist’s esoteric interests, suggesting that Moreover, she finds it difficult to under she was a Theosophist (Lindgren2006 : stand why the first part of the relief series 50–1; 2015: 145). Lindgren comments is clearly ‘pagan’ while the other parts are briefly on the possible meaning of the ‘Biblical’. Hartikainen connects the first work, but does not offer a full interpreta part vaguely with a Theosophical idea tion. Arja Hartikainen (1994), on the other of the common universal truth behind hand, does attempt to interpret the series all religions and myths. The choice of a as a whole. What is problematic in her Scandinavian mythological subject is then approach, however, is that she understands explained by the artist’s Nordic background
Approaching Religion • Vol. 11, No. 1 • March 2021 51 (she was Swedish-speaking and belonged subject with her. For instance, in the spring to the Finnish-Swedish cultural sphere) of 1897, after attending a course on magnet (Hartikainen 1996: 42–3). ism, af Forselles wrote to Westermarck that Despite being somewhat simplistic and she had greatly advanced in her occult stud based on a limited understanding of late ies (Lindgren 2006: 51). From the manner nineteenth-century esotericism, Hartikai in which she explains it, it can clearly be nen’s approach can nevertheless provide understood that for af Forselles her esoteric some useful starting points for a more interests were completely intertwined with profound interpretation. First of all, she is her artistic practice – and she knew that probably correct in her view that Theosophy this irritated many people, ‘like a nail in might provide a thematic context that ties the eye’ – but she insisted on following her together all parts of the series. Second, she own path, even if this meant that she was quite accurately identifies that the fact that ‘ahead of her time’ (letter to Westermarck the third part depicts the Sermon on the 2.3.1897, ÅA).3 Another fascinating docu Mount gives a key to the meaning of the ment is a letter written a few years earlier, in work as a whole (Hartikainen 1996: 33). which af Forselles tells her friend about the Yet, as I have argued above, it is necessary beautiful things she has seen in the ‘Spirit to find a more precise esoteric framework World’ and her encounters with her spirit in order to fully grasp the meaning and guide, ‘Brunellesco’, referring to the Italian purpose of the series. Renaissance sculptor and architect Filippo Brunelleschi: The esoteric context In af Forselles’s Parisian surroundings of Brunellesco has showed me an extra the 1880s and 1890s, esoteric ideologies ordinarily beautiful church in a style were multifarious and extremely wide that is not yet known on this wretched spread. The French occultist Jules Bois planet. I am truly worried that in order (1894), paints a vibrant picture of the ‘little to bring a new kind of architecture to religions’ of Paris at the end of the nine this earth, he will incarnate himself teenth century, describing various cults when I finally arrive at home in the and movements, from the ‘last pagans’ to Spirit World. I will surely become so Swedenborgians, Buddhists, Theosophists, jealous that I will come down with him satanists, gnostics, and so on. It is therefore and work with him. No, would it not difficult to point out any exact sources for af always be better to incarnate oneself Forselles’s esoteric thought. Judging by the to a higher planet already now after all scant material she left behind, she was not these incarnations on the earth. Dear a keen writer of letters, and, at least in what W. do not forget the things I have told has been preserved, she very rarely men tions anything about her esoteric interests. According to Westermarck (1937: 135), af Forselles only discussed these issues 3 Swedish original: ‘Mina osculta studier with those people whom she knew would i hvilka jag gått på senare tider mycket understand. Yet even though Westermarck framåt i, samt min konst hafva alltid varit som en nagel i öga för folk och jag utsätter herself was quite sceptical about all kinds of mig icke mera för obehag. Modet är för mig spiritual matters, at least on a few occasions för vaskligt också dagens smak, jag följer af Forselles is known to have taken up the saken själf om det äfven vore före tiden.’
Approaching Religion • Vol. 11, No. 1 • March 2021 52 you about the invisible world. (Letter Claude Henri de Rouvroy, Comte de Saint- to Westermarck, undated [received Simon, who wanted to re-establish the lost 10.7.1893], ÅA)4 unity of society in union with spiritual life. Although Saint-Simonism has typi The reference made by af Forselles to cally been connected mainly to social and cycles of incarnations and the possibility political thought, it also had an important of continuing life in spirit form on another spiritual dimension. The movement drew planet is extremely intriguing. The question ideas from Freemasonry and employed the as to whether there was life on other planets language of Catholic Christianity to pro was widely discussed in late nineteenth- mote a new kind of religious thought, a century popular science as well as in eso kind of Christian Theosophy, based on the teric circles. The Swedish philosopher and notion of spiritual progress that would also mystic Emanuel Swedenborg had already, advance social change (Faivre 2006: 264; in the eighteenth century, written about Pilbeam 2013: 25–7). Saint-Simonism also life on other planets, and his thoughts gave support to the liberation of women were hugely popular in Parisian esoteric (Pilbeam 2013: 40), which might have been and literary circles (see Wilkinson 1996). something to attract af Forselles towards However, a more direct and contemporary its teachings. Saint-Simonism as such was source could be the spiritually inclined a movement belonging to the first half French astronomer Camille Flammarion, of the nineteenth century, but its impact whose writings enjoyed a great commercial continued throughout the century. At the success. In works that represented early end of the nineteenth century, currents of science fiction, he propagated modern thought that combined esoteric ideas with myths about extraterrestrial life, suggesting Catholicism were widespread, and some that the human soul evolves through movements associated the liberation of cosmic reincarnation. women with the notion of spiritual pro Flammarion was influenced by the spir gress. Westermarck was an active femi itual theories of the Saint-Simonian phi nist, and it is entirely possible that the two losopher Jean Reynaud (Herrick 2008: friends shared this ideology, if not its spir 57). The Saint-Simonian movement was itual aspect. named after the socialist philosopher, Perhaps something about af Forselles’s interests and activities could also be uncovered through the people she is known to have socialised with. Her fascin 4 Swedish original: ‘Sedan ser jag mycket ating personality and unusual artistic vackra saker i Andeverlden och Brunel talent did not go unrecognised by the lescho har visat mig en utomordentligt vacker kyrka, en styl som visst ännu icke young Finnish artist Magnus Enckell, who är känd på denna tarfliga planet. Jag är helt became infatuated with both af Forselles rädda att han för att hämta en ny arkitektur and her companion Jouvray. He described till vår jord inkarderar sig, då jag en gång af Forselles’s art as simple and beautiful like kommer hem till Andeverlden. Jag blir visst så svartsjuk att jag kommer med och music; it was art of the future, and it would arbetar med. Nej vore det alltid bättre att probably take generations before people inkarnera sig på en högre planet nu redan would fully comprehend its greatness. He efter alla dessa inkarnationer på jorden. also explained to his friend, the philosopher K. W. [Kära Westermarck] glöm icke allt hvad jag sagt dig om det osynliga.’ Yrjö Hirn, that it represented a kind of
Approaching Religion • Vol. 11, No. 1 • March 2021 53 ‘feminine aesthetic’; it was not ‘women’s life, scenes of country life and landscapes, art’ in any sense that might in the context except in the style of Poussin. Subjects that of the time be understood as negative, but were welcomed included Catholic dogma, ‘feminine’ in a very positive sense, represent Eastern religions (except for those of the ing something new and different (Sarajas- ‘yellow races’), allegory, the sublimated Korte 1966: 76–7, 189). Enckell was one of nude, and the expressive head in the style of the few Finnish artists who openly talked Leonardo and Michelangelo (for the rules about their fascination with the ideas of Péladan’s salon, see Pincus-Witten 1968: promoted by the influential figure Joséphin 211–16). The Development of the Human Péladan, the organiser of Rosicrucian art Soul certainly would have fit Péladan’s cri salons, who combined esoteric ideas with teria had it not been executed by a woman. Symbolism and an admiration for Italian Péladan did not accept any works by Renaissance art (Sarajas-Korte 1966: 84). women into his salons. Many women did, Péladan had founded in 1888 an esoteric however, visit the salons. The Finnish artist brotherhood called ‘Ordre Cabbalistique de Beda Stjernschantz, who was acquainted la Rose+Croix’ together with the occultist with Forselles and Jouvray through their Stanislas de Guaïta, but he soon fell into mutual friend, Enckell, was impressed if conflict with the anti-Catholic views of also a little bewildered by a visit to the first Guaïta and the rest of the group, and Salon de la Rose+Croix in 1892, on the day went on to form a separate group in 1892 of its vernissage, writing home that she had which he called ‘Ordre de la Rose+Croix seen some wonderful things but also a few Catholique du Temple et du Graal’. The works that were incomprehensible or just same year he organised the first art salon plain crazy. She also paid attention to the (Salon de la Rose+Croix) at Durand- eccentric appearance of Péladan’s followers, Ruel’s gallery. These salons were organised who had long hair and wore purple cloaks annually until 1897, and particularly at the with ruffles (Sarajas-Korte 1966: 88). beginning they received a lot of attention – positive as well as negative (see Churton The development of the human soul 2016: 377–95; Pincus-Witten 1968). While the esoteric currents described above Péladan’s ideals appear in certain ways say something about the Parisian intel to be quite similar to those of af Forselles, lectual context in which af Forselles cre and this connection perhaps could provide ated her reliefs, they do not yet offer exact some background for her archaistic ten tools for deciphering the meaning of the dencies and admiration for Italian Renais series. It is clear that af Forselles drew from sance art. Péladan was opposed to realism Christianity but blended it with esoteric and naturalism, but for him content was impulses, which was by no means an unu more important than style and, in fact, sual combination in the late nineteenth - many of the artists who exhibited in his century cultural context. The widespread salons were in stylistic terms quite close to revival of Renaissance art, exemplified naturalism. What Péladan did not approve above by Péladan’s circles, but also reflected of in naturalist art was not the style but the elsewhere in the culture of the period, rode trivial subject matter. For him the subject on the back of a revival of Renaissance in itself was a symbol, and therefore certain thought, including, for instance, the her subjects were entirely banned from his metic philosophy of Marcilio Ficino. For salon; for example, scenes of contemporary Ficino, who always remained convinced
Approaching Religion • Vol. 11, No. 1 • March 2021 54 of his Christian faith, Jesus Christ was the Human Race. Hartikainen (1994: 2) deems exemplar of human spiritual fulfilment. this title unsuitable because in her view Ficino gave a central role to the human the series as a whole clearly represents an soul in his hierarchically presented cosmo allegory of spiritual development rather logical vision, believing that through medi than a description of the historical phases tation the soul could detach itself from the of humanity. However, within an eso restraints of materiality and enter the spir teric context these two are parallel – the itual realm. He presented this as a journey spiritual development of an individual towards a higher degree of being that cul soul corresponds to the liberation of the minates in the direct knowledge and vision whole of humanity. Hence, the series as a of God (Goodrick-Clarke 2008: 38–40). totality can be seen to represent a gradual Ficino’s description corresponds quite unfolding of the spirit in the soul of the closely to the idea of a progressive journey individual as well as through the human of the human soul that is presented in af race. In The Great Initiates the current Forselles’s relief cycle. However, for a closer civilisation, which is the one that will bring reading of the individual parts of the series, all humanity to liberation, is described I have employed one particular esoteric text as the white or Aryan race that has its as my guide: The Great Initiatesby Edouard origins in the forests of northern Europe. Schuré (1888). Schuré’s Theosophically Schuré was a great admirer of Wagner, and inspired book provides a visually stimu through his works he had also become lating description of the gradual spirit interested in Scandinavian mythologies. ual enlightenment of humanity through a He was an editor of the Parisian journal chain of individuals initiated into the secret Révue Wagnerienne, and had established doctrine. Schuré’s book was extremely pop himself as a leading Wagner expert in ular among artists in particular. Hence, in France with the two-part publication Le what follows, I have drawn mainly from drame musical : Richard Wagner, son oeuvre Schuré, but it should be kept in mind that et son idée (1875). Through the widespread af Forselles may very well have found simi enthusiasm for Wagner, Scandinavian lar ideas elsewhere. mythologies were popularised among the Above, I have already suggested that the French intelligentsia (see Fauser 2008). relief depicting a scene from the Sermon The founder of the Theosophical on the Mount should be perceived as the Society, Helena Petrovna Blavatsky, also key to the meaning of the whole series. often referred to Scandinavian mythology Its central figure, Jesus, is presented by – and she was by no means the only one in Schuré as the last of the ‘great initiates’ and the late nineteenth-century context to pro as the one through whom the secret doc vide metaphysical interpretations of myths. trine is made available for all humanity. Theosophy in general opened innovative Schuré’s study is also a history of the ‘white ways for Westerners to internalise all kinds race’ that has come to the leadership of of non-Christian belief systems (often asso civilisation after a succession of other races ciated with Buddhism and other Eastern that preceded it and were also mixed with religions, but this was not always the case). it. This is obviously a problematic concept In addition, Theosophy also provided new in today’s context. Yet it may provide some interpretations of Christian content. In a background for the relief series that is also more elaborate Theosophical framework, known under the name The History of the it is possible to perceive the Scandinavian
Approaching Religion • Vol. 11, No. 1 • March 2021 55 The relief Babylonian Captivity by Sigrid af Forselles in the vestibule of Kallio Church. Photo: Marja Lahelma. theme in af Forselles’s relief as a reference figures, which some critics have perceived to the northern origin of human civilisa as crudeness resulting from a lack of skill, tion. According to Schuré (and Blavatsky) may then be understood to reflect this the origins of the current race of human archaic content. ity (the white race/the fifth root race/the The second relief in the series presents Aryans) was in the cold forests of northern a big turning point: the Babylonian Cap- Europe, and it was the task of this race to tivity. This is a highly significant episode elevate mankind from the prison of mate in Jewish history and culture, and one that rialism and lead it back to the more spir has been considered to have far-reach itual planes. This metaphysical interpret ing impact on the development of Juda ation also gave a specific meaning for ism. Schuré gives the people of Israel a Thor’s magic hammer, seen at the centre particularly important role in the history of the relief’s composition, as a symbol of of humanity because he saw them as the the battle against Titanic forces standing in people who established monotheism and the way between mankind and its spiritual gave birth to Christianity. The people of home (Halink 2019). These forces had to be Israel, therefore, form an indispensable overcome before spiritual development was link between the old and the new cycle, possible. Hence, the first part of the series between the East and the West. The mono can be interpreted as a representation of theistic idea, when understood correctly the pagan prehistory of (the white race of) within its esoteric framework, holds the humanity, when people still believed in the potential to unify all of humanity under existence of many gods instead of just one. the same God and under a single law. The human soul is shown in a state of chaos According to Schuré, this pure and funda where physical strength is in command. mental doctrine is at the heart of both The rather simplified stylistic execution, the Old and New Testaments, but it had particularly in the modelling of the human become lost in the numerous editions and
Approaching Religion • Vol. 11, No. 1 • March 2021 56 translations (Schuré 1888/1992: 152–3). master whose teachings contain secret The Babylonian Captivity is the event that knowledge passed on through generations begins the dissemination of the messianic (see Kokkinen 2019: 222–35). The relief idea. After that the initiates (or prophets) shows Jesus amidst his followers with one started to preach the arrival of the Messiah. hand raised up towards the heavens above The third part,The Sermon on the and the other one pointing down towards Mount which is also called The Acceptance the earth: as above, so below. The spiritual of Christianity presents the culmination of realm unfolds itself in the souls of those the journey: the arrival of Jesus. According who are listening: ‘The Kingdom of Heaven to Schuré, the public life of Jesus was pre is within you!’ This is the message of love ceded by a long process of development and forgiveness that he hands down to all and initiation, which he received from the humanity, but to his disciples he also gives a Order of the Essenes (Schuré 1888/1992: secret teaching that he has gained from the 394–7). It is believed in many esoteric tra esoteric tradition. He delivers it in words ditions that the distinct group of Jews called that are veiled in double or triple meanings, the Essenes had preserved the true mean and hence their true significance can only ing of the books of Moses, while elsewhere be grasped by those who have penetrated this secret knowledge had been lost since deeply into the esoteric traditions of India, the Babylonian Captivity (see Churton Egypt and Greece. At the core of this is the 2005: 51–6; Hammer and Snoek 2006). basic esoteric doctrine according to which Schuré explains that the Essenes taught human beings are threefold: consisting of Jesus the original, esoteric interpretation body, soul, and spirit. The spirit is immortal of the Book of Genesis, hidden under the and indivisible, the body is perishable and seal of its symbolism, as well as the basic divisible, and the soul forms a link between ideas of Orphic and Pythagorean doctrine, the two (Schuré 1888/1992: 393–411). including that of the immortality of the The esoteric meaning of the Resurrec soul. In a state of ecstasy, Jesus received a tion is linked with this basic doctrine: ‘It message from a heavenly voice that told means the purification and regeneration him that it was his destiny to give back to of the sidereal, ethereal and fluidic body, the people the secret of life and immortality which is the very organ of the soul and, that they had once possessed but had then to some extent, the vessel of the spirit.’ lost (Schuré 1888/1992: 394–7, 402–6). Through the inner development of the In the Sermon on the Mount Jesus soul, the process of purification may begin delivered the most important content of his already in this life, but for most people it public teaching through which he began is fulfilled only after death, and then only his mission of establishing the Kingdom of for those who in their life have aspired to Heaven on earth. It was widely held among righteousness and truth (Schuré 1888/ Theosophists and other esoteric thinkers of 1992: 452). When this universal mes the day that this public sermon also con sage is given to the people, it is possible tained the esoteric core of his doctrine, but for those who accept it to start their jour that this true meaning of Jesus’s teaching ney towards the heavenly Kingdom; that is, had become distorted in the official for their original home in the spiritual realm. mulations of established Christianity. Ac Here it may be recalled that in the letter to cording to this Theosophically oriented Westermarck cited above, af Forselles talks interpretation, Jesus appears as an initiated about ‘arriving at home in the Spirit World’.
Approaching Religion • Vol. 11, No. 1 • March 2021 57 The Arrival Home, relief by Sigrid af Forselles in the organ gallery of Kallio Church. Photo: Marja Lahelma.
The procession of the purified souls to- such as Luca Signorelli’s fresco cycle in the wards heaven is depicted in the fourth relief, Chapel of San Brizio in Orvieto Cathedral, The Homeward Journey. Solid earth disap which contains the subjects of dead rising pears from underneath the feet of the men, from their graves as well as a procession of women, and children who are guided by blessed souls (see Ojanperä 2020: 102). winged angels towards a higher plane. The In the final part of the series,The Arrival compositional and iconographical elements Home, the humans existing on the earthly bring to mind art-historical depictions of plane have become aware of their heavenly the Last Judgement and the resurrection origin – they have found the Kingdom of of the dead. A particularly close reference Heaven within their souls. These blessed, can be found in a monumental work car purified souls are shown to be on earth and ried out by af Forselles’s friend Magnus in the heavens at the same time. At the centre Enckell: the altarpiece fresco Resurrection of the composition stands the androgynous (1907) in Tampere Cathedral, inciden figure of Jesus, welcoming back home all tally, also an Art Nouveau church building those who have taken the final leap and designed by Lars Sonck. The right-hand made it through the difficult journey. A side of the fresco shows a blissful proces group of plump little children have gath sion of the souls towards eternal life, while ered at his feet, three women with blissful on the left-hand side the dead are crawling expressions are positioned right in front out of their graves. Like af Forselles’s relief, of him, one of them almost touching him, the painting suggests a Biblical theme but and on the left bottom corner a muscular at the same time resists a straightforwardly and robust nude man has raised his hand Christian interpretation. It is very likely and is pointing it towards Jesus. The people that Enckell and af Forselles drew from the are grouped around the central figure in an same sources of Italian Renaissance art, almost symmetrical, mandorla-like shape
Approaching Religion • Vol. 11, No. 1 • March 2021 58 that also resembles a spiral turning towards boxes of a Symbolist masterpiece. When the centre where Jesus stands. The compo Westermarck published her study in 1937, sition of this last part is beautifully harmo Symbolist art was not greatly valued by art nious; it is the highlight of the series in an historians; it was perceived as nostalgic, aesthetic sense as well as thematically. overly literary, vaguely mystical, slightly decadent, and all in all a passing phase Conclusion: an impossible masterpiece? in the history of art. However, recent ap As a whole, the relief series The Development proaches towards the development of of the Human Soul has a musical quality modern art have placed more emphasis which one would be able to appreciate on the significance of Symbolism, which better if it were possible to view all five parts is no longer perceived in terms of a style, together as they were intended. I believe but rather as a deeply philosophical ap that its narrative structure would play out proach to art and life that attaches itself like a symphony, starting from chaos and to an entire world view – one that perhaps developing towards the harmonious grande more often than not contains elements of finale. In its meaning, the series develops esotericism (e.g. Facos and Mednick 2015; from materiality and physical strength Lahelma 2014). From esoteric traditions towards spirituality and immateriality. the Symbolist artists could discover a the The series presents a gradually unfolding oretical basis for their understanding spiritual evolution that corresponds with that art had a special role in the spiritual the development of an individual soul. In evolution of humanity. The relief series the late nineteenth-century esoteric con materialises the artist’s personal process text, this notion of spiritual evolution was of seeking as a kind of initiation through connected to the modern scientific notion which the secrets of life are revealed. This of evolution (Hanegraaff1996 : 462–82). spiritual revelation corresponds to artistic Hence, despite its archaic stylisation, refer experimentation and exploration in a ring to Italian Renaissance sculpture, the manner that was not uncommon in the art relief series is also a very modern work of of the period (see Kokkinen, in this issue). art that takes part in contemporary ideo The journey through the history of the logical debates connecting esotericism and humankind is also a journey into the self. modern science. The viewer is invited to come along and In the previous section, I carried out a discover the fundamental truths within her rather intricate, part-by-part analysis of the own soul. relief series, reflecting on possible inter In addition to being a Symbolist master pretations in an esoteric context. However, piece, The Development of the Human Soul unlike Frosterus, I do not believe that there is also, as I suggested at the beginning of is an ‘open sesame’ to its meaning. As a this article, an ‘impossible masterpiece’. It Symbolist work of art, the series should not reflects the kind of devotion to art in which be understood as a puzzle or a riddle that art becomes completely inseparable from needs to be solved. Rather, it should be seen life in a creative process that continues for as a platform for personal contemplation – several years. Sigrid af Forselles had no for the artist as well as for the viewer. As a commissioner for her monumental series; total work of art that is deeply concerned a fact which reflects her willingness to with the most fundamental questions of sacrifice everything for the sake of art. In humanity, the relief series ticks all the her desire to create a monumental work
Approaching Religion • Vol. 11, No. 1 • March 2021 59 she was probably inspired by her teacher for its exclusion from the canon. Liisa Rodin, whose Gates of Hell was a simi Lindgren (2006) has discussed the ques larly impossible project – although for tion of the relief’s marginalisation from the Rodin, who already had a well-established perspective of gender, which certainly is a reputation as an artist, such an ambitious significant factor. One may argue that as a attempt was not risky in the same sense as monumental work made by a woman artist it was for af Forselles. Both works, how who at the time was relatively unknown, ever, are fundamentally about the prom it was destined to receive little attention. ise of liberation for humanity, and they Without active campaigning by her friends reflect an understanding of the work of the reliefs may have been completely for art as a revelation of an idea that far sur gotten and eventually destroyed. Also, passes the contours of the material object. the formalist approach to modern art has Their purpose is not only to present the meant that a sculptural work that reflects idea of revelation through personal con a Renaissance ideal has appeared nostalgic templation, but to invite audiences to rather than modern, and without the eso reflect on their personal feelings, thoughts teric contextualisation, the relief has been and emotions, and thus to encourage the perceived as conventional in terms of both spiritual development of humanity. Rodin’s style and content, and therefore insignifi sculpture was also long in the making, and cant or uninteresting. Finally, the way that it was not cast in bronze until after the it is currently displayed and the fact that artist’s death. The art historian Hans Belting the first relief has been separated from the has explained that, in a way, the secret of four parts installed in Kallio Church makes Rodin’s work’s success lies precisely in it very difficult to interpret the series as its rejection of masterpiece status. In its a whole. Neither its full meaning nor its incompleteness, The Gates of Hell has visual effect can be experienced as they come to be viewed as one of the greatest were intended. Moreover, the separation of achievements of modern art (Belting 2001: the first part has made it possible to place 216–24; Lahelma 2014: 237–40). There is, the remaining parts rather unproblemati of course no way of knowing what would cally within a Christian context and hence have happened to af Forselles and her relief the significance of the whole as an esoteri series had she found a buyer willing to cast cally inspired work of art has been lost. it in bronze and place it in some prestigious It may be claimed, of course, that an setting. However, as it is, we cannot think esoteric interpretation would only have of its fate as anything but unfortunate. The served to further marginalise this unusual current state of fragmentariness of The work of art. Yet, I would argue that in the Development of the Human Soul is not the Finnish art-historical context, it is not kind that would give it an aura of mystery, so much its esotericism that pushes The but rather the kind that pushes the work Development of the Human Soul into the into oblivion. margins, but rather its lack of any kind of It seems, then, that the incredible level nationalist sentiment. Lindgren (2006: 56) of ambition that produced the relief series assumes that af Forselles’s religious mysti was also ultimately the cause of its failure. cism felt alien in comparison to the real It became too large, in both its physical and istic and dynamic style of the leading spiritual proportions. In addition, there are, sculptors of the day, Robert Stigell and of course multiple, more mundane, reasons Emil Wikström. She adds, moreover that
Approaching Religion • Vol. 11, No. 1 • March 2021 60 the time period was full of political and Facos, Michelle, and Thor Mednick (eds.).2015 . nationalistic tensions. All this explains very The Symbolist Roots of Modern Art (Farn well why Westermarck would insist on the ham: Ashgate). Faivre, Antoine. 2006. ‘Christian Theosophy’, realist quality of af Forselles’s art. Yet, as I in History of Gnosis & Western Esotericism, have argued elsewhere, Wikström was also ed. Wouter J. Hanegraaff (Leiden: Brill), deeply involved in the spiritual seeking of 258–67. the day, and his Lönnrot Memorial, which Fauser, Annegret. 2008. ‘ “Wagnerism”: responses celebrates the 100th anniversary of the to Wagner in the music and the arts’, in birth of Elias Lönnrot, the composer of The Cambridge Companion to Wagner, ed. Thomas S. Grey (Cambridge University the Finnish ‘national epic’, The Kalevala, Press), 219–34. is full of esoteric symbolism (Lahelma Frosterus, Sigurd. 1908. ‘Kvinnliga konstnärers 2020). However, because it has been so andra utställning i Ateneum II. Fröken Sig easy to interpret this monumental work as rid af Forselles relief-cykel’, Nya Pressen, a reflection of nationalistic sentiment, its 27.3.1908. Friberg, Maikki [M. F.]. 1912. ‘Suomalainen esoteric side has remained in the shadows. naiskuvanveistäjä’, Naisten ääni, 2.11.1912. Sigrid af Forselles’s art, on the other hand, Goodrick-Clarke, Nicholas. 2008. The Western attaches itself to a broad international con Esoteric Traditions: A Historical Introduc text of esotericism and Symbolism – which tion (Oxford University Press). is precisely what makes it so fascinating Halink, Simon. 2019. ‘The Quest of Gangleri: from today’s perspective. Theosophy and Old Norse mythology in Iceland’, in Northern Myths, Modern Iden tities: The Nationalisation of Northern Dr Marja Lahelma is Mythologies since 1800, ed. Simon Halink an art historian spe- (Leiden: Brill), 192–213. cialising in Nordic art Hammer, Olav, and Jan A. M. Snoek. 2006. around the year 1900. ‘Essenes, esoteric legends about’, in History She received her PhD in of Gnosis & Western Esotericism, ed. Wouter 2014 and holds a title of J. Hanegraaff (Leiden: Brill),340 –3. docent in art history at Hanegraaff, Wouter J.1996 . New Age Religion the University of Hel- and Western Culture: Esotericism in the sinki. Lahelma has pub- Mirror of Secular Thought(Leiden: Brill). lished works on Sym- Hartikainen, Arja. 1994. ‘Sigrid af Forselles ja bolist art, questions of the self and subjectivity, reliefisarja “Ihmissielun kehitys” ’, master’s and on the relationship between art, science, and thesis, Dept. of Art History, University of esotericism. Jyväskylä. Herrick, James A. 2008. Scientific Mythologies: How Science and Science Fiction Forge New Bibliography Religious Beliefs (Downers Grove, IL: Inter Ayral-Clause, Odile. 2002. Camille Claudel: A Varsity Press). Life (New York: Harry N. Abrams). Huet, Anne-Laure. 2016. Madeleine Jouvray Belting, Hans. 2001. The Invisible Masterpiece (1862–1935) : une sculptrice au tournant du (London: Reaktion Books). siècle,
Approaching Religion • Vol. 11, No. 1 • March 2021 61 Kokkinen, Nina. 2019. Totuudenetsijät. Vuosi Wilkinson, Lynn R. 1996. The Dream of an sadanvaihteen okkultuuri ja moderni henki Absolute Language: Emanuel Swedenborg & syys Akseli Gallen-Kallelan, Pekka Halosen French Literary Culture (Albany: State Uni ja Hugo Simbergin taiteessa, PhD disserta versity of New York Press). tion, Annales Universitatis Turkuensis, C Westermarck, Helena. 1937. Tre Konstnärin 469 (University of Turku). nor: Fanny Churberg, Maria Wiik och Sigrid Konttinen, Riitta. 2004. ‘Forselles, Sigrid af’, af Forselles (Helsingfors: Söderström & C:o Kansallisbiografia-verkkojulkaisu, Studia Förlagsktiebolag). Biographica, 4 (Helsinki: SKS),
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