Bank of Finland

Akseli Gallen-Kallela The Aino triptych Text Tuija Wahlroos

Akseli Gallen-Kallela painted the first version of his Aino triptych in Paris in 1888 and 1889. In this brochure, Tuija Wahlroos, Director of the Gallen-Kallela Museum, discusses the birth of the Aino Myth, Triptych in Paris, sketches the background to the Aino myth and ­explains the differences between the Aino triptych in the Bank of Finland and the second version included in the ­collections of the Ateneum Art Museum in Helsinki.

2 Contents

The Aino Triptych by Akseli Gallen-Kallela 4

A Combination of Finnish Identity and Bohemian Lifestyle 6

Why Aino? 8

The Background to the Aino Myth 10

Aino, Illustrated 12

Aino in the Bank of Finland Collections 16

Photo: Peter Mickelsson. The Aino Triptych by Akseli Gallen-Kallela

The artist Akseli Gallen-Kallela Participation in European art life the legend of Aino and Väinämöinen. (1865–1931, until 1907 Axel was a matter of course for Gallen- The tragic poem at the start of the ­Gallén) is one of the central figures Kallela and his contemporaries. Kalevala epic starts with a singing of Finnish art. In addition to Gallen-Kallela studied art in Paris. competition between the old and depictions of nature and the Moreover, he took part in wise Väinämöinen and the young common people, he is known as the exhibitions – particularly in France, Joukahainen, in which Väinämöinen illustrator of themes taken from the Germany and Hungary – not to comes out as the winner. Having lost Kalevala, the Finnish national epic. mention having his own stand at the singing match and threatened In addition to painting, he also both the Venice biennale in 1914 with death, Joukahainen, in his made a contribution to graphic art, and the Panama-Pacific international despair, promises his sister Aino in applied art and architecture in exposition in San Francisco in 1915. marriage to Väinämöinen in ex­ Finland. Also central to the artist’s His willingness to try new things change for his life. Aino’s mother, production are the works created in and his impulsiveness found an too, takes a favourable attitude Paris in the 1880s, model studies, outlet not only in experimentation towards this promise, but it is a streetscapes and portraits, and later in different fields of art, but also in shock to Aino. Driven to desperation, on the symbolist period of the his hunger for the exotic and long she runs to the lake shore and takes 1890s. National themes and Gallen- journeys in Africa (1909–1910) and off her clothes to go swimming with Kallela’s desire to develop Finland’s the United States (1923–1926). the maids of Vellamo. She sits on a art and cultural life merged with Akseli Gallen-Kallela’s first stone, which sinks, and she drowns. international influences and major painting with a Kalevala She does not die, however, but contacts. motif represents the Aino myth, continues her life as a maid of

4 Vellamo – a mermaid. Later, when France, and combining topical old art student already displayed fishing, Väinämöinen catches Aino international trends and painting outlines of familiar Kalevala – landing her as a perch in his techniques with Finnish themes. characters and events. The ad­ boat. When Väinämöinen does not A devoted realist, Gallen-Kallela venturers who appealed to a young recognise his dead fiancée, she was also a romantic interested in man’s imagination, Lemmin­käinen escapes from the boat in the form ancient times, myths and fairy and Kullervo, were accompanied of a woman, mocking the old man. tales who wanted to interpret the by depictions of Aino, whom the Gallen-Kallela ended up Kalevala through Finnish everyday artist sometimes sketched as a painting the multi-layered poem life. The artist, planning his return maid falling into the water with a as a three-part triptych. Two final to Finland, was near achieving his splash or wrenching jewels from versions of the work are known to aim of courageously raising the her bosom, sometimes in a posture exist, of which the first reached level and content of art in our where she is taken aback by the completion in Paris in 1889 and country: ‘I can always reach the courting of an unexpected suitor. currently belongs to the Bank of point where my country will be Simultaneously, we witness the Finland collections. The second content with my achievements, but presence of other sentimental version, completed in Finland in my ambition reaches much farther. topics, with mermaids and fairy- 1891, constitutes part of the Everything or nothing, first or last. tale creatures. A parallel can be Ateneum Art Museum collections. That is the motto I want to keep easily drawn between the myths in The Aino triptych, finalised in for the rest of my life.’ the folk poetry of the Kalevala and Paris, was the young Axel Gallén’s The illustration of the Kalevala the fantasy world of legends and main work, his artistic manifesto became a key objective for Gallen- fairy tales. of the time, reflecting the aims Kallela at an early stage. The matured during his studies in sketch books of the 16–17-year-

5 A Combination of Finnish Identity and Bohemian Lifestyle

Having commenced his art studies utility articles and clothing. father, who had taken a less than in Paris in 1884, the 19-year-old He saw the venues of the Aino favourable attitude towards the artist was caught up in the events legend as real, genuine landscapes marriage, that he was an artist of big city life and new influences. that could be localised in terms who should be taken seriously. Alongside his studies at the of natural history and Académie Julian and his depictions ethnographic detail. For this of bohemian lifestyle, which re­ purpose, the artist even took flected the animation of café and perch skins with him to Paris in street life, he showed an increasing order to achieve a truly realistic interest in, and desire to focus on, depiction. national subjects, of which the Determined realisation of the illustration of Aino became one of theme began in 1888, continuing his most central aims. During his until spring 1889. Secretly engaged holidays Gallen-Kallela painted to Mary Slöör in Finland in the Finnish landscape and its summer 1887, Gallen-Kallela did inhabitants, while at the same not allow himself a return to his time practising for a major homeland until the main work of illusory work. In line with the his artistic career to date was doctrines of realism, Gallen- ready. He reckoned that, with the The Aino triptych in Kuparikanta hall, Kallela made observations of the attention attracted by the Aino Bank of Finland. everyday environment: dwellings, triptych, he could prove to Mary’s © Bank of Finland. Photo: Peter Mickelsson.

6 7 Why Aino?

There is no straightforward and various folk legends. Gallen-Kallela’s mother, answer to the question why Throughout the 1880s, dramatic Mathilda Gallén, residing in Gallen-Kallela chose the tragic paintings based on such motifs Finland, predicted success for her story of Aino as the opening work reflected a stronger interest in a son and Aino: ‘The Aino legend of his Kalevala themes. However, romanticising approach towards will be his great success, but the the contents of his art studies, the the past and a greater idealisation forests and lakes of his home prevailing spirit of the times and of early Christianity and the country will inspire him to his personal preferences make it Middle Ages. correctly understand the legend. possible to identify reasons for the The Aino triptych enabled The Aino in the legend must be the implementation of this motif. Gallen-Kallela to draw on what he Finnish Juno of art.’ In comparing Depiction of the human body had learnt and to take account of Aino with the mythic protectress took centre stage in his studies at the topical currents of the art of women in antiquity, Mathilda the Académie Julian. The aim was world. The three-part triptych Gallén came to refer to the to learn to master anatomic form borrowed from medieval classical origins of our Kalevala depiction by practising painting church art provided the setting for art and to parallels between the with live models. The Central scenes where Aino’s body language Kalevala epic and global European art life of that time, in combined with realistic outdoor mythological traditions. What was the heart of which Gallen-Kallela painting. The middle part of the new compared with the previous studied, knew a number of triptych in particular can be way of presenting Kalevala themes examples of mythic and fatal compared to the scenic, illusory and in our country, mainly based on women from antiquity, the Bible even sensational salon art of the time. illustrations from antiquity, was

8 the portrayal of mythological scenes through the methods of realism in a homely, even modest landscape.

Aino going to swim with the maids of Vellamo. Photo: Reijo Kokko.

9 The Background to the Aino Myth Aino can, with good reason, including the surrender of Aino, myth emerges from the presence be called the creation of Elias to the defeated Joukahainen. of death, hidden in the exuberance Lönnrot, the compiler of the According to the newer version, of summer. The laws of epic Kalevala. Lönnrot actually Joukahainen takes the initiative poetry drama find their fulfilment invented the name Aino, which is and offers his sister. Accordingly, in Gallen-Kallela’s illustration an adaptation of the word ‘ainoa’ the new Kalevala softens the role where two counterforces meet ‘on (only, sole). The legend of Aino is of Väinämöinen in the fate of the stage’, as complementary and not known as such in folklore, Aino. mutually reinforcing tendencies. but world epics and mythologies Compared with the artist’s later Here, we witness elements that provide variations on the main pictures of a strong masculine divide and explain the feminine theme – the fate of a young Väinämöinen, the wise man of the and masculine spheres and the woman married off against her Aino triptych is more like a frail worlds of adolescence and old will. old man, which highlights the age. The Aino legends in the old contradiction between him and (1835) and new (1849) Kalevala the young Aino. Aino is a mythical reveal an interesting difference creature, a flash-like, beautiful concerning the negotiation over and distant vision, an illusion for Aino between Joukahainen and Väinämöinen. Her desperate act Väinämöinen. In the older version, fades away in the beautiful scenery Väinämöinen dictates the terms of a summer morning. The and conditions of his victory, contradictory element typical of

10 Aino escapes from Väinämöinen’s boat. Photo: Peter Mickelsson.

11 Aino, Illustrated ‘What difficulties I am having earlier triptych appears more nature. The forest in the pictures with my great painting! It looks naive, lighter and even more also speaks to us in a symbolic like the whole thing will be a flop, primitive. Of the characters, language. Young birches provide but I just go on working, scrape Väinämöinen in the 1889 triptych the frame for Aino, whereas old and repaint again. But this is an rather brings to mind a gnome-like pine trees form the background for expensive business, as models cost figure familiar in folktales. Aino Väinämöinen. a lot of money. Perhaps nothing has a certain naive innocence, The three pictorial motifs of will come of it, but this will have manifest even in her expressions the triptych are Aino encounters been useful for me if I repaint it and gestures. The artist himself Väinämöinen in the forest (left there at home.’ referred to his earlier version as a panel), Aino goes swimming with The two versions of the same sketch – a fact that has un­ the maids of Vellamo (right panel) theme afford an interesting doubtedly influenced the later and Aino escapes from Väinä­ opportunity for comparison, assessment of the work, möinen’s boat (middle panel). The considering in particular that the particularly when the original larger middle panel underlines the differences between the actual passed on to private ownership at dramatic climax of the myth, Aino, composition of the scene, the an early stage and across Finnish who has managed to escape from characters and the landscape are borders. Even so, both versions the inattentive Väinämöinen. small. The latter Aino of 1891 have their own status as independent Aino’s grief and ensuing death represents the highest degree of works of art and share the have been replaced by an Aino realism and has a tangible, true opportunity, opened up by a poem, moved to a supernatural reality, touch of nature. By contrast, the of glorifying the beauty of Finnish but exhibited as a fully realistic

12 Aino encounters Väinämöinen in the forest. Aino escapes from Väinämöinen’s boat. Aino going to swim with the maids of ­Vellamo. Photo: Peter Mickelsson.

13 representation in the painting. The ancient symbol was regarded as a Karelian-style decorative themes maiden, who in earlier sketches sign of eternity and good luck, and and textual extracts from the disappeared into the waves in it has been linked with, among Kalevala. many different ways, is portrayed others, the wheel, the movement of The frame ornaments of both as a pronouncedly fair and bright rotation and the halo of the sun. triptych versions originate from figure, unfolding to the viewer as Against the backdrop of these medieval church art, in which such an integrated whole, as coherent significances, the course of the tale decoration was used in alter as possible. The artist added from evening to morning and, as a screens. Religious elements merge further intensity to Aino’s more latent thought, the rotation with the world of folklore, like in dramatic spiral pose in the 1891 of the theme – ‘the myth of the the Kalevala, emphasising the version by changing the position eternal return’ – receives symbolic artist’s view of the aspect of of her hands. backing from the decoration of the sacredness, which is hidden in the A striking difference between frame. The paddle wheel motif of theme: ‘The poems of the Kalevala the two different versions resides the tripartite surfaces between the are so sacred for me that, when in the decoration of the frames. panels also highlights the singing them, I feel like laying The 1889 version frames, designed multidimensional significances of down my weary head to rest on a by Gallen-Kallela himself, are the myth related to the cycle of strong, solid foundation.’ dominated by gold-plated life. The fully gold-plated frame in The difference between the swastikas rising from a dark the 1891 painting represents, in paintings also emerges from foundation. Before the ornament turn, a more intact and delicate changes in details related to was adopted by the Nazis, this Finnish version, expanded by ethnology, costumes and the boat,

14 dimensions between persons and captured as a particularly the landscape, and lighting. In recognisable figure in the portrait. Paris, Aino was painted in an In depicting his own young wife as atelier, which made the artist long the mythic Aino, Gallen-Kallela for other types of working left an interesting clue to the conditions: ‘Imagine what a viewer. In the right panel, Aino is difference it makes when I can seen to wear a silver bracelet have ‘natural models’ there at around her wrist, the artist’s home in plain air.’ Gallen-Kallela morning gift to his new bride. was not satisfied with the Aino has not taken off this jewel professional models he used in – the artist could not bear the idea Paris and noted in a letter to his of his wife going away, not even in fiancée: ‘In Finland there are the painting. undoubtedly suitable models, but it is impossible to make them pose nude in a standing position.’ In the end, the most suitable Aino model was found near at hand. Parisian models were swapped for the artist’s own wife in Finland, who was not, however,

15 Aino in the Bank of Finland Collections Brought to Finland in 1889, the Professor Neovius moved to Purchase of the work at the Aino triptych aroused great Copenhagen in 1905, taking the auction was prepared by Edvard enthusiasm. When Gallen-Kallela’s first Aino version with him. A later Preisler, head of the Copenhagen friend Professor Edvard Neovius, evaluation of the work was office of the Pohjola Insurance who had commissioned him to influenced by the artist’s own Company, and Tauno Angervo, paint several portraits, bought the statements, and occasionally Pohjola’s managing director. In picture, the Finnish Senate decided understatements, and subsequently arranging payment for the work, to commission a duplicate. The on the notes of Professor Onni Angervo was in contact with Aino triptych completed in 1891 Okkonen, writer of an extensive Sakari Tuomioja, Governor of the was exhibited at the 1892 Paris biography of Gallen-Kallela, which Bank of Finland, asking for Salon, where the reception was a were in line with the artist’s views: permission to use foreign exchange great disappointment to the artist. ‘The first Aino painting is indeed for the purchase of the painting. New winds were blowing in only a vague outline that cannot Permission was granted, but European art life, and there was no be called a finished work of art.’ In Tuomioja told Angervo that the understanding for a bright and writing his Gallen-Kallela study, Board’s dining room at the Bank naturalistic representation of a Okkonen was not in a position to would provide a more elegant and myth. In subsequent years, Gallen- examine the original, as the work public place for the Aino painting Kallela looked for a new direction did not come back to Finland until than Pohjola’s premises. Angervo for his Kalevala art, which he found 1950, in connection with the was slightly reluctant to agree to in the dramatic, simplified Kalevala auction of the estate of Neovius’ Tuomioja’s proposal, but did so, illustrations of the late 1890s. daughter, Saima Neovin. and the Bank bought the picture.

16 Pohjola also sold Tuomioja Albert Edelfelt’s painting A Parisian model, purchased for Finland at the same auction. The return to Finland of the earlier Aino triptych has made it possible for researchers to obtain a more accurate view of it. It is no longer referred to as a sketch, its value as an independent work of art now being understood. In addition, wider audiences have had the opportunity to familiarise themselves with the young Gallén’s first major work and share the understanding of the efforts and artistic work processes behind such an achievement.

Aino encounters Väinämöinen in the forest. Photo: Reijo Kokko.

17 Sources

Literature

Gallen-Kallela, Kirsti (1964) Isäni Okkonen, Onni (1935) A. Gallen- Alpo – Väisänen A O (Eds.), Gallen- Akseli Gallen-Kallela, Vol. I. WSOY. Kallelan Kalevala-taidetta. WSOY. Kallelan muisto. Annual anthology of the Kalevala Society 12. WSOY. Ilvas, Juha (2000) ‘Kalevala – taiteen Okkonen, Onni (1961) Akseli Gallen- vaiheita’. In Riitta Ojanperä (Ed.), Kallela. Elämä ja taide. WSOY. Tuntematon horisontti. Suomen ­taidetta 1870–1920. Ateneum Art Piela, Ulla (1999) ‘Aino-myytti’. In Museum publications, No. 20. Piela, Ulla – Knuuttila, Seppo – Kupi- ainen, Tarja (Eds.), Kalevalan hyvät ja Kleibrink, Marianne (2003) ‘The hävyttömät. Finnish Literature Society. Myths of Womankind’. In Femmes fatales 1860–1910. Groeninger Seppovaara, Juhani (1985) ‘Gallen- Museum. BAI, Wommelgem. Belgium. Kallelan Aino-taulut’. In the Bank of Finland staff magazine Pankko Knuuttila, Seppo (1999) ‘Sankarien 1/1985. Offprint. varjot’. In Piela, Ulla – Knuuttila, Seppo – Kupiainen, Tarja (Eds.), Kale­ Wennervirta, Ludwig (1932) ‘Akseli valan hyvät ja hävyttömät. Finnish Gallen-Kallela muistiinpanojen ­Literature Society. varas­sa’. In Okkonen, Onni – Sailo,

18 19 Akseli Gallen-Kallela: The Aino triptych, 1888–1889 Canvas, 210 x 371 cm Middle part 158 x 158 cm, sides 158 x 78 cm Bank of Finland art collections

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ISBN 978-952-462-636-1 (print) ISBN 978-952-462-637-8 (online) 20