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Artist Brothers Magnus, Wilhelm and Ferdinand Von Wright at the Intersection of Art and Science // Anne-Maria Pennonen --- FNG Research Issue No

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Artist Brothers Magnus, Wilhelm and Ferdinand Von Wright at the Intersection of Art and Science // Anne-Maria Pennonen --- FNG Research Issue No Issue No. 6/2017 Artist Brothers Magnus, Wilhelm and Ferdinand von Wright at the Intersection of Art and Science Anne-Maria Pennonen, MA, Curator, Finnish National Gallery / Ateneum Art Museum, Helsinki Also published in Erkki Anttonen & Anne-Maria Pennonen (eds.), The Brothers von Wright – Art, Science and Life. Ateneum Publications Vol. 99. Helsinki: Finnish National Gallery / Ateneum Art Museum, 11–34. Transl. Wif Stenger Magnus, Wilhelm and Ferdinand von Wright are integral figures in the history of science and culture in 19th-century Finland and Sweden. They are sometimes referred to as if they were one and the same person, although each had his own, distinct career. The brothers are best known for their paintings and prints of birds but, as well as scientific illustrations, the work of Magnus and Ferdinand also includes many drawings, paintings and still-lifes. In fact, the eldest of the brothers, Magnus, became one of the most prominent landscape painters in Finland in the 1840s, and the youngest, Ferdinand, in the 1850s. Ferdinand also painted several portraits. The middle brother, Wilhelm, who made his career in Sweden, concentrated on scientific illustration, mostly in graphic prints. Over the many years of depicting and observing birds, the brothers acquired a depth of scientific knowledge that justifies calling them ornithologists; Magnus in particular is generally considered to be a pioneer of Finnish ornithology.1 It is clear, when we look at their work, that their careers unfolded at the intersection of science and art, and it is sometimes difficult to tell the two apart. While the works are regarded stylistically as part of the tradition of Biedermeier or Romanticism, the scientific accuracy and detail of the pictures is far more important. On the other hand, the brothers’ works communicate a special affection for nature, while also representing the ideals of beauty of the time. This applies especially to Magnus and Wilhelm, who were working at a time when photography was not yet sufficiently sophisticated,2 and when drawing and painting were the only adequate methods of documenting matters visually. 1 Leikola, Anto, 2011. History of Zoology in Finland 1828–1918. In Kalevi Riekkinen (ed.), The History of Learning and Science in Finland 1828–1918. Helsinki: Societas Scientiarum Fennica, 57; Lindström, Aune, 1932. Taiteilijaveljekset von Wright. Helsinki: Otava, 3. Henrik Magnus von Wright and his wife, Maria Elisabeth (née Tuderus) had ten children, of whom Magnus (1805–68) was the eldest, Wilhelm (1810–87) second eldest, and Ferdinand (1822−1906) the youngest. The family had altogether four daughters and six sons, four of whom became ornithologists. 2 The use of photography as a tool among Finnish artists did not become common practice until the 1880s. 2 Artist Brothers Magnus, Wilhelm and Ferdinand von Wright at the Intersection of Art and Science // Anne-Maria Pennonen --- FNG Research Issue No. 6/2017. Publisher: Finnish National Gallery, Kaivokatu 2, FI-00100 Helsinki, FINLAND. © All rights reserved by the author and the publisher. Originally published in https://research.fng.fi Wilhelm von Wright, Shot Hare and Hunting Equipment, 1834, watercolour and gouache, 60 x 48cm Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Jenni Nurminen Ferdinand von Wright, Forest Landscape from Haminalahti, 1880, oil on canvas, 110.5 x 175cm Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Hannu Pakarinen 3 Artist Brothers Magnus, Wilhelm and Ferdinand von Wright at the Intersection of Art and Science // Anne-Maria Pennonen --- FNG Research Issue No. 6/2017. Publisher: Finnish National Gallery, Kaivokatu 2, FI-00100 Helsinki, FINLAND. © All rights reserved by the author and the publisher. Originally published in https://research.fng.fi Magnus, Wilhelm and Ferdinand von Wright’s interest in the natural world was awakened early on in their childhood home in Haminalahti, near the town of Kuopio, and their careers in art began with an amateur interest in drawing. One of their sources of inspiration were hunting trips in the company of their father, Henrik Magnus von Wright. In addition to the birds that they caught, the brothers also drew and painted watercolours of views around their home, a country manor, as well as the people they met. Apart from Haminalahti and Kuopio, the brothers worked primarily in Helsinki and its surroundings, although Magnus also made extensive field trips to South and East Finland. Their work in Sweden mostly consisted of scientific illustration undertaken in three primary locations: initially in Stockholm and on the nearby island of Mörkö, and later on the island of Orust in the Bohuslän province on the west coast. Magnus von Wright − pioneer Magnus von Wright belonged to that generation of young, 19th-century Finnish artists in whose lifetime the professional identity of artist changed radically. This shift had occurred earlier in many other European countries, and the artist’s new identity was accompanied by the founding of art academies. No such academy existed at that time in Finland: the first was a school, founded in Turku in 1830, that primarily provided drawing instruction to painters’ apprentices.3 Yet, by this time artists had already begun to dissociate themselves from the craft-oriented approach to painting, as well as from the institution of guilds, and were increasingly working as independent practitioners. As the appreciation of professional artists increased in Finland, even children of the nobility began to gravitate towards the profession.4 The great majority of Magnus’s output consists of landscapes, but his earliest works feature horses and birds. He also made pictures of both ordinary people and historical persons, such as a local cobbler named Lindros or the last King of Poland, Stanislaus Poniatowski.5 Stylistically, most of his early works are rather simple, and the bird pictures in particular are mostly records of ornithological observations.6 Magnus most likely made his first true ornithological illustrations in Turku in the mid-1820s, where he attended the gymnasium and was a member of the first scientific society in Finland, Societas pro Fauna et Flora Fennica.7 Since there was no art academy in Finland in the first half of the 19th century, Magnus moved to Stockholm in 1826. After starting at the preparatory school of the Royal Academy of Arts, he soon moved to a drawing school, Fahlcrantz et Julins Institut för elementar undervisning i figur- och landskapsteckning, run by Johan Fredrik Julin and Axel Magnus 3 For a history of the Turku Drawing School, see Willner-Rönnholm, Margareta, 1996. Taidekoulun arkea ja unelmia. Turun piirustuskoulu 1830–1981. Eds. Jorma Kontio & Nina Lempa. Turku: Turun maakuntamuseo & Turun Taidemuseo. 4 Ervamaa, Jukka, 2003. Käsityöläismaalareista von Wright -veljeksiin. Taiteilijan urasta ja asemasta Suomessa 1700-luvulta 1800-luvun alkupuolelle. In Volare. Intohimona taide. Taidehistoriallisia tutkimuksia 26, Konsthistoriska studier 26. Helsinki: Taidehistorian seura, 154−55. 5 Ervamaa 2003, 174−75; Wright, Magnus von 1996. Dagbok 1824–1834. Eds. Anto Leikola, Juhani Lokki, Torsten Stjernberg & Johan Ulfvens. Skrifter utgivna av Svenska litteratursällskapet i Finland, nr 600:1. Konstnärsbröderna von Wrights dagböcker 1. Helsingfors: Svenska litteratursällskapet i Finland, 28.1.1825 (35). 6 Wright, Magnus von 1996, 25.5.–26.5. and 1.6.1829 (99). 7 Ervamaa 2003, 177; Wright, Magnus von 1996, 31.10., 1.11. and 15.11.1826 (50−51). In his diary, Magnus writes about initially copying pictures of birds and mammals from Svensk Zoologi, a book he had been loaned by Major B. Aminoff. After moving to Stockholm, he bought booklets of the volume for himself. After a few years, Magnus began to draw and paint birds from nature instead of copying them, often using birds he or his brothers had hunted as models. In Stockholm he also bought hunted birds from markets, or borrowed stuffed specimens from the zoological museum. 4 Artist Brothers Magnus, Wilhelm and Ferdinand von Wright at the Intersection of Art and Science // Anne-Maria Pennonen --- FNG Research Issue No. 6/2017. Publisher: Finnish National Gallery, Kaivokatu 2, FI-00100 Helsinki, FINLAND. © All rights reserved by the author and the publisher. Originally published in https://research.fng.fi Fahlcrantz, brother of Sweden’s leading landscape painter of the day, Carl Johan Fahlcrantz.8 After seeing landscapes painted by his teacher Julin, Magnus began to dream about becoming a landscape painter. Instead, however, he was given the opportunity to illustrate a large compendium on Swedish birds, Svenska Foglar. The work was commissioned by Count Nils Bonde, master of the Hörningsholm manor on the island of Mörkö.9 The project involved such a huge workload that Magnus asked his brother Wilhelm to come and help. Wilhelm duly arrived in Stockholm in August 1828.10 When Professor Sven Nilsson from the University of Lund heard about the two brothers’ work, he wanted them to stop illustrating Svenska Foglar. Nilsson was one of the foremost ornithologists of his day, and he had already some time ago begun work on his own Illuminerade figurer till Skandinaviens Fauna, an illustrated volume of Scandinavian fauna. Magnus and Wilhelm also created illustrations of animals for Nilsson’s book, but the collaboration ended because of disagreements involving Svenska Foglar.11 When Magnus returned to Finland the following year, Wilhelm took over the illustration
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