Sculpture Walk

Total Page:16

File Type:pdf, Size:1020Kb

Sculpture Walk ressikj. g n SCULPTURE WALK o K Sculpture Walk Pispala The ‘Sculpture Walk’ map for cultural exercisers is a compiled map of the outdoor sculptures and environmental n art works that are located in the city centre and that belong to the Turku City Art Collection. There are three ti Helsinginkatu alternative routes. The first route takes you to Puolala Park and the western bank of the River Aura, while River 13 14 Aura tu the second circles from Samppalinna Park to the eastern bank of the River Aura, and the third takes Kasarmin ka katu you to Turku’s old city centre and the university. The works along the colour-coded routes are ki Jo H el indicated with numbers. You can find the rest of the outdoor sculptures and environmental Teh taank Vänrikinkatu V atu esilin art works that belong to the Turku City Art Collection online, through the Citynomadi na n map service, under the route name Taidetta Turun katukuvassa. katu tie UNIVERSITY eporin tu 5 Tuur ka atu HILL u n at atu nt All cultural exercise routes are available at mee pihank Anink Hä ta u Piispa www.turku.fi/kulttuurikuntoilu. en Pitkäk 4 at enrikink Ra 3 nk H 12 tin 6 ia Län 7 2 ar atu aistenk The route maps are also available on mobile devices. 9 Ma 15 PUOLALA HILL Koskenniemenkatu pistonkBr K k io atu 16 Turku erttulin a Yl ah 17 Cathedral 10 11 The lengths of the routes are approximately: enkatu Humalistonk 9 Route 1: 7,5 km, route 2: 3 km and route 3: 4 km. Market Square12 8 Puutarhakatu K tu aupp 7 atu A 5 4 k ur 6 ak ias The Old atu 8 3 Rauhan Käsityöläisk atu ka Great Square atu tu 2 Uu de iopistonk Kristiin Mannerheim Park Yl atu Kirjastosilta nm ank aank atu atu Bridge 10 ank Linn Aura- K 1 ouluk atu atu H St. Michael’s Eerikink atu silta eikkilänk Es 1 Church Ursinink k Bridge eenk elin m atu 1 Hä VARTIOVUORI HILL atu ka t atu atu u 2 Kask Ratak Ko Teatterisilta Puutarhakatu Puisto sk rk 20 8 Bridge enk eavu 11 Sai 14 16 3 PORT k atu ARTHUR o ra atu 15 SAMPPALINNA HILL renk sh 13 atu uoneenk 4 atu atu 12 Turku City alank 10 11 tu Theatre ka 9 19 Myllysilta It. Rantakatu10 Sirkk en Pitkäk atu Bridge 9 ostarin Itäin 8 Lu atu 7 Wäinö Aaltonen takMartinsilta N KAKOLA HILL 18 Ran Museum of Art eitsytpolku Sepän en Bridge in 6 k LinnankatuLänt atu 17 Betani atu tu 5 ka ank Föri ntak Tiilentekijänkatu atu atu Guest rtin en Ra Harbour Ma Tervahovinkatu en Pitkäk Itäin Itäin Varvintori Square 16 15 Crichtonink. Meritullink. Laivurinkatu www.turku.fi/kulttuurikuntoilu 14 13 Satamakatu Linnankatu 12 • Statue information: The Museum Centre of Turku • Basemap © Turku Municipal Property Corporation Printed 2015 Artist Work of Art Year* Location Further Information 1 Laila Pullinen Icarus 2012 (2003) Aurakatu 2 The stone wing is a reference to Icarus, who, according to Greek mythology, fell to his death after flying too close to the sun. 2 Mihail Anicushin V. I. Lenin 1977 Aurakatu 15 The City of Turku received the Lenin sculpture as a gift from its twin city, Leningrad (now St. Petersburg). 3 Wäinö Aaltonen R. W. Ekman 1927 (1925) Aurakatu 15 The portrait herm depicts Artist Robert Wilhelm Ekman (1808–1873), founder of Turku Art School. 4 Wäinö Aaltonen V. Westerholm 1927 (1925) Aurakatu 15 The portrait herm depicts Victor Westerholm (1860–1919), head of Turku Art School and the first curator of Turku Art Museum. 5 Jussi Mäntynen Cranes Nesting 1986 (1947) Puolala Hill Mäntynen’s (1888–1978) works, his last ones in particular, depicted cranes and swans with long necks. 6 Jussi Mäntynen The Swans 1959 (1958) Puolala Hill Mäntynen, who also worked as a taxidermist, built a reputation on his depictions of swans taking flight. 7 Antti Louhisto The Statue Symbolizing the Friendship Between Leningrad and Turku 1969 (1967–69) Puolala Hill The group of four statues that are depicted greeting each other in a circle symbolises the twin city relationship between Turku and Leningrad (now St. Petersburg). 8 Anja Aho Children 1959 Yliopistonkatu 29 C Aho’s fountain sculpture won an invitational competition and was the first outdoor sculpture by a female artist in Turku. 9 Matti Haupt Aino 1951 (1950) Ratapihankatu 40 The bottom of the fountain features a unique mosaic pattern designed by the artist, depicting fish and sea animals. 10 Veikko Leppänen The Marshal of Finland C. G. E. Mannerheim 1994 (1959) Mannerheim Park, Opposite St. Michael’s Church The bust of C. G. E. Mannerheim is based on a sketch made in the 1950s for the Helsinki Equestrian Statue Competition. 11 Viljo Mäkinen The Boys from Portsa 1973 (1972) Puutarhakatu 34 The playing schoolboys in the Port Arthur working class district are one of the few outdoor sculptures in Turku that depict children. 12 Oona Tikkaoja Hide-And-Seek 2011 Western bank of the River Aura The work consists of 30 self-portrait sculptures made by children, and a separate map is available of these sculptures. 13 Jani Rättyä and Antti Stöckell Daisy 2011 Linnankatu 72 Daisy is a work made of fibre glass and wood, and it delights viewers as a temporary environmental art work. 14 Tarja Ervasti Mater Marium 2012 Telakkaranta This media work honours the area’s history in the shipbuilding industry by illuminating a conserved shipyard crane. 15 Micha Ullman North 1996 Varvintori Square The granite stones rising from the ground form the hull of an imaginary ship. 16 Achim Kühn Harmony 1996 The River Aura, Guest Harbour The work features scales made of stainless steel plates, the shiny and nuanced colours of which were achieved with electrolytic treatment. 17 Kari Juva Working to Build Turku 1987 Linnankatu 46 This piece, weighing almost 40 tonnes, celebrates the workers of Turku and the work they perform. 18 Karin Widnäs Kimono 2011 Läntinen Rantakatu** The ceramic sculpture slowly changes colour in the dark according to the hour. 19 Raimo Utriainen Icy Sea 1961 (1960) Linnankatu 34 Icy Sea is a monument erected in honour of seafaring in winter. 20 Jarkko Roth Protected Growth 1985 (1983) Läntinen Rantakatu 25 The work symbolises the peaceful growth environment which Turku provides to businesses. ROUTE 1: RIVER BANK PUOLALA PARK–WESTERN The route also passes by a piece that does not belong to the Turku City Art Collection: Mika Natri: Clouds, 2005 (2003). 1 Wäinö Aaltonen Paavo Nurmi 1955 (1924) Itäinen Rantakatu 1 As per the artist’s request, the Olympic champion is depicted as heading towards the training grounds in Littoinen. 2 Kimmo Ojaniemi Monument of the Monastery of Dominican Monks 2005 Itäinen Rantakatu 1 The monument is located where St. Olaf’s Monastery of Dominican Monks stood in the Middle Ages. 3 Felix Nylund Mother and Child 1915 (1914) Samppalinna Hill The monument is dedicated to Gustav Albert Petrelius (1836–1910), who bequeathed funds to the city in his will that continue to be used for the beautification of Turku to this day. 4 Aarne Ehojoki Turku War Veterans’ Statue 1992 Samppalinna Hill The memorial stone, decorated with the veterans’ oak leaf symbol, was financed through a nationwide fundraising campaign in 1992. 5 Simo Helenius Diligent Bookworms 1975 Itäinen Pitkäkatu 45 Concrete is often labelled as a cold and dull material, but in this piece, it radiates warmth and lively humour. 6 Kimmo Ojaniemi Gaia’s Eye 1998 Tunnel leading from Itäinen Pitkäkatu to Martinkatu Gaia, i.e. Mother Earth, supervises traffic in the tunnel leading from Itäinen Pitkäkatu to Martinkatu. 7 Kari-Petteri Kakko Sculpture series: ‘Those Looking Up to the Stars’ 2013 Stairs of Myllysilta Bridge The sculpture series consists of four human figures at different stages of life, spread out on both sides of Myllysilta Bridge: Tomorrow, Today, A Moment Ago and Yesterday. 8 Wäinö Aaltonen ‘Work and the Future’: Spiritual Work, Future and Pioneer 1978 (1930–32) Itäinen Rantakatu 38 The series comprises five sculptures located in the Session Hall of the Parliament House. The bronze casts of three of the five sculptures invite visitors into WAM. 9 Wäinö Aaltonen The Tempest 1967 (1929–30) Itäinen Rantakatu 38 This sculpture is a replica of the monument to the victims of the shipwreck of Torpedo Boat S 2 (1925). 10 Mariella Bettineschi Carro Celeste 1994 Itsenäisyydenaukio Square In Italian, the asterism the Plough is called ‘Carro Celeste’, i.e. the heavenly chariot. 11 Herman Joutsen Monument of General of Infantry Adolf Ehrnrooth 2005 Itsenäisyydenaukio Square General of Infantry Adolf Ehrnrooth inspects his JR 7 regiment in the Karelian Isthmus on 4 June 1944. 12 Terho Sakki Torch 1975 Itsenäisyydenaukio Square The flames of the torch are formed by a spray of water that flows into a fountain designed by Erkki Melaja. 13 Wäinö Aaltonen Monument of Aleksis Kivi 1962 (1948) Itäinen Rantakatu 14 This sculpture of the poet’s head is based on the Monument of Aleksis Kivi that was unveiled in Rautatientori (Railway Square) in Helsinki in 1939. 14 Jan-Erik Andersson The Brownie of Turku Castle and Valpuri Innamaa Meet on the Theatre Bridge 1998 Itäinen Rantakatu 14, Teatterisilta Bridge The work consists of a granite ornament on the bridge, an illuminated display board at one end of the bridge and a serial story published online. 15 Outi Sarjakoski Network 1995 Corner of Itäinen Rantakatu and Volter Kilven katu The network is made of braided polyester rope and it is known as the spider web.
Recommended publications
  • A Show of Emotion
    Issue No. 3/2018 A Show of Emotion Interview by Gill Crabbe, FNG Research As the Sinebrychoff Art Museum prepares to stage an exhibition on painting and the theatre, Gill Crabbe meets the show’s curator Laura Gutman, to discuss the research she carried out in order to bring this topic to life Meeting the independent curator Laura Gutman is like meeting a detective. As curator of several shows in Finland, where she moved from Paris 17 years ago, including the recent acclaimed ‘Air de Paris’ exhibition at Helsinki Art Museum (HAM), she has used her research skills and background studying art history under Guy Cogeval at the Ecole du Louvre in Paris in the 1990s to impressive effect in Finland. Not only has she been making intriguing connections between Finnish artists and their European counterparts, but also deepening understanding of European artworks in Finnish collections. It is a busy year for Gutman as she is now in the final stages of preparing a show on theatre and painting from the 17th to early 20th centuries titled ‘Moved to Tears: Staging Emotions’ at the Sinebrychoff Art Museum in Helsinki. The museum is an appropriate setting for such a subject as it is the house of the collector Paul Sinebrychoff, whose wife Fanny Grahn was herself an actress, and their rooms on the first floor are laid out almost as a series of theatrical sets, each reflecting a period from his collection. The theme of the Sinebrychoff exhibition which is held in the galleries on the ground floor, is also a subject close to Gutman’s heart, since at the Ecole du Louvre she studied the theoretical and philosophical background to painting and theatre ‘from David to Degas’.
    [Show full text]
  • Download Download
    Iconographisk Post • Nordisk tidskrift för bildtolkning Nordic Review of Iconography Nr 3/4, 2020. issn 2323-5586. pp. 157–205. Iconographisk Post Fred Andersson Nordisk tidskrift för bildtolkning Ph.D. in Art History, Adjunct prof. (Docent), Senior lecturer, Art History & Visual Nordic Review of Iconography studies, Åbo Akademi University, Finland. Email: [email protected] Nr 3/4, 2020 Iconography of the Labour Movement. Part 2: Socialist Iconography, 1848–1952 innehåll / contents Abstract: This is Part 2 of a two-part study which aims at preliminary conclusions re- garding the iconography of the international labour movement. Earlier research in the Förord / Editorial 3 fields of social history, art history and visual rhetorics has been consulted for this pur- pose. After 1848, emerging socialist parties and labour unions depended on republican Søren Kaspersen “Quale sit intus in his” – A Note about Abbot Suger's 9 iconography for their manifestation of collective identity. The republican virtues of Bronze Doors in Saint-Denis Liberty, Equality and Fraternity remained important, but Fraternity was gradually re- placed or merged with Unity and Solidarity. In a process akin to the identification of Anders Ödman the goddess of Liberty with a more common “Marianne”, the representation of Unity Östra Sallerups kyrka i Frosta härad, Skåne: 27 and manual work in socialist iconography became focused on images of individual kolonisation och kulturella kontakter male or female workers. In earlier prints and illustrations, these representations have Ragnhild M. Bø strong affinities with how the concept of labour was personified in official monuments Miracle, Moral and Memory: Situating the Miracles 53 of the same period.
    [Show full text]
  • Föglö Kyrka Från Medeltid Till Nutid
    Heikki Hanka Kyrkokonstens och den visuella kulturens epoker FÖGLÖ KYRKA FRÅN MEDELTID TILL NUTID Föglö medeltida kyrka på Åland gör ett sakligt och okonstlat intryck på besökaren. Artikeln granskar med hjälp av källkritisk närläsning textmaterial och originalkäl- lor som berör kyrkan och dess föremål. Detta kunskapsunderlag, i kombination med observationer som gjorts på plats, öppnar för betydelser som ligger bakom kyrkans nuvarande utformning och ger också insyn i dess äldre historiska skeden. Den skenbara arkaismen döljer ett konsthistoriskt rikt landskap. Finska fornminnesföreningen, grundad år 1870, åtog sig uppdraget att vårda kulturarvet genom att organisera konsthistoriska expeditioner vars mål var att identifiera och dokumentera vårt lands konsthistoriskt betydelsefulla platser. Fram till år 1902 organiserades åtta fältexpeditioner varav den första på som- maren 1871 riktades till Åbo med omgivningar och Åland.1 I slutet av juli be- sökte en expedition bestående av åtta personer, ledd av Emil Nervander, även Föglö.2 Denna artikel är en hedersbetygelse till föreningens banbrytande insats för fornminnesforskningen i vårt land. Samtidigt får vi tacka föreningen för att den konsthistoriska forskningens första frön såddes och att studiet av kyrko- konst inleddes. Även om mycket har förändrats under de gångna 150 åren, så är de forskningsmetoder som expeditionerna skapade och använde fortfarande grundläggande verktyg i den konsthistoriska forskningen. Via observationer gjorda på plats och insamling av kunskapsskärvor från varierande källmaterial fortsätter den nutida forskaren i de konsthistoriska expeditionernas fortspår. Kyrkorna har, förutom agerat plats för religionsutövning, också varit en cen- tral del av det finska kulturarvet. Överföringen av kyrkans kulturarv till fram- tiden är utmanande. Både den evangelisk-lutherska och den ortodoxa kyrkan utreder för närvarande i sina strategier hur de bör förvalta kyrkans materi- ella och immateriella kulturarv3.
    [Show full text]
  • Suomen Ritarikunnat 100 Vuotta
    SUOMEN RITARIKUNNAT 100 VUOTTA SUOMEN RITARIKUNNAT SUOMEN RITARIKUNNAT 100 VUOTTA FINLANDS ORDNAR 100 ÅR FINNISH ORDERS OF MERIT: 100 YEARS FINNISH ORDERS OF MERIT: 100 YEARS FINNISH ORDERS OF MERIT: ORDNAR 100 ÅR FINLANDS NÄYTTELY KANSALLISARKISTOSSA 4.12.2018–20.12.2019 UTSTÄLLNING I RIKSARKIVET EXHIBITION AT THE NATIONAL ARCHIVES SUOMEN RITARIKUNNAT 100 VUOTTA FINLANDS ORDNAR 100 ÅR FINNISH ORDERS OF MERIT: 100 YEARS SUOMEN RITARIKUNNAT 100 VUOTTA FINLANDS ORDNAR 100 ÅR FINNISH ORDERS OF MERIT: 100 YEARS SUOMEN RITARIKUNNAT 100 VUOTTA NÄYTTELY KANSALLISARKISTOSSA 4.12.2018–20.12.2019 FINLANDS ORDNAR 100 ÅR UTSTÄLLNING I RIKSARKIVET 4.12.2018–20.12.2019 FINNISH ORDERS OF MERIT: 100 YEARS EXHIBITION AT THE NATIONAL ARCHIVES 4 DECEMBER 2018–20 DECEMBER 2019 HELSINKI - HELSINGFORS Kuraattori / Kurator / Curator: PhD Antti Matikkala Ohjausryhmä / Styrgrupp / Steering Group: Pääjohtaja / Generaldirektör /Director General Jussi Nuorteva, puheenjohtaja / ordförande / Chair Kenraaliluutnantti / Generallöjtnant / Lieutenant General Olavi Jäppilä Kontra-amiraali / Konteramiral / Rear Admiral Antero Karumaa Tutkimusjohtaja / Forskningsdirektör / Research Director Päivi Happonen, sihteeri /sekreterare / Secretary Näyttelytyöryhmä / Arbetsgrupp för utställningen / Working Group for the Exhibition: Tutkimusjohtaja Päivi Happonen, puheenjohtaja / ordförande / Chair PhD Antti Matikkala Sisällöntuottaja / Innehållsproducent / Content Producer Wilhelm Brummer Kultaseppämestari / Guldsmedmästare / Master Goldsmith Tuomas Hyrsky Kehittämispäällikkö / Utvecklingschef
    [Show full text]
  • 1 Between Defeat and Victory: Finnish Memory Culture of the Second
    This is the accepted manuscript of the article, which has been published in Scandinavian Journal of History. 2012, 37(4), 482-504. https://doi.org/10.1080/03468755.2012.680178 Between defeat and victory: Finnish memory culture of the Second World War Ville Kivimäki, Åbo Akademi University, Finland Abstract: The article focuses on five essential phenomena in the Finnish memory culture of the three Finnish wars fought in 1939–45, namely, 1) the memory of the fallen; 2) the influential work by author Väinö Linna; 3) the contested memory politics and veteran cultures in the 1960s and 1970s; 4) Germany and the Holocaust in the Finnish memory culture; 5) and the ‘neo-patriotic’ turn in the commemoration of the wars from the end of the 1980s onwards. The Finnish memory culture of 1939–45 presents an interesting case of how the de facto lost wars against the Soviet Union have been shaped into cornerstones of national history and identity that continue to have significance even today. Using the growing research literature on the various aspects of the Finnish war memories and memory politics, the article aims, first, at outlining a synthesis of the memory culture’s central features and, second, at challenging the common contemporary conception, according to which the Finnish war veterans would have been forgotten, neglected and even disgraced during the post-war decades to be ‘rehabilitated’ only from the end of the 1980s onwards. Keywords: war (the Second World War); Finland; memory; commemoration; war veterans; war memorials; war fiction; the Holocaust; finlandisation 1 Between defeat and victory Finnish memory culture of the Second World War1 1.
    [Show full text]
  • The Image of Marshal Mannerheim, Moral Panic, and the Refashioning of the Nation in the 1990S
    CHAPTER 14 The Image of Marshal Mannerheim, Moral Panic, and the Refashioning of the Nation in the 1990s Tuomas Tepora INTRODUCTION The end of the Cold War resulted in radical changes in Finland’s interna- tional position and economy. It sparked an identity struggle, seen within society as soul-searching. One of the major national symbolic fgures, Marshal Carl Gustaf Emil Mannerheim (1867–1951), the Civil War (1918) and World War II military leader and the President of Finland (1944–1946), became a mirror in this collective introspection. This chap- ter addresses the personality cult surrounding Marshal Mannerheim, as well as the alternating images of him, as keys to understanding the emo- tional and social upheavals within Finnish society in the early 1990s. The chapter focuses on the debate in the early 1990s concerning the construction of the Museum of Contemporary Art next to the Mannerheim T. Tepora (*) University of Helsinki, Helsinki, Finland e-mail: [email protected] © The Author(s) 2021 349 V. Kivimäki et al. (eds.), Lived Nation as the History of Experiences and Emotions in Finland, 1800–2000, Palgrave Studies in the History of Experience, https://doi.org/10.1007/978-3-030-69882-9_14 350 T. TEPORA equestrian statue at the heart of Helsinki. The debate offers invaluable insight into the emotional memory politics, the layers of memories, and future expectations in the post-Cold War nation. In the early 1990s, the Mannerheim statue and contemporary art formed an oxymoron that seemed to threaten the moral base of the nation. The juxtaposition sym- bolized a moral panic that concerned the lived experience of Finland’s changing international position.
    [Show full text]
  • Results International Autumn Sale
    Results International Autumn Sale, No. Item Hammer price 1 A WRITING COMMODE. 2 400 EUR 2 CHEST OF DRAWERS. 1 100 EUR 3 A SET OF FIVE CHAIRS. 1 000 EUR 4 A WRITING COMMODE. 3 100 EUR 5 CUPBOARD. 900 EUR 6 A PAIR OF CHAIRS. 850 EUR 7 AN EMPIRE STYLE MALACHITE TABLE. Unsold 8 A CARD TABLE. 5 800 EUR 9 A VITRINE TABLE. 1 400 EUR 10 A SUITE OF FURNITURE, 4 PIECES. Unsold 11 A DESK. 1 800 EUR 12 A SOFA. 1 000 EUR 13 A SEMI-ANTIQUE KIRMAN. 1 300 EUR 14 A NAIN. 7 800 EUR 15 A MALAYER. Unsold 16 A KIRMAN. Unsold 17 AN SEMI-ANTIQUE CHINESE CARPET. 900 EUR 18 AN AUBUSSON. 1 600 EUR 19 AN AUBUSSON. 1 000 EUR 20 A GHOM. 520 EUR 21 A NAIN. 850 EUR 22 A NAIN. 850 EUR 23 A SARUK. Unsold 24 A KIRMAN. 2 500 EUR 25 A KASHAN. 3 000 EUR 26 A GHOM. 1 700 EUR 27 A TÄBRIS. Unsold 28 A KIRMAN. 1 600 EUR 29 TÄBRIS. 1 300 EUR 30 AN ANTIQUE BIDJAR. 530 EUR Bukowski Auktioner AB +46 (0)8 6140800 Arsenalsgatan 2 www.bukowskis.com 1/20 111 47 Stockholm Results International Autumn Sale, No. Item Hammer price 31 AN ANTIQUE KASHGAI. 750 EUR 32 AN ANTIQUE TURKISH PRAYER CARPET. 200 EUR 33 "KIOT", ICON CABINET. 1 700 EUR 34 CIGAR CABINET. 800 EUR 35 A MINIATURE COMMODE. 400 EUR 36 A WALL CABINET. 400 EUR 37 A CHANDELIER. 1 300 EUR 38 A FOUR-LIGHT CHANDELIER.
    [Show full text]
  • Travelling in a Palimpsest
    MARIE-SOFIE LUNDSTRÖM Travelling in a Palimpsest FINNISH NINETEENTH-CENTURY PAINTERS’ ENCOUNTERS WITH SPANISH ART AND CULTURE TURKU 2007 Cover illustration: El Vito: Andalusian Dance, June 1881, drawing in pencil by Albert Edelfelt ISBN 978-952-12-1869-9 (digital version) ISBN 978-952-12-1868-2 (printed version) Painosalama Oy Turku 2007 Pre-print of a forthcoming publication with the same title, to be published by the Finnish Academy of Science and Letters, Humaniora, vol. 343, Helsinki 2007 ISBN 978-951-41-1010-8 CONTENTS PREFACE AND ACKNOWLEDGEMENTS. 5 INTRODUCTION . 11 Encountering Spanish Art and Culture: Nineteenth-Century Espagnolisme and Finland. 13 Methodological Issues . 14 On the Disposition . 17 Research Tools . 19 Theoretical Framework: Imagining, Experiencing ad Remembering Spain. 22 Painter-Tourists Staging Authenticity. 24 Memories of Experiences: The Souvenir. 28 Romanticism Against the Tide of Modernity. 31 Sources. 33 Review of the Research Literature. 37 1 THE LURE OF SPAIN. 43 1.1 “There is no such thing as the Pyrenees any more”. 47 1.1.1 Scholarly Sojourns and Romantic Travelling: Early Journeys to Spain. 48 1.1.2 Travelling in and from the Periphery: Finnish Voyagers . 55 2 “LES DIEUX ET LES DEMI-DIEUX DE LA PEINTURE” . 59 2.1 The Spell of Murillo: The Early Copies . 62 2.2 From Murillo to Velázquez: Tracing a Paradigm Shift in the 1860s . 73 3 ADOLF VON BECKER AND THE MANIÈRE ESPAGNOLE. 85 3.1 The Parisian Apprenticeship: Copied Spanishness . 96 3.2 Looking at WONDERS: Becker at the Prado. 102 3.3 Costumbrista Painting or Manière Espagnole? .
    [Show full text]
  • 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.
    [Show full text]
  • Europa Reformata
    Europa Reformata Europa Reformata Herausgegeben von Michael Welker, Michael Beintker und Albert de Lange Bischof Prof. Dr. Friedrich Weber (1949–2015) in Dankbarkeit Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über <http://dnb.dnb.de> abrufbar. © 2015 by Evangelische Verlagsanstalt GmbH · Leipzig Printed in EU · H XXXX Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlags unzulässig und strafbar. Das Buch wurde auf alterungsbeständigem Papier gedruckt. Gesamtgestaltung: Coverabbildung: ISBN 978-3-374-XXXXX-X www.eva-leipzig.de Inhalt Vorwort 9 Einleitung Michael Welker 13 Antwerpen 25 Guido Marnef – Jakob Propst, Wilhelm von Oranien und Philips van Marnix, Herr van St. Aldegonde Augsburg Andreas Link 35 – Wolfgang Musculus Basel Christine Christ-von Wedel 45 – Erasmus von Rotterdam und Johannes Oekolampad Béarn Philippe Chareyre 55 – Marguerite d’Angoulème und Jeanne d’Albret Bern Martin Sallmann 65 – Berchtold Haller und Niklaus Manuel Breslau/Wrocław Irene Dingel 75 – Johann Heß und Zacharias Ursinus Bretten Günter Frank 85 – Philipp Melanchthon Cambridge Charlotte Methuen 95 – Thomas Cranmer Debrecen Béla Levente Baráth 105 – Márton Kálmáncsehi Sánta und Péter Mélius Juhász 5 Inhalt Edinburgh Charlotte Methuen 115 – George Wishart und John Knox Emden
    [Show full text]
  • ABSTRACTS Another Horizon Session 1 Asher E. Miller, Assistant
    ABSTRACTS Another Horizon Session 1 Asher E. Miller, Assistant Curator, Department of European Paintings The Metropolitan Museum of Art Northerners in Italy: Interaction, Transmission, Collaboration The point of departure for this talk is the Metropolitan Museum’s holdings of early nineteenth-century paintings and oil sketches by northern European artists working in Rome and Naples. Featuring works by figures ranging from Eckersberg and Koch to Catel and Granet, as well as their younger contemporaries, the Met’s collection was formed in recent years through a combination of curatorial initiative and the passion of local private collectors: it is, therefore, still in its youth. This presentation addresses questions of interaction, transmission, and collaboration between northern artists stemming from the research and display of these pictures. Specific areas of focus include artists of various national origins looking closely at the same iconic motifs, artists learning from one another’s methods and works, and artistic partnerships, notably between Heinrich Reinhold and Johann Joachim Faber, who sketched together at Olevano Romano in the early 1820s. Jens Peter Munk, MA (History of Art) Copenhagen Life among foreign artists in Rome as seen from a Danish perspective In my monograph on Danish Golden Age painter Jørgen Roed (2013) I dedicated a chapter to the life of Danish artists in Rome at that time. I focused in detail on their living and working conditions and their interaction with the local artistic environment as well as with other foreign artists staying in the city for an extended period of time. In this paper I wish to touch on some aspects of this vast theme.
    [Show full text]
  • Devoted to Kalevala: Perspectives on Akseli Gallen-Kallela's Kalevala Art
    Wahlroos: Devoted to Kalevala Devoted to Kalevala: Perspectives on Akseli Gallen-Kallela’s Kalevala Art Tuija Wahlroos Museum Director Gallen-Kallela Museum Abstract In addition to his many-sided activities in the field of pictorial art, Akseli Gallen-Kallela has been very commonly defined as the Kalevala illustrator. A need to depict Finland’s national epos followed him throughout his life. In my article, I wish to open up questions and problematics concerning this task. I also shed light on the developing or changing ways of interpreting the mythology into art. Gallen-Kallela started his last but unfinished Kalevala project, the so-called Great Kalevala while staying in the United States in 1923-1926. It was supposed to become the final synthesis of what the artist himself had learned up until then about the Finnish people, nature and traditions. Akseli Gallen-Kallela said of his work The need to have Gallen-Kallela on thus: one’s skin brings into focus an interesting I derive little personal benefit from manner of returning the “official” images from dividing my time between so many the museum walls back to people on a deeply different fields of the arts, but in a personal level. It also gives fascinating ideas to young, fledgling nation, such as ours, interpret the profound question of the purpose we need a spirit of enterprise and and the use of the mythological symbols. It inspiration. Others will follow in my would be a subject for another study, but in this footsteps, and more committed artists context, it provides yet another good example of than I will absorb influences and the quality of Gallen-Kallela’s Kalevala art: like develop each field independently, as myths themselves, his art is constantly open for specialized experts.
    [Show full text]