Art History Department of Philosophy, History, Culture and Art Studies University of Helsinki

COLOUR ASCETISM AND SYNTHETIST COLOUR

COLOUR CONCEPTS IN TURN-OF-THE-20TH-CENTURY FINNISH AND EUROPEAN ART

Anna-Maria von Bonsdorff

ACADEMIC DISSERTATION

To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in the Arppeanum Auditorium on the 6th of June, 2012 at 12 o’clock

Helsinki 2012 Opponent Professor Bettina Gockel, University of Zurich

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!!"#$%& '(&

)*" +*% CONTENTS

PREFACE AND ACKNOWLEDGEMENTS...... 7

LIST OF ILLUSTRATIONS ...... 9

INTRODUCTION ...... 15

1. Colour Ascetism and Synthetist Colour in Focus ...... 15

1.1 On the Dissertation ...... 21

1.2 Sources ...... 23

2. Methodological Framework and Artists’ Interest in Colour ...... 29

2.1 Tradition and Innovation ...... 37

2.2. Colour Theories and Colour Histories ...... 41

3. Main Concepts: Colour Ascetism and Synthetist Colour ...... 53

4. Finnish Art in the 1890s ...... 77

PART I ...... 99

2. SOURCES OF COLOUR ...... 101

2.1 The Pursuit of Archaic and Timeless Art ...... 107

2.2 Colour Ascetism ...... 126

2.2.1. New aesthetics for mural art – Pierre Puvis de Chavannes ....126

2.2.2 Tonality – James McNeill Whistler ...... 133

2.2.3 Contrasts – Édouard Manet ...... 144

2.2.4 Monochromatic – Eugène Carrière ...... 151

2.3 Synthetist Colour ...... 156

2.3.1 Surnaturelle Colour – Paul Gauguin ...... 156

2.3.2 The Nabi Group – Maurice Denis, Paul Sérusier and Jan Verkade ...... 167

3 PART II ...... 179

3. COLOUR AND EARLY MODERNISM IN FINLAND ...... 181

3.1. The Past as a Destination ...... 191

3.1.1 The Cradle of Innovation – the Louvre ...... 196

3.1.2 Consciousness of time, form and colour ...... 204

3.2 Synthetist Colour ...... 229

3.2.1 Paul Gauguin’s Academie Viti 1894 – Väinö Blomstedt and Pekka Halonen ...... 233

3.2.2 Paradise Lost and Sacred Nature – Väinö Blomstedt, Axel Gallén, Pekka Halonen and Eero Järnefelt ...... 242

3.3 Colour Ascetism ...... 265

3.3.1 Subjectivity and Intimacy – Magnus Enckell, Eero Järnefelt, Helene Schjerfbeck and Ellen Thesleff ...... 272

3.3.2 The Spiritual and Melancholic Landscape – Magnus Enckell, Pekka Halonen, Eero Järnefelt, Helene Schjerfbeck and Ellen Thesleff ...... 292

4. Conclusion ...... 308

SOURCES AND BIBLIOGRAPHY ...... 313

ABBREVIATIONS ...... 313

LITERATURE ...... 317

INDEX ...... 333

4 HELSINGIN YLIOPISTO – HELSINGFORS UNIVERSITET – UNIVERSITY OF HELSINKI

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VÄITÖSKIRJA/DOCTORAL DISSERTATION [=-;]!"!!*;!"-""=-;]/`=$=*(**= "="]=?*;;#";*q!"*]<;"/?/* `";-;]!$$!*;=`$-"!"$$=-"*= `*=$*-"]/;!*=**!**Q;!R$-" $*$-**!$$-"*=`*=$*-"]$*q [=$-/]*?**(**=*;_-"!*"`=-;= *`$-"$*$!<colour ascetism*;synthetist colour*="!**@ /]q/!=?$=*=(**="|*/;<Q*-_*$%< @q *<'%%+**<_""*<+*$=>"#$%*;_*[= [=-<q!**=!*"R-$$"]*=!/-%* $*;"*/-$=""$*q*;/!**;$-*=$*$! $-"<*;-"=*";*colour ascetism<`;"`*-$= !"$-""_- *\"" "<
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AVAINSANAT/KEYWORDS \-"$/<]*=$-"<(**="<„"*"<$=*ˆ-<***= $*-"]<"]`*=$*-"]<]/#/

PREFACE AND ACKNOWLEDGEMENTS

@*-*;"";--;*=;=!!"-*]`"%$-"""-"* =th$*-"]`/*")q=#**;"?]"*=+**/ "/--/="'%%+**[=q!"*$"";/]*" *=-$-"*;`$*;#]=$/!q"$-"*!**< `=$=<q!";-"="<$=*;"/%-]"*;!!"$$ /"*;?;-!!"$=<"-**?"]*;?;-q!"/*;-"*= *;"]th$*-"]=""`=!"-*;"-;==*%/] -!"?"*;$="‡Š***<`=?/=!"%*;!!"-*] `"%*`/*"+"/*]-"$;/%#]*;=$*?** #-/=$;/]-;="-=-=*>-"*]Q]=*% ‡%%`*<`=$-"*";-$;/=*"-*`"; ]/#//"-‡%-`=*=-$q/!*; ;?$*$-";/!!"$=**"**$""*;`"*_*= -!! =< "/ = -< $-" = `] "$; /< -;]* !**;-"*/]$=]"<*;*`<%*#$%<=/*"* `=$=?*-];/-;]"="]@*=""*`-;#/]" "*;/="@**"/"?**;"`=!**=?`]-""-*;; / *; `= /`= "$ *; */$ -" =? $; /] #$%"-*;*!"*@=";/?*?*-"*=$*-*"/] #=;-"*=+**/]"*=!"##]=*;;=-*; !**#]+***;=$*/!""*;`$**]*"-;#] ="!**$=*ˆ-<#"-=`"%*;$-"!"$$-$/% =="]"`!-‹‹;#]=*$$-"*;$"#**;$$-** "=]="$!";-*<`"%**/]/"R=<;$?"; =*R-;*$-"=;==*-"$""!*;*`==/<#- ;]<=`*?"=-$//]" / "-] "- /] !"q/*"† '"" @**% „*"#"< )*?"]]?%]*;'""*$%<)*?"]Œ-"$=[=" -* * =` /!"? /] /*-$"! =? ;"$; /] ** $*=q`="/]"-/**=#*</<$*-*/<* !"$-"<"-"="$/!/*"]"/"%<`=$=*$";/]$*;*$ */]`"%=-;%q*;/]=*%-!"?"‡*>-/** Š%%**`=%"*"*/]""$=*;`;=!"$$] '"$-"=*%";-$-|-%%"**<`==#*"=! *=*$/!*=`"%<`=$=*=-=`-;*?"*;@ /!"* /] ""$= = #* = *!"* -//" $= ""*; #]

7 [=(**=$"'""//*@"+"]=*;;Ž"="$//* *;*$-"*"/"%`=?`"/=*%"\-**;"= „* „"%**=;"**-"]"ˆ-";!";-/""$= *;`="-]$%*`;=**$-!!"="$?;"/ the Finnish Cultural Foundation, Art Foundation Merita, Anna och Signe von Bonsdorffs släktfond*;=University of Helsinki Q*]`";--;**;$-=?$*"#-;=-;] #-!$]*;#;*+%%<Q">=/<Š***<‡ >*!"<-**'"*<@**Q"'****<+**%%"<Q> [****Q< " „" ";< =** |%%"< =** |-< `=/=??"=]"$//*;<-!!";*;?*/;?$<*$-";< *;/]$/!**;$*"#-;/]-;]!$;*`/ */?"]*Q]`"/!!"$*=%*;*;!* =;!"/*@"+"]=)*?"]+*%<(**=* "]<@*-/@"Q--/*;=\*"@"@"$=?Q*]=*% =[---Q--/*;+""*;""="-!!" [=" " /*] "/ `=/ =? #*; ="-= *=** ;$-**;`==!;/$ˆ-"/"/!"*/]""$=+" `==*%<Š**=Q$\*%]<("*$(`<-"-/* +*=?"<‡;!=‡!<‡-!"=!=";<'-/=*;!=Q$"** +`?"<`-;*?"=?/*;`"*_*=`=-="* !"";*/]q<`=$=`$"";-#]*?_*=!%"<|" |***-"*=*"!*=`"*!"$<=$""$;"""*; "*;!""/("*$=_*=`!"?;;-**\-*$] /-]"!*#""/**""" [=*% " ;- /] $ "*;< /] *; "? `= =? *?-*"]#$/!"/]""$=#-`==?-!!";/="-= ==";/ (*]`=$%*`;=//*;#`/]?]/]<< Š"**;‡#"("/*]]"=]";/]!";$#*$*;=? =`*!*$*;?*-!!"/%*/!"-;*;!"?;;=?-$= `*;"-/]M*;]<=#%*]*=;

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8 LIST OF ILLUSTRATIONS

VÄINÖ BLOMSTEDT Francesca & [/!"*$*?<q$/<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

Episode from the Kalevala, Kullervo Cutting into the Oak & [/!"*$*?<<q$/<!"?$$* '=†+**-@**“(**=*"]<\@@

Sunset& *$*?<<q$/<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

MAGNUS ENCKELL

Boy Resting& \="$*;`"$-"*!!"<q$/<@*-/@"Q--/<(**= National Gallery '=†Q*“(**=*"]<\@@

Awakening& *$*?<q<$/<@*-/@"Q--/<(**=*"] '=†-%%‡/-“(**=*"]<\@@

Death’s Walking& „"$-"*;!*$*!!"<<q<$/<@*-/@"Q--/<(**= National Gallery '=†@*Š-?**“(**=*"]<\@@

AXEL GALLÉN

The Great Black Woodpecker & -$=*!!"<q$/<@"Q--/<(**=*"] '=†'">Q]%%**“(**=*"]<\@@

En Saga (Jean Sibelius and Fantasy Landscape)& „"$-"*!!"<q*;q$/<[=@*(-*;* '=†+**-@**“(**=*"]<\@@

9 Defence of the Sampo& [/!"*$*?<q$/<[-"%-@"Q--/ '=†Š"=**“[-"%-@"Q--/

Lemminkäinen’s Mother& [/!"*$*?<<q<$/<@*-/@"Q--/<(**=* Gallery '=†-%Š***“(**=*"]<\@@

Kullervo Sets Off for Battle&<!"/*"]`"%""$ [/!"*$*?<q$/<@*-/@"Q--/<(**=* Gallery '=†-%Š***“(**=*"]<\@@

PEKKA HALONEN

Self-Portrait& *;!*$*!!"<q<$/<@*-/@"Q--/<(**=* Gallery '=†+**-Š">**“(**=*"]<\@@

Three Holy Men in the Forest& *;**%*;`"$-"*!!"<<q$/<+**/Q--/< [--- '=†[---Q--/

Sunday in a Crofter’s Cottage& *$*?<q$/<+**/Q--/<[--- '=†[---Q--/

After the Music Lesson & *$*?<q$/<**;@*]*#"(-*;*<+*% '=†[---Q--/

Rowan Tree& *$*?<q$/<!"?$$* '=†[---Q--/

Winter Day & *$*?<q$/<!"?$$* '=†[---Q--/

Winter Landscape& *$*?<q$/<+""*;"R$$* '=†+""*;"

Washing on the Ice& *$*?<q$/<@*-/@"Q--/<(**=*"] '=†-%Š***“(**=*"]<\@@

The Lynx Hunter& *$*?<q$/<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

Juniper Trees& *$*?<<q$/<'"?$$* '=†+""*;"

Mild Winter Day& *$*?<q$/<'"?$$* '=†+""*;"

Winter Light at Lake Tuusula& *$*?<<q$/<+""*;"R$$* '=†+""*;"

EERO JÄRNEFELT

Self-Portrait, Storm from the East & *$*?<q$/<!"?$$* '=†+/

Symbolist Landscape& [/!"*!!"<<q<@*-/@"Q--/<(**=*"] '=†**Q%**“(**=*"]<\@@

Lake Shore with Reeds& *$*?<<q<$/<@*-/@"Q--/<(**=*"] '=†**Q%**“(**=*"]<\@@

HELENE SCHJERFBECK

Cypresses, Fiesole & *$*?<<q<<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

Boy Dressed in Armour& *$*?<q$/<@"(-*;*Q"R$$*<+*% '=†Q+--=%<""?**<Q-%-?Q+--=%\

Going to Church M& *$*?<q$/<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

Seamstress “& *$*?<<q<$/<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

ELLEN THESLEFF

Aspens& *$*?<q$/<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

Violinist & *$*?<q$/<@*-/@"Q--/<(**=*"] '=†+**-@**“(**=*"]<\@@

Portrait of the Artist’s Mother& *$*?<<q<$/<@*-/@"Q--/<(**=*"] '=†Š"*“(**=*"]<\@@

32. Ellen Thesleff Violinist (1896). Oil on canvas, 40 x 44 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Aaltonen/ Finnish National Gallery, CAA

13 INTRODUCTION

1. COLOUR ASCETISM AND SYNTHETIST COLOUR IN FOCUS

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*=="$$*q="@/"="$!!"$=$-"$* # -*; * ` /!"? "$* !-#$*< Q"" [#"R Coloured Universe and the Russian Avant-Garde. Matiushin on Colour Vision in Stalin’s Russia&*;Q=Š""RDas Relief der Farbe&<`=$=`" "$="$*?*=-$-"*$*"=!=*/*$ *;!]$=$!!"$= @"??**"*"="]""$=*]/#/="$*]%* !$<`=$==#*"\$;*_-"!*;"=@/"$!"$-"]*?] q=#*$?]<`*"$*;#%*$*!-#$**$-; +*"""RSymbolist Art Theories&[=-;]//%- "!#"*-"$-$=Q-"$*RThéories 1890–1910 &+`?"<=q=#*$-Puvis de Chavannes&<Näkyjä haaveita, ranskalainen symbolismi 1996-1908&<Paradis Perdus, L’Europe Symboliste &*;Eugène Carrière (1849–1906)=?;=!*"!$ $"*"%*`*"$"=*$/]/"R=<"-$= ==?"-;/-$=`;"*"*;=?#*=$-/*] !-#$**;q=#**"/*)q*?q=#**; $-From Puvis de Chavannes to Matisse and Picasso. Toward Modern Art #"-=="=?*\-*$'-?;\=?**=;*_-"!*" *=/*`"%*]/#/‡;!=‡!RSymbolism < &[=q$!*]`;""$=="`=*=$/!q]]/#/ *; *";-$ (**= " -$= @q  *  = *` ]/# research, Symbolism and Modern Urban Society&#]="*+"=="` =*=-/;"*]<-"#**_-"!*;$*$*"*= $*q="=+"=*;‡!q!"=]/#/?/* `;$--"*;$$$=*=`!"/;"*$]*= ="=*;/">Š"R;"*Suomen varhaissymbolismi ja sen lähteet&"/*=/$/!"=*?-;]*(**=]/#/*; -"$+"'=`"%="`=*?"--"$†=;"*R ##"!=]*;">Š"R-;]*(**=*;("*$="$=?*;"* -"$=?=!;/]""$==/""$*-;*(**=]/#/< ‡%%`*R#%*;*-/"-"$=?!"*;*"]*`!$ ]/#/*=""]"*'">]]%**=!*;=`]`";*` *"!"*]/#/!-#$*==;;<Katsomuksen ihanuus &*;Dekadenssi&!*-!*`!="""$=#]-;]*]/#/ ***";$!*"]#Q*](**=q=#*$-*";-$/*] ="-;;="<"q/!=Magnus Enckell$-&%

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27 _*$%R""/?`!**;"*;!=*/*]*$*>-*$*`= ="Pekka Halonen&q=#*$/!"=*?$-$*** ?""$#]*"***;(**=q!"`!-#=;*"!$ (**="=""/*]/!"*!-#$*[*/>-`<‡ Š***R#"!=]*Helene Schjerbeck &*;|-%%"**R/*] #%*;"$*+***;(**="=?#*--%`@**% „*"#"R -; !$] * _" "* *; +** =` *` *" *; ?`!* * (**= " @ Q"!= -*;"/R "$* '=;"*Travelling in a Palimpsest. Finnish nineteenth-century painters’ encounters with Spanish art and culture&<`=$=;`==$*$! Q;"*/<="`=*=;/"*"!*=/"*(**=" [#=*`*=*$-"-*;?`;"?`-"* =`*=$*-"](**=*;_-"!*"=-;]!"`"; #";q/**=?"--"$=$;<*!";*;-!!"; ="*#=*="`*!"*!="$$"]*= *;<*/$<*q!"*#=$-"q"/-"$-;*=-;] "!"*;*/";*!"*;

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28 2. METHODOLOGICAL FRAMEWORK AND ARTISTS’ INTEREST IN COLOUR

**"//"$*$*"#-*=;$-"*;$--"<= =`$-**"*=/**$-"*!***;q/*= $=**$-"-$$-""**(**=*;_-"!*"`";=*; =***=$*-"]*;=#***=`*=$*-"]"/= ?`!*"R$*qQ]***!"*-;]$-"* ="/*-$`]"/#=="‹**;?"$!"!$?<#=* `*"/*`*/<*;"/!"!$?;]R$*$[=="‹* `]$""!*;="!-"!/]-;]<`=$=!$colour ascetism *;synthetist colour*$*/!""]$*q[=?"$!"!$?"? =$*;!-"!†!"*=$-"$*$!*`]$/!"=*# $="$-"*;"="] [=-;];`=`;"*"*;!**=`$*$! $-"`=$==?$=*`!$]*;"/=`"%+`?"</]/ */!];$-/*"$-"!"$$</;-/*;$=*ˆ-M= /"*;=""*"/**"`"%M#-;/*"=`#= /"*;!**"*/]<*!"#]$*-;#]*;`=*= $--"/"$=!";-$;=/„=/=;$]"-*;;*$ ="]"*"/;#]="]$-"<=-;]!"?=!=]$!$" #>$*;=?;*$=$*#";"/="-=#=?-*;$*$ $"-*] ‡;* = "- "/ q/** Q!**R *; = $/!q !"$$=**$-"!"$$*;*!$"$!";-$* "/;;="#]*]=%]$--";"/**"R!"" *=***=$*-"]<$/!"*(**=*;_-"!*" [=-;]colour ascetism*;synthetist colour*(**=*;_-"!* "=`/*#>$?("<!"**`!!"$=-*;"*;*= ="]$-"*!**;-"*=$-"=***=*;"] `*=$*-";"*"/=`=$==#$/$*?**Ž*=" `";<"?*";/?/*"/'/!"*/' Q;"*/@*;`!-/!=*=**==Q*`"R*;*`; *$-"$/#]%*#$%";*$*;<!"*-"?]=="] "*===*`!!"$=$-"`=`;*;$-"$*$!< `=$=/]#*"*%**`!$`*=$*-"]"*;`=$= !];-"";!**$--"$?];!]/#;;;*=" $<"-*;*$-$?`=-#>$!"-""/=;

[=/=;-;#]Q""[#"*="-;]Coloured Universe and the Russian Avant- Garde. Matiushin on Colour Vision in Stalin’s Russia&

29 12. Pekka Halonen Self-Portrait (1893). Oil and pencil on paper, 29 x 22,5 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Karjalainen/Finnish National Gallery, CAA

$*/$<!$*;;]_/!=!$;*="R*;?;- $=?/**;=$*q-`=*`=$==$=?/*%!$ [=/"]*/!!"*;"*?`="=$*-" ** = /* $*$! colour ascetism *; synthetist colour is an /!"*!"/]=@Q%*Travelling Concepts in the Humanities &<O$*$!*;#q!$<$"*;;*;P<*=`] =]`=!"$-*;-*;"*;*R#"$"!"**= #>$\*$!=-;$*?]**"!"*<%!-*$=$%*;*# ;$-**=#$//*"/[=-<=;***;q!** =$-"$*$!"/=="=-;]*;=]"*;;q!"= $-"!"$$=!";[=!"#/=*/*]$$-""/" *;*;*;"-;?"]/#--]/"!!*;]+`?"< *$$";*$`=`=-</]$*$!$-"$/=$=*; ;-"*=$-"/]""$=("/=-<$-"$//; #/-$=""!=*/**=*/"!"=]/#/?/** $/*]"<-$=Q*"$=>"#$%<`=-;*$$!`" *]/#[=-$-"$/=-;*#-;]*" ]/#]"/?/*#-=-;#"";;$-"$*$!= /;"*!";*]=O$*$!=-;"/<"$- *;!$];"**]P%`="$*$!$-*" *=$-"-!"!!"$=q/*="=!";@*;< *$=/"$/!"/*]"*;"*-/#""`"%< /!"*-$*$!"/*=?ˆ-*]/"`=$=`- $-*=!";)!"$$$-"†//=$*$!colour ascetism*;synthetist colour`==-;]=$--"$*q="`"% `*]=/**$-"<=*=;**= "-*;#"%*#%<*`=$==/!==="$q!** *"`"%/!"*"=$#*"!"*"= "$*"-$*="$*;$$*q-`="R$*q-* $-**-/#";"*$-"!";*;="$*q</*$-; **!";<#*q*;;!"!$?[*;=Q="$;/** $-"R</q/*=!***;$-"*-=!"; *;;*<*";"#"?"!#="R-*;"*;*

< [="/R/;"*!";R*=-;]-;/!";`=$="$="/== *(**;`*`;]-="/Q_"]Q;"*/R`=*$*;"*=!";M*(**= " << ("q/!Colour and Culture<&*;Colour and Meaning<& [=!**<`=$="*];"<=?#*-;;$]in situ<*$!="!=$**# -]";-!*`=*=-;]$$-"*!**

$-"-*;`=]=];?!;="**//$!<=?;!]; ?"]/=;$ [$*"*=;$--$-"$*$!*;!"$$<=-;] ;!=**!**Q;!R!"!;#]Q$=q*;&< `=*];=*=$*-"]("**!**=-;;O;! $"*=!Pq*;*";-$;=**=period eye`=$= *$-;=/!"*$$--""=-*;"*;*"="/*-$ /=;`=;!$-[=period eye"*;$*?**= ;""/*$-*"]*="*;"/*$*-"]=*q"!"* "-<$//"$*;$$*?**``]"*=!="‹* =";#]#=!";-$"*;#=;"<$*$-?"=``"%""# -*;";*=/`]q*;<$*;"?-"$<*/]$= *`$-"$*$!<#/!"*;!*"/*[=-=q*; ="/`"%_-"!*;(**;M&-!** <!$$$*q[=`=]= -;]`$*$*"*==]*$*!";*(**;"/!$< $--"<;$*;!"$-"]*"*;!*`="/=$-" *;/**#$/*/!"*!"!***$/#"*=" =$-"$*$!*="$*;$--"$*q<=$*$!modernity =-;#;;";`"-==$-Q/;"*]R=(**=" *"!"]*=/"!"$$*;`==]`"-*;";/*< "="=*/!]*=-#>$/"=$/!/*`=`=`=" choice /"*;/=;$/#*;=!$*-=/;"*?- (`*q*;R**=*"`"%Q;!R/"=*=$ -<=$-=-==$*q=`"%@$"$=/**]* his Guide to Interpretation: Art as Historical Hermeneutics&<O*"`"%R ="$q!**/!"*"=$#*"!"*" ="$*"-$*="`"%R="$*;$$*qP$=/** `=]*"!"*=-;$-*`="*;"`"%?#*"/ /"<$-"<;!$*<$/!**;$**"<=]<`=*!- ;"*]<*"/=/-!"*=!#`*=?"-!$ form*;content[=`]=*"!"*=!***;$-"=-; #*"/=]!==!**;"?*`"%"==-;!"?; #"==]!=#]q!"*=*;"*$#`*=-=<

[=!!"$=-;#]#"?"/*&*;Q""[#"&Žq*;& << ‡="=*;$;*=/*$$-"<`=$==/"$//*]-;/=;*$*"!=$ -;#]"="*<q*;"?=*"$$;#=*;=-q!*?!/** ‡**$!**<#]-;]*=$*"$*;=-"?*=$"*=!=!*" =!"*q*;< $=/**<

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There is yet another and very fashionable error which I am anxious to avoid like the very devil. I refer to the idea of “progress.” This obscure beacon, invention of present-day philosophising, licensed without guarantee of Nature or God – this modern lantern throws a stream of chaos on all objects of knowledge; liberty melts away, punishment (châtiment) disappears. Anyone who wants to see history clearly must his duty, has delivered the soul from responsibility, has released the will from all the bonds imposed on it by the love of beauty(…). Such an infatuation is a symptom of an already too visible decadence. 52 /!"* * =` -;" " = `=- ‹* * ="] /*=/Q-!"$R!""Q"?"<-;"R"/modernité "$-;*;"*$"/=!*;;$"#;!$-"]/;"* ;*]Q;"* <*=$*q<;*/*/"]of=!"*#-"=" !"$-"-;to=!"*-$=$*$-q!"*$/;"*] ;?!; *] ;-"* = /;***= $*-"] [= ` !$ M = "*"]"=\*<*=*=*;<*;="**=="M`"

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`;;-][=;-]`"!"*;`=$-"<" q/!<#]„="<*=!""<"""*‡/#"*;="-==- =#"`*=!=‡/#"*;<"'-?;\=?**</;-* ="$!**/;"*?**;/**$*"$`=/< "]=-"$_?*=-==-#>$`=!"*<=/;-/%; =![=/;"*;-/;;";*/";*!"*;*(**= "*!" In his article Impressionism, Modernism and Originality&\="+""* %`"-=="*=!#`*/;"**;/;"*!** *##=;]="-==q/**=$<="$ *;$*/$$"$-/*$*`=$=="`!";-$;+`?"/!"* $*/!""]?**;;/]=?#*"/!"*&!*"*; =`?"/!"*/]#"-#`"=<=;*$*=" `"%Q/;"*R*!"#"/=ˆ-*="=$/"M ˆ-*`=$=$**#;;";`=-/"/*]!*"] $ - `= " = !*"] $” -"] =] $* /* %$=] #"-="%*;=\*=-"$<=$*?**]#**<#- `=$-"”`;;"=ˆ-*/"]*;/;-/<=- $-"=-;#=="=ˆ-* *="#%Symbolism and Modern Urban Society&="*+"=<* =="=*;<="=-];/*";==;$--**# "/""*$**#;`$$/!=;="-=$"-/*!-* #=]*;-#>$55-$==?]/*!-*</?*`]"/=] =**;;;!!$*!*?-";#]=$;/$!*"= ***=$*-"]<$="$"="R`"%<"/**$/!*$`= ";*"-"!"**"]*";-$*q"//*!-* "/<$-"<*;$=*ˆ-<"**-*$;=?`"==""`** -*"]#-"=">-/!*/*="/;„== /*!-*=-"$*;!"$-"]*=$colour ascetism, artists /;$=?"*!"*/*`=$=-;/]"-"/@< $"-$*-;"R-\-;]O\*q*$P*;-* =O*?!*;%-%*/!="P]/#"=;*$?ˆ-] /;"*(-;]*;?!"-*`#$/!"/"]ˆ-*= $*$-]/;"*!**<"$=$-"*;;*</-$*;"-" =`/"=*;=***=$*-"]„`*$-*"=/<<

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52 3. MAIN CONCEPTS: COLOUR ASCETISM AND SYNTHETIST COLOUR

*/!"*$`=$==#*"*!*"=-;]=/= "="$-;*$-"/#*";*]*$="/$?-[ !-/!]O$-"*$*;";Q$-"R-*#"=*P@; q/!=*";=*R$//**-;]"*;!=]$O`= /*]-*;"*$=;<?#"*!**$***#"=$-"`"!";-$; *=‡**$<$-!"-*]$/!"=*?"$$*"? =]*;"%*/"#"=/;"*"P*"*]<*; `==-;]/q!"<=Q/"R=*#**$-"/= !*$-"‡]&*=`q$!*=?*$;=Q=" ;R$="/$/@=!*-<=="]/;"*""!`= q/!""***="$="/$**$""ˆ-R#"* -?*;$!?`]=#"`**;?"!==\-#/[= /$-;#;'#'$R$-"!";<=-==$*$"*`= $-"`-;*;="-=""$=*;#-;]`*/!"* *==!""*$`";/"-#;-;!"#"=$-" "?*;$=**/*=*;$$!`"";; !?*;**;"*<!-"$-"?-"/=**"" =-;$=**;#"=!-"$-""q!"*$;/"!? *"**=`<&=`=;"%*=;#** /!"*/**=!"$!*$-";"-$-"<`=="*=`"; "*!**<#-/]/!";q$==;"*!*" **?*$-"*!]$=]"*$<*/*]!"=`"; *;/<;"%*<*;*!"$-"!"*$!"!"*?$-"< #$%<=?#****;*?=@-"?]Qq$*-;** =<"q/!<=`;=#$%`=$-"=*";=/ -#>$?$*<`=$=`"*?†;=<;!"*<*;*[= -"?]`]!$/*]*?**$-"!""*$M/!"*" ==**;/"%**;-"M$*;-$;#]""$="*q!"/*

=*<$";;;#]-="[=-;];*$/==Q;"%R`"%#"= /;"*""$$-==""/*]%*;`"%==-;#-;;"/=!* ?`$-" [/%$/!"*`=/""$*"<*"$Q";*";;="$=]$-";/*$="/ "-"#$%*;`=!**="/#\=*$"!=]<*`=$==$";"-!-#] $-";<"!**$;Q=\;Q-**"R*=*-""-!*$*\=*!/ ‡]<@=-==-;];*-;]$*/!""]"<=**"**%#$-= *"-"*=$*-"]"`=<*="`*/<`"*\-*$;#]=/*$="/$*% !**\=*" ("q/!_;$//*=!$**"$*_*="*;„="OQ;"**% / "P<Finsk TidskriftŽ_;<

22. Pekka Halonen Mild Winter Day (1902). Oil on canvas, 73 x 87 cm, Private collection. Photo: Harri Silander

!]$=]*$=;$!*R#****=/;;=***=$*-"] -<`==q$!*`;"**#-*$*$-?-;]#]="/* !]$=?*@$=<#;*q!"/*$*;-$;*="]]" =`*=$*-"]<"=?""]#*;"`**=;$-** =$*q=$**`==/*("*$=!*""-*;< !"=!=";]-"!"*=<"/"#$%-$='""@--‡*" M&<Q**;+*"Q<=$-"$-;#?*!?` "*=*]#]#**=\/'""*$#"?; Q=Q*Q/;=`=#$%R[=!*"]*""%*] !"$*/!""]!=*("*$=!=]$<`=$=`=//-$= $*$"*;`==**?#"=!$"-/<*#]¡";*<*;* `=$=Q#$%=R`*`$*$!M#-*=`?"]*#*;*;#] $*$ - `= /; Q -"* = ; #$% =” @  & ;/*"<=$*$!#$%$-"*/!];"%*"&=; #*/-$=;#;*!*"]$"$*$=‡**$<*;#]=$ =***=$*-"]=;#*/""*"]$$!;™=>-# $!$/`";=*"*$"*=!!$$$-"!$$=! =-;*#*;-=$==]=?**=<"$*-"<#* "$-""*$*$"*/*"[=/;"*$*$?`==";]/ =-/*?*M`=$=!"$=?#-*`?*=M;"=* =$*]/M`=$=!"$`?*==-&M/=?#* "%*]*$!;*'*]R$$-*=="$;?!/**$* "%!**<`=$=#*`=!-"*</?;*$="$-"<*;*] "#*-$-"*/;?/!***/*$="/<** /* $-!-"< M =-= /;?< % *$*< $-!-" ` * $-";M$**-;="]!"$$<*;=*=$*-"];?!/* /*$="/*"?*<=!"-;=***=$*-"]"!=$" !="!=]<`=$=`*]/-$="#*;*"*$]!="!=$ /**";-$*$-"<-=/*$="/$/=?--] #*/"";ˆ-]-"$-"]#-=%=`"; =`=-;`-;]=*$-""=/*]"!";-$;” „=`=/!-*;=="#=*;=!!"$=”|*$*?*=< *=="=*;<";*=?*-$=*#"!*"==;`&

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55 !<$"*=The Potato Eaters& or Loom with Weaver& `=`<#"`*<"]*;`=$-"*;$**-;=$"""$=*; ?#"*!!-"$-"<#-*$=*;=!/*]/* `=!**=Potato Eaters|*=`*;!*O@‡Š_= \)‡P<*;=*;-"*;$"qR$-"="<`=$== -;;*#%#]\="*$*;[= !=?""'-\ ‹** M&<`==;=Q#$%!";R`=$==*#*-;;"/ =!*?`$-" `-;"-==Q$-"R!";=-;"$?/"**< *$/==]`";#"];?!;**//$"**; /"`;"!$-"`=`***=***=$*-"] "`=-;*;$";=Q;"%";$="/$/R>-#$-="" /;"*";*=-=*]=#"=$-"=-;#*$-@ <`=*$-""?*]$"*-**-"=*;=;`<=] "-#";*disegno-`=*<*=***=$*-"]<=$-" $`"$=;/$="/$"*<`!!;""*@ /=`<=$**//$$-"/-$=/"$/!q*;=-; #-;;"/#=*;=$="/$$*$=]#="#-;= !"$de/"**;#"$**!**

Colour Ascetism

@;""<-;***=$*-"]$-"=?*;;#/;/*] "/=*;!*/!"*/*;\-"/ Since colour ascetic art has "ˆ-*]"$?;*]#"/***$-"-;=?$=*q/* =Q**$-"R/=;*;!"/?"-"*!*("]<"* "=!!"$==<*(**="!"$-"]<=$$!;"? #;*;`;]-;$-"!"$$*$!];-$=*$*"* -"*=`*=$*-"]=$_?*=-==!";`""$=;< =*#*q/*;"/=!*?`$-"@"="*";* -"/*;"!"**`=$-"="?;*]=//$/< $$"]*=$$-"$*-;**"]*`!!"$="$*;]<

|*$*|*=<The Potato Eaters&<*$*?<q$/<|*=Q--/<@/";/ |*$*|*=<Loom with Weaver&<*$*?<q$/<Š""Q"Q--/<" |*$*?*=<"“Ž`>%<("/"*"/**|*=R! |*+-*'""`>%<Van Gogh and the Colours of the Night<|*=Q--/& ("q/!<'-\ ‹**<Portrait de l’Artiste&<*$*?<q$/*;La Madeleine&< "ˆ-"*! -"<q$/<Q- ;R"]<'" ("q/!<@*=\*R-;*/!"*/*;$-"\*<

#$-=$-"""*$*(**=""?";*;*-*]*"/" $*$!=?q;<?*=-=$-"-""!;]/**;*= *]!**[?*q/!=!"#/<">Š"&<`=* *]*Q*-_*$%R`"%=%*;Q#*$$-"R**;; only to enhance disegno<$*-"*;"/<`=$===//!"* -"*]/#!**">Š"$_*$%R"Q]*=/R*; /!"*/RO==";$-"*;-!"$]P=!!`= ]/#"/;"=/**=*-*;/*$-"` #?;;*]/#"<#-*?"=--*R"Q]*=R @/""$*q/!"/Q*$$=*&<`=;"**_* [=R$=*ˆ-$*;"="`"%O*-"P=-==/** ="$$`"%Q"?"<=!"#/""/=ˆ-*=`<$$ $-""*`*]*=*$$*-"*;"/<*$-;-;]`"%= =;*"*$*-"<`=$`=/*][=R;$!** &"_- *\"" "R/]"”[=/#---;`";Q** $-"-R"`=$==*#**`;"<*"**$-"!"$$`= ="$""*$<=-;#;*;/=`=`=/!"* $*$!=#**";#]"="*<?*=-==`";Q$$R*; Q$$/R=?*#*/**;*=*]$"*!**[= ?;*<!$]<*-;*=(**="Q*-_*$%*;*= *]!**#]/Q$„=" ("/=-/]""$==?#*$*;#]=#$%"-*; =/;!<=O#*$$-"P<=Q*$-"/R*"*;#] ="$"$-""*$*/$*$-;;*/]/"R=&== $-"!"$$$*#$*;";*="]$-"$*$!]/#/ *"!$$]#*#"*"/=@*;*/*;$colour ascetism ""$"*$-"$*!**`=$=<*""-"<=";*] #*;$"#;/;$-"!$"-/<-#;-;*"*</;$-"

">Š"<< ("$=*=*q!";O[=\-"'";MP$=*< _""">Š"/**O$$$-"_*$%P<`=*;$"#*`"%_*$%<#-; *;$-"*]="/<"*"="$$-"";*">Š"<Ž [=/**;#]/*]"="*<"/'-%%‡$=< ("q/!</"="*<%‡#"'*$-„*&<*]‡-&*;\="‡] &<=?$*;";„="=!*"=/*$="/$!**@*;=*;$- Q$$/R/*@/"$*!*"*$=< '*$-„*-="/anticolorist`=*$*;"*\][`/#]<#-*;=*?`"; '*$-„*<@-="/Q*$-"/R*;;"`*";*"/'*] =_;"*;‡/*//**@/"$*/;"*"<-$=@;‡*=";<`= $**;Q$$/\=*/*$="/!**R< [=$"$Q-$"-="/`=*/***\"" "*;„="\/Q-$"<L’Art en Silence, $ ;R_;* """ˆ-<'"<ŽQ*";< ?**„="R*;+//"==R!?*<

57 scale, ";-$;!</*$="/$peinture monochrome&<*/< #$%$-"/*;"$=/"`="!**=/!]#*;$"#; /*/"=?*#*$$-"„==%*;!=#* ?*;"**/$*;"ascetism="/`=$=#;$"#*$ *`"=ˆ-*`=kind $-"-;[=`";Q$/R #"$*;;$"!?Ž/!=-"*=$*-"]R"!""*< Q**/*R< ==" !"-*< /!$]< !-"] *; "%* M = $***=/*]"/;";-"*=!";[=-!"; "/`=$***=Q/;"*`";R<$]*;$--"*""-$-" Q"?"<=`;]-;$-"!"$$*;;-*]*$*$!"/`=$= $-;#-;; @!"*;*/]/"R=<=$-"!"$$#;*` $$$-"`=$=;/*=`"%[=$-"$*--]$* #$%<#"`*<"]*;`=</*]-;contrasting!"#$%M`=< #"`*M?"]="$-"`=$="-;/q;`==!"?-;/** $-"*;#"*<#-<*;"=*";;=#"`*<-/#"<***; $="[=-*$/!]achromatic#$%<`=<"]&*$-"$/ $-"`*!!;"$"*=*;=;`ˆ-=!!` ";-$=/**;$"$-"-"$`=$=/!=;=;`` ;/**]„=*$-"$/=""=";"*$=*$/=;< such as tonality, contrasts*;monochromacy@"";<=/*"* "$=*="/ascetism=*]<$*"*;/*$="/$]$*< $-"<#-;"Q$-"-R`"%`@*=""*=!"#/* -*Q/*$="/$R<`=$==/$//*]-;"/*"="$ "-"*;`=$=*;/*]/*Q!**;*`=`$-"R<#-< *$=""]"$/!]/*$="/$!**;**"]`=* $-"<$=-="/colour ascetism `=$=/]#!!;= !**/=;*;$=*ˆ-

Q*";*'-?;\=?**R*;+//"==R$-"$Q*";< @"/`;]-;*"="$"-";*`=$-"<<<‡]‡- < Total monochronism-;#]‡#"'*$-„**O„=*„=†("/[*/ Q*$="*/P`="=*]Q?$=RWhite on White!**'*$-„*<<†* \"" "Rmonocromatic"<**< '*$-„*< ">Š"< @=Q"=-<<">Š"< @=="#?/**;"/$-;#!!;#"=$-"<q$!#$%$-"/*; -#;-;$-" ?**;"<< „="†Nocturne: Blue and Silver-Chelsea&<Crepuscule in Flesh Colour and Green: Valparaiso &`=$="/=!!$/[=]"*#--=//"*<#"=$-"

58 *=-;]<=!#=$-"$/`;"-;*$"/] /"R=&="/Q$-"$/R-$==;*!"?-]#* -;*"="]"/_"]*/]*?*(**=*;_-"!* "=`$"=*;;*`<*`"/";$"#*= ";-$;*;/;!=!";[=`";Q$/R"\$=-; ="`=`*;$""`=$=`-;##;*``$=* $-" [=" = ˆ- "/ -$*] ""$; *; $*"; !!*"/-$;$-"";*@=-=`$*$*"*= $*;"*colour ascetism =-"*=$*-"]*;"\$=="-= (**="<*$"]-;];?"="$"<!"$-"]*$ =]"%*`*=?$;=;"$"*!*"="*ˆ-* In his recent article Under the Colour of Darkness&=*= !*;-!=="$!$*$-"";*+=*`!"*$! $-"#;*=#"**`?-!";-"*==*= $*-"]<!"`=$=`"*]!]$=!=]$[=*?* $/!/*"]"/<*#$%!$]‡#"„"*"`*R `"%*=<*;="]$?;*$*`"/*;$$-" `=$=/=?/";"="""*=$*-"]`"$"*;$* *`-#>$?]*=-*;"*;*$-"[=-;;"%* *;$-";;**;`==‡/*$<&;$"#=* $-"";*/;!<*%*=`==-$=*#"`= O";-$;="!?"-]/*$="/P*/+*;‡/#"*; =!"$-""=/;!*;/**?*==;/"" +O`=;$?";`*]?*#$%*("*+P@=(**=" +*$=>"#$%"$;"==-;;=-#$%$-""/+ @;/*"<*="!**|*$*?*=-;; ;#$%*;*=Potato Eaters&?*/q;`==$*;";

@"/Q$-"$/R<QR$/$="/ˆ-R*`-;#]‡;!=‡!`="*;#- /] ""$= ="-= /] $*"*$ !"** * "#-"† Colour Ascetism in Finnish Art at the Turn of the 20th Century.Q- ;R"/;"*$*/!"*<"#-"‡!< *(**="="]*``;]-;$*$!<"q/!<Š!**<[--%%\*<Q"* Kaleidoscopic exuberance and colour asceticism: Edelfelt’s portrait of Aino Ackté<<Q;"*@"<` Q--/\-*=//-<#<\\*"'"!"*< Q*-_*$%`"=/!$!*="**"$!-#=;*=Ateneum"?`* =-;#*;==?$=*-;]="`=`""ˆ-*]/**;<#- %!=-;]*/<=?$*$*";*/<#-="$-;#/*]="` !*-=?*[-"*"<`=`=="=\="/<;;*-"*=#$%*=";* ="]$="$-"=;`*;=&[-"*"R**/*`=/*$="/*"?**; =$**-*?#$%"-;=-$-"<*;*$-"*==-"*;*= "]//"$$-"$"$#;*$/!/*"]<"/Q+""RNatural System of Colours &<*;/*"*="?*=="!"/"]$-"(""`*†<=*< Colour in Turner: Poetry and Truth<<<Ž"`"/*;$†< << ">Š"<

59 #=="!"/"]$-"*==*=/#"/"!$ It =-;#*;=="$-"]/#/$*"|*=$**$;= ";--*=#-""R=";*;`"%<"/;*=!**#]-* $-"`=$==$/!";=O?"];-]!<-*!;$-"P*; #]!-**$"!/*$"-*=!"$;*]"<*Loom with Weaver &<#-"$*<?*=-;*$$</;$-""*`= ;"**#"`**;`=(/-"=??;$/!/*"]$-"< *"*=?*==;=`**$-"!";=-;# *;==`***q!"/**`=;"*!Ž/*]" „="*;_""*<q!";#=*;=$-"$*="" [=""-"?"];"*"<$=`=/;?!;=`*$-" $$ " *; #$/ ?"] *\-* ;-"* = < !$] `=* = ]/#$"$[=;$"?*;/*-/*/-""'-?;\=?** `;/";#]"*;=*/$!**=Poor Fisherman& `*=$*$`"%`=$==;#*#]]-*"$/* '"*=[=*/*;*$=**"_- *\"" "=;/*] `"?*=-=;]="=#*/*]"*Ž*=Q-"$ **;=-*ˆ-"R!"??]$*;!=!=$*\-*$"""* *O$=\"" "P„==**;/-$"``= =-*ˆ-;?"]„="*\-*$;*"<!/<;*"*;$"$ +O`"%"q=#*P`"`%*`**;;$-;*(**= "$"$ „=* Q-"$*`" *;- \=/!;Q"Rq!* ; Renoir in the Revue Blanche-*†

Should we say, for instance, that Puvis de Chavannes, Whistler, Car- rière are admirable masters? No-one denies this. We prefer to state that we would like to see them in more discrete and calmer places, and that even if there are very beautiful canvases they are in poor sur- roundings. The young impressionist or luminist school in particular seems to misuse a series of somewhat vulgar tones to express light…. This young school is extremely strident; it should turn to M. Whistler

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to learn how to use grey [manier les gris] or return to the already out- dated fashion of couleur crayeuse and imitate M. Puvis de Chavannes (Denis 1912)161

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There’s nothing greater in Manet’s work than a certain portrait of Berthe Morisot, done in 1872 (…). Above all, it is the Black, the absolute black, the black of a mourning hat and the little hat’s ribbons min- gling with the chestnut locks…that affected me. The full power of these blacks, the cold simplicity of the background, the clear pink-and-white skin…the tangle of locks, ties, ribbon, encroaching against her face; this face with its big eyes, vaguely gazing in profound abstraction, and offering, as it were, a presence of absence. (Paul Valéry “Triomphe de Manet” 1932)164

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„%**< --* ? " "*] * (#"-"] *; * ] * '* @?*< >*; #] \=" ? *; _/ "*"; Yellow Christ &< * $*?< q < @#"=Š*q "]< -< ` ™"%< *" '-"$= (-*; Ž Self-Portrait with Yellow Christ Portrait de l’artiste au Christ jaune< M&< * $*?< q $/< Q- ;R"] /† =!†““```/-"]"“"“$$*“$-;-?"“*$=/”*›$$=œ**-/;œ ‹$=<Ž‡!< <<(";"$=("#&<=‡/*$;;-$"<*";-$;*** $=*=`%*`*QRM*-""]]`=#"$=!*;#"=$-"</`=$= $-;#-;#-;*#"$%<*;=/;*;*$-"$"?!][=QR=;!"-*; $*<"q/!<=/;"*"$=$-"=@/"$*("*%];„"=&<`= `#"-=-!*=("#]/<*;`=!"$/;†Q("-*]<=-/*#*""]$=;% *=#*`=*!!;#]/!"/*;!-"<#"=$"R

Q*-"-/R<`=$=*$"/*;*;$;/-/]`"*&< `=$=*$$=*;Q#\`"R*;Q"*R[=?]*=*/ ""<*/**=="Q-**/#R;"??</-=?=; !$!!"--*`=-;=*-*$q*?]*!**= <-$=The Loss of VirginityM&*;Manao Tupapau& $*;"==`"%=``="$-"#$/=$=?=$ /]"]*"**=`--*"=*/$!=" $-"*;***;$**$`=/-$]†

Since colour is in itself enigmatic in the sensations which it gives us (note: medical experiments made to cure madness by means of col- ours) we cannot logically employ it except enigmatically, every time '*$+ which spring from it, from its peculiar nature, from its inner power, its mystery, its enigma (…).206

„=*="-!<'- "-"R$-"-Talisman&#$/"/-" *`#"$" "-";==!***";-$;=#"-!= $*$!=`"%"O!*-"$$?";`=$-"*$"*";"P Talisman"!"*; "-"R***;/#;;= of nature’s forms-";#]--*[=/!**#$/!`"-mnemonic device, //"]**] "-"R/**<#-=*R!"$"!* !*=*<=#"$*@?"/*<=***=$*-"] !$$]`*";-$=`]*`=$=--*R/!=*!*"] #"$**;\-"$$-"`"/;#];"O$"]

‡%<Ž<< '---*<The Loss of Virginity&<*$*?<q[=\="]"Q--/<"%<|@< „"'\="]"<"& Diverses choses“&*--*<'-<Oviri: écrits d’un sauvage<;- "*<< '- "-"<Talisman Le Talisman, l’Aven au Bois d’Amour<&<*`;!*<q<$/< Q-;R"]/† =!†““```/-"]"“"“$$*“$-;-?"“*$=/”*›$$=œ**-/;œ \==/<Ž‡]< ?"/*<

72 -$=!"-]<**</**;=!"/?*=""`"%[=` $=?;/*]#]]*=$-"<*;<-"!"*]<*`]#]$* ]"*]$*-";\-"$@'""&/**<--*R`"% #$/!**]"='*@?*$=*;=#"-!<#- ""=`";?"M+;"<Q-*$=*;=(** *</***] `!"$-"]*"*=;-"*`*"M`(**= "`"!-!--**'"/;*;+**-;;-*;" --**=-;"*]$-!/*=#-=!"-*;]$=*; ="?*;"[=/*#`*--**;=(**="`# -;;/"$]*=*q!"=-;]@*="*"*$= --*R`"<=# "-"*;|"%;=;$*$`=(**= "*("*$*;q=#;-=(**=@"_q=#** +*%*[=-;]`;;"Q-"$*<*$$"$<`"" *;"=*\-*$;"*(**;*;*_-"!=-==$**$* /"#"$*-;?"]-*ˆ-!*;=$==-;] /q!*;=?`=]*=$-"$*$!*;=!"--; /%*R"!$*=$*q @=-;]=*;<*<+-?*+/**=`"==?"] **QQ;"*/R`=$*$-""*$*\$#`*`!!"!* ==$$*; $q*$Today, two things seem to be modern: the MM# or dream image+"`-;q*;?*+/**=R;=]*= $-"`-;=*<!"$*$!$/<;!$=, the fantasy*;=dream image`-;"-==;=!"/?<= $";*;!"/";`;!$;`=synthetist colour[=%]`";" ]*=$-""?*<;]*//<!"/?<**</*<*"]*; ;"//rêve&/!"**="=/?=";;! *"*$-"*;*=/*`==$$="! *;;*<=**=!=*/**colour ascetism*;synthetist colour***!"$*;=*;]/#/;;*-$=/"% =*;$-"$/`=$=<*="]]"=th century,$**-; -$$-]*=`"%-$=(**="+**<"**;$=>"#$% *="`"%„="*;\"" "=$$-$-"=]=; ;!; "` /" !"*-*$; \-" $/ *;; /* $-" $*$!*(**="$*ˆ-*$O!**=*;$-"P*=?*

'""< ?*+/**=<+-<P#"R@**-*‹O

*/!"*$-"="*;q!"?\-"/`=$=/*]" ;!;"_*[=R"<"q/!<$=*$/!]* *;="$*/"q!"**;/"$-"-!-*;* (**=""/*`";$*#*==-"/(-?/<* /!"*/*;_q!"*/]/!$;#=_-"!**;(**= "*="];$;=th$*-"] @;*/]/"R=<=*O;=#`P$-"$/ "`?*#]=*;R-/*<=q=#*`=$==(-? /;="; #-„==""*<#"=$-"*;*`q!"?*=] `*;=$%*#="/*;$-"*=!**=$-"$=" \="‡]&=/"%;="!"`";*=;"$*= autonomy of colour"„=*"*=‡]*%;=]*= `==$=Q$="/$/=(-?R+=*Die Brücke, *Q-*$=Blaue Reiter<Q-*$=<=`;*=! "-" *;--**("*$=*q!`"#*%*Q`";*#-" $-"R[=`;-#-"$="/$/";""#]=#*;* #]=(-?"=;`;="`=@#"$**;_q!"*/"* =`*=$*-"][=/!"*$$-"#==*"/?/* -*;/*@!*-*=-/**;$-**=#"* $-""/***=$*-"]$;/$"-<=="*=!#`* $*?*;!`!-*!$]#"*$-""/""* "//$"-*;*<=(-?=#"*`";#"$**;<#] **="$/*;>""*#"="**;]`<=];$?"; ;"$!==O!"/?P/*==;"M"-#]*$= \=""`!-*!$M"/*;;"/*†O[=$=-*$*$-"=-; #"?q!"*`!#P;$";Q But is the synthetist $-""$=]-";*;/q;$-"=/=(-?-;”/ =`*\*""]$-"$/<`*]-;`=*]*= "[=`=]=-;]-="/]*=$-"*<"q/!<;; *$**-`==]*=!*=`=*=?$-"]$=*;

*"]="/Q$-"/R-;*(**="=!";[=(""-"*;# *P!**=*;$-"P_„**"?"<Ž\-"$/<*=="=*;< $**-q$!*]*="]=$*-"]`"%/"_*"/*="" ;$-;*=-;]=;/?;`";*/!"*/"\-"/*"=*= )-]=!";Q(**=$-"/R"='"*;R-/*<`="(**=" `$"$;#;"%*;;=*;<#-/=/*]"=;";]$=*;="$-" !"$$#"=q=#**Ž*=q=#*<>*!"< [=;*/*==$$"]*=!`#*;*;$/!]Ž/"$**-; -=!#-/-"*;`";q!"*"*$$$-"$=/`=$=*$-; /"$-" ‡]< (/<‡]<

`";/""-*;$$=/*-"*;/"$$*-; !=$-;#;$"#;*\$!/"!* =-;#*;==%*;*;!`-;#]_""* *=`"%*(**;"]*=$-"<\-"/*";*` !=`=*@q *`%;>*=Die Brückeq=#** "*Q*-_*$%<*=="=*;<"/;=!/"-!* *"]!%*=!/"$="!"*;=*`!/!"*/ *(**;*"*]<"-$=_*$%*;[=<"/"$=/!* =$$!<$=*;=""$/!]/"q!"?#"-=`"% *;!-"$-" =]*=!*!";(-?*;=_q!"*<=-;#*; =<=-=$-"$/`-;#]`"""<$**- **`"/"/\-#/<-!"//<Q*//<@/"$*Q;"*/ $*/!""]"=-;#*;=<$*""]=]*=!<= $$!`-;`=*/*]]*;/?/***";"* !"*;$-"$=/";\-"==*;***=$*-"] *;/=$$*;]*=$-"`"/*="/!- #=$-"*-*/-!"!** *;;*<`==";*]#*$*;";/;"*"!$ /;/!$*@`"-"<=/!$*#**>-`= =/!$*"/"\*&#-*$#]/""`== /*!-*$-"[=/!"*$=*`!!"$=*"`*= *"*$-"M`=*$-"`-;-"*;$@=-;] `q/*<="-!?"];"*";$=;="""/="* ";*//$"!"**<*?-"/"/!;"/<$-*

\*""]`=$-"="**"]<=""/*]="$-"!"$$#;=!-"< $-"!=Q;"*<#-=!$=*"$?;***;`-;*;-;] `* * *$=*=*/$]*ŠQ_;?";Q-*$=*;@;'-*"* *;*?;#]Die Brücke#$/*$?//#"="-!@=Q"=-< Septem*Q?*R&`#"*-=;""`=**=-/"$-""/="`* !""-!*;$""(**;*q=#*$--"#;*=*"**/;[=*/ ""*$=*"-!Les Vingts[=[`*]&*;$?//#"@„(*$=<`=` #$/;*;?$*/!"*-$-"*(**;*;"-"//#"!/ [="*?-"!-"!*;;$=="R-!!"[="/!-"*-!="-! $/`=*!**;q=#**'"#-"`-;;*]$*$;[="$*$"*;M_*$%< (*$=<_*[=<-=‡***;=]-*"*"*"|"*"[=/ <Q%%****; ™">M`=";!;=*/!/<q=#;"="/*!"*=@*-/ @"Q--/!/`="/;"*"R"-!*(**;<=-=`="*_-"!` ";]$//*""!-*/";$""$!"*$!q=#="@` **]<!"$$*;**$"*`=;*=#*$`=*="-!;$;;q=# *;!*;*]*;**=**-(**=@"q=#*[=*%#`*=//#"!/ `"*?"]"/<*;=$/!*$=*;"="="q=#*<`=*[=;"!!; -[="-!R/!"*$*$"*/=**``$"*=q=#*#`**; ?**;"<

75 8. Axel Gallén En Saga (Jean Sibelius and Fantasy Landscape) (1894). Watercolour on paper, 31 x 17 and 24 x 30 cm, The Ainola Foundation. Photo: Hannu Aaltonen/Finnish National Gallery, CAA

=/?*$-"*;/**[=*`/=;-*$-""-;; *=`*!"=-;]

4. FINNISH ART IN THE 1890S

[= -"* = `*= $*-"] !"##] * = / *"-* *; /-$;!";*(**="<;-=?#/*="*"] ("/=!*?`(**="="]=#*`;]""$=; " ;- * ‡/*$/ *; = " (**= " * *"** $"$(**="=!;_-"!*/-$*"/="`*$--" *;!"*;"*;*/$=**"#*$*"-$; *="--!";"-$=@#"_;<*;"=*"* +*$=>"#$%<@q **;="/**;*=-;]<$*"#-; "]/%*(**;#"%*`**=*"**"`"; ("/==‡/*;-"/;*`"*(**= "**";$?-"**!*`"$=;*";$""-*; -"//;#"%="-=*=";$$-*"*$-;*(**;< *;#"-=#-"*"*"$$?]<$"]*!";#]("*$= "„=*";$!*"-"*;`";'"*=<`*=`"% =/!"*="$;="**#-=*-"$!** =;]<`="-*!M&`=;*-"[= ;$;M=/!*"/M#$/*/!"**"(**=" -"*=//"`""*;*'"\//*$="$"$ !***=`""=*;q!"*$*;-=*$]@"-*; ="/?*/"/-<;!$*=/$"*`="!"% #>$?]*;"/?`!*=*?"#]?=#=;"*== "=/==?#*!"*222 [=`;$;=***=$*-"]`"-"#-*/"" ="-=-=";$$-*"@""#;**"`*";**= "`";[="(**=@"R_q=#*!*;*+*%*$#" "%*`=!"$;*<=!"$!*"""*;==`*`=- =-!!"=(**=@"$]<=-?*=*-"*!!* q=#*[=]`*;q=#?"]=*=`]-**;?*(**= "=*;=;"`;$;*"-#`*=$$];/*; $;/$;/=;*"**;=*`$*$!*"]-*"

_;=;";]/;="$#"%="-=*'"*`==="]!**Queen Blanka ]==;"$?;=Q;$*;\*;q=#;**-]=*-/*< 222 Q*";<

77 "[=(**=@"$]`=;;#]=";**;=]-*" *"*==;;!;=*`;=-=/-**/-] $!=@"$]R$*"("=$"$Š/"*=q=#*` !"=*?$"]-"/ *(**="-<Q*";& <?*#"==;*;;=*"$**#>$?] *@"-*;=/;;=;$;<="!`"%*`";= "*;=`";/*=†**"/*$*;]/#" ("(**="=-;]<=`?"<`-!";$*$!O_"]Q;"*/P *$"-$=+*$=>"#$%#*;*="=**"/*$ *"]/#"/?/* [= !*" $-*"] par excellence ` - *!< /; %*`**(**;#]_;*;*$%*`;;/;" **; '%%+**‡Š***&/***!**\-*$ *$=>"#$%<`=<*=< `=!"/***-""*(**; *;?"]$"$;"="O"*P"$=>"#$%RBoy Feeding his Little Sister &*;Convalescent (Prèmiere verdure)&`=$=`!*;* ?<`*=#"*‹/;='"„";("225[=!"/*]-*" *"*"< **;_""*<=;-;;*'"*$<*; %="";$"<=;#$/";*`"-"/@* &=!*;-<*-""`%*`**;-!!";#]_;= "=/;"]-*"(**="[="/?/*`"**; * `*]***]";*;=;*]?;'"`=*=!*;Boy with Crow&[=!**;*?"]/-$=*=/**"-* !#-`*?*-"="#]q$-;*=="‹*[=;*?`"/ #?*;!$]="-=#"-=`"%*=""-*;""/*$* *!-$=q*=="=#*;$-*`==" * $-;=?*"!";-$**@;?*$%"R!"?!**$;/]227 /!"**=(**%!*-$=`=;?!/**'"* "="-=*`!!""$`"*#]_;<+*„"/"$%<=* %#[%%***;="228_;`=/*\-*(**=!"!** -"/*;=`;=q/!*!

">Š"< Q*";< 225 Convalescent&`"!-"$=;#]=(**=@"$]Š***<< *< 227 ">Š"< 228 =*%#[%%**M&#*;=*"*$="=-/]/;"="] **;!*;*$;/$;$!**$==;`"%/*/$"$q!"*=`*$-*"]< -*;"*;#==-*;=$="]$//-*]#";<!"$-"]*="/*!%* $-*"[%%**R*"*$-"*;"/`*=*$;#]="]"**#$/*" [=/]#="*`=]"%'%%+**<"q/!<`"=/="q!"*$ *;*];="=]`|%%"<

78 @-;**'" *`*!R//"""!$? ?"/†

/% < immaculate brushwork. His originality is the natural outcome of an aspiration to paint nature exactly as he perceived it. Art such as this will never be modern, nor will it ever grow old. - - I saw the Delacroix exhibition. Quite frankly, I fail to see why on earth the fellow is hailed a genius. I have also seen the Bastien-Lepage exhibition a few times. Now here is a true and genuine artist! - - .229

@_">'-&!*-<_;-";@q **M<`=$= /-=?/"%* *R;?!/**=`*]"<`=*  *!*;=$*"?"<*-"`"%Old Woman with a Cat, "*] */;Autumn <[-"%-@"Q--/&<=`;*!`= ""!$?q=#*==;>-**'"[=/"*!<] *;$/!*`=*!RNothing Doing (Pas Mèche)<$= *"]<_;*#-"=&""%*-*"=]-*"*"*  *R/!=*="-;-"<$;Q-*R#]_;<`/""$- =***!R$="$"*'" *""-$%-!"*;=!`= =`""@--"*;#"*;-*;==*=;$"*q!-*;;#] =`;=-="-*;"=-;**\-*$
/Œ+";$$"$ "*;*'"*$-;;="`*\"@;/"*#""*;+*" @?;$%*&!*-< *;!;*!R\</;"* $/!*;?$*;#";#"-=`"%<;"-#>$<*/*] =`"%<=/-;$-]*Lost<@*-/@"Q--/<+*%& `="=;!;=$/!**!RHaymaking==/ "-"**$; „=*'%%+**#*=-;=@"$]R"`*$=* <""/`""=!*";-$**(**;(**="=;*; =;*=*"**"`";<"$?*<%_;<*$*!"‹ =**-*;'"„=*+**/;=;#-*=$*$!* "-";;**$-;=;"/<"*="*;/%*;$<" **$<"*RUnder the Yoke (Burning the Brushwood) <@*-/@"

229 @q *$=-/*@!"<*?< '-< (" *ROld Woman with a Cat<‡<Ž‡*#/<Ž" *R$"$*'" *< $%*<M<M

79 Q--/&Ž"="<+**`*;!*`=`$*;"=/ +**R="`"Q<\"*;"*!„;*%*` `=="+**`*!RTired <*"]<&*'" "/"]"!";-$*<#-*$**;;*$/"*+**R" #"%="-=`"%Reapers &*=#==$/!**;=-#>$ "/-$==/==""!$--;`=;!$;[=*] ";"*$*=/;*;$-"$=/<`=$=*+**R"!"= #"=" !; /;& #% * -*=*< `= *! !* * ?"$;]**]?*<;-"*=""!'"+**-*;/; -!!"=`*?`*;""/=/*"/*"**" „=$//*Q<*!*;+**!"/"]==]`" "/"R**;!-*/!=*="-"""/`=$==]$/ *"*]<*!?**;Q/?"R*=!**@* ="`"%/**;-""=`*q**/--="/*]+** `*?"#*;*==/<`=$="-*%=";="-=-=-?" „==;*$;/$*(**;`*;`%-$;/$!** #-``";-"/==]-*"*"*`";"`*@" #*$*$*"*(**=*;$!*;-"!**<-*!*% /;*=="=*;<=$=/*]=/?;*;-;;*"*] *;*'"<=$*"`";"=/<`#"*$*$ ""=/*(**;[=!";"-*;=*;==$*-"] `*;"/*;-"#](**="/%(**;#"%*`** *"**"$"$**"<";$";;*"?'"*= ***=$*-"]]"===*;";"$=*?#= /[=]-=$*$`==$-""**"*=<=`?"< =/*!]'"*"#*`**;`/$=;#]("*$*; "*<`=$=(**="#*"?*='"*?"= "*;;*!**""*`]`$*$"*;` *"/!!"-*"q=#**;""*"@; q/!="!;!"*-$$*'"_;*;$-!"| |"*[=*\-*$*!<=$*-"$q!"**; plein air!**`"=="/*$"$*"#-***;*]* "=/";"-*;=-"*==$*-"][=`!*_-"!* !=*/**`=$==#*-;;*"$*;$; /*]!$`=$=`"$=="$$*q="* ˆ-* `" = $*ˆ-*$ = "!;] $=** /;"* _-"!<

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National and International – the concept of the total work of art

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82 "$=;=\***<%*-*ˆ--"*`==("*$="*; `";]/#/*(**="!"$-"]<*/!"*-*$**= "--!";`="$*"#-*/;#]"/%*(**;#" %*`**=*"**"`";[=/"#"?`=*`!!"$* "*=*;$"";*$=*;="="Ž=#$/ $""/";?";""/ [=!"$$*#*"$*=/"//;"*`=$= ` ; "/ /*] -"$† " ;$?" * = !=]$ $*$< `=$= $=*;-"/=-*?"*;-"!$*Ž=*;-"* !";-$*<`=$="*"/;$*$%*`;*$=*]<$";*` =-/**?"*/**;;"];;*<!;*-!=`=/!< *"**`"/$"!"!`"*;$"-Ž/$/?/* !!<*;!!<$=**="!$*;$*/$;"<"?* */$*"?"="?Ž*]<#"**;;"?*=!! *;*-**<*?"q!*;*<;"$]\-$-*$!`"; /"%[=-==$$/;"*=;$-*"!"*="`*"$= "!"-]*;*=;="*;$"/?/* @="*+"=&!*-<`=!"!*=;**"= /-$$-"*=!-#$`!"?!="<'$";$*$-;;=O$‹; "`/%ž$*;#--$"-!<`/%-";`* =;`*=;<=//"*;"!"?*;==/ $="/*<!$-<*;$**]?#"*P[=-<%Q""*;'$";<" "-; `= ` "< * `=$= = q"*& ` "!;] $=**< $-*=="</$="=;=*"*&#;*"-]="*;† ="*==**"=;##=;*;*=*$;<*];`" #$$/!=;*=q"*`";-Q" ";$";= O$==*?#`==?#

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@";]*;<*=//#*/%=`*#"?*Ž*;`=="$="%_/ -"%=/*("*$*;Qq„#"<*"/*]<=`/*=""$*=$$ /!$=*`$*;=$=*=]!;"";*$"*=!+"=< ?**;"<< "/*<

=#=;Q";$"$*R%$=>"#$%<"<%/;*; +**<=*`"Q*!"* ("#";"!*?`<=-;#*;=#`**;= -"#*!!-*_-"!q!*;;q;<#-=$/"*"-$? `=*q;*!"$-"$†`==!!-*;-#;<=!"$* =$-;#$;-"#*"!;@+"=&"/*;-<=-! `!!-*"`=*$";=!"$//*==" `"="/$?[=$$"*%*=<`=*/*] ="`"#"*<*;$**-;-*"-*;<`=*=]`"*=" *;q<=;="!!;`"%*"$=*;=""*$*] (-"="/"<;!=$//**%**;-"*`="`=< `*=$"]`*<`=$-*;-"#-*";>$*=-"#* $*"<=q!"*$;="*"`==/`"="=O$! $PM`="#*%**;=""?$!"*/-="/;*;"$*" #/;M=`=/!"-*;;?!/*[=$=**=$ `"<=""<*=/%*;-/==;"";$"""/"" *=$*-"]#-=q!"*$=-*`$*"$]#-?";$$/!*; #]-#-"#*!"`<?*`]$/!]*`*O=$"`;P* ="252 $"-$*=#`*=`;"*`";="`=; #-;*`$*$!?*[=]/#$*$!=Gesamtkunstwerk, or total work of art, !-"";(**<<-"/-*#-*;"*;$" /=**`*;-*ˆ-*$*$"q/!`="R-;=/< `="=;`"?"];#;*;*;“"$";#]=" =/@$/!"/`"%`=!;!***;$-!-"† =-<-"*=*<$"/$*;=*;$"_?"]=*`*!";#]*-"*; ";*"%$--"@*="q/!`*"**@"`"-*;* =;/%*(**="#"%*`***"**"*[=-$$;; #]*;q!$*='"„";("_q!*)*?"& (**;``"!"*;*=("R*"**"q=#**;`* ?"/;[="="=‡-*"*;-$=]`!"*;-*;"= */(**;*;=-*--(**=!?*$";*=Gesamtkunstwerk

„/*"=;*="=/**"=!#]q!"*`"*'"Q*]`*;=? =-!!"="$*;*?**;``/*" 252 +"=< (**;";!"="-=/-$[=+*%'=="/*$$]"$="?`$*$" *'";-"*=„";("<$*;-$;#]‡#"Š>*-`=#-=;!-][=/-$* *$-;;'%%+**R#"="<?*+%%+**[=!""//*$-;;#-RFinlandia &<=-=`==$=*;La Patrie***]=‡-*/;< '%%+**"$?;?"/;+**q=#;Winter Sunset &<`=$=`$*;"; "!-"$="=("*$=$$*=-==;;*%!$

85 !""$;$*;"#***;;/"*[=!?*`total work of art<;*;#]="$=$"-*;"*"**<*; ""/=;; $"#] *255Q-"`"%#];*(**=";$"; `*!"$-"<=**!; *Rryijy"-`="-/* $*$=*=$=**"R-;=!!;"@"-<"#* q!*;=""!""*"-$=!",$"/$<*;< -"*-"<"/*;*/`"%@ **=-$]*$-";" #";*="$=*ˆ-*;!O`*="/*;**!**P< =!"$/;*/!"*=*"/%*

My very modest dream is to be able to gather round me a number of < glass, carve furniture, print wallpaper, make ceramics, do metal em- bossing and so on. I would be the absolute ruler and take on as many of my artist friends as possible. It’s painful to see so many of them wasting their time and talent on everlasting oil-painting. (Axel Gallén to Ida Aspelin, 27.10.1896)256

@!"$-""$*=-"#**`=*"**;=$*-"] !=*/**="$//-*-!*/*]_-"!*$-*"257(**; `*;=$*"-$*?""R=/#;*Gesamtkunstwerk *;[]*; '"/q/!$/!`"%"*$-;;*-/#" -;=/#-*=-;*!"*$!=?"];=-;#;*; #]=""#=!";-$=`*#-"@‡?„"R;$" thesis Rakennettu Suomalaisuus(**=$="$"*"$=$-"&==`*<= ;*"\$*\-*$"/?"ˆ-""*'""=;*=- ""*`=-;`"]==*(**;=]=;-;;!$-" _*=$-*"]=-`=/"-"*;"!*"!$*="= /‹*The Studio[=-;=/`";-;+*%<""/= #-]M*;*"!"=!!!"?M=$]@"!""";? $-*!;*-"*;"(**=!!258 [= " "$ =- #; * = !"*$! ` = $-!" _/ „%"/M&<`=*"$;%;#--;=/$;

255 Š"?**Š**< " "/ @% *Š ; @!* < _ @!*+!%] $$*< (**= "-"$]<+*% 257 -/*<P-/>%;>/;"*-!P<Tuntematon horisontti 258 „"<‡?†Rakennettu suomalaisuus<*/?/?-;*?=*"%%=--"> %%?%">-%<(**=@*ˆ-"*$]]"#%<+*%Ž[-/<‡?<_"/ ><>=-??-;*?=Q--/(**=@"$=$-"Ž‡*=<=**†[;< ]?]]</ <q=#*$-+**/Q--/!-#$*"*<"?*!

|?-" *%/%+`*`;#] *<`=Š`#-* ‡-?<*%259+***-"*#-==-+**/ $/!`"%"*%[---"/`="`/-$=" +*%[=!*""**;=$/!"*#-#-=-* [---<$=+***!"*'%%+**`"="*; _/„%"/†O*/]?**!"]"%=\""*!-*=; %-""=#]"$*=/="*"=?*+*%< ==#;?"]=*!"$*;-]G[="R*=*="=!=" *=$*""]<?"]=*`*;="!*"„"*;<# $""-*=*P[=/]"+**/?;/%/*"= +*%<[---`="*`]"=#-/*$*`;"* -;="==$;+**/<"+**=;*;+**R`* //"=#-;*!"$`"=O%*"$"$`"*"*‹] =-#-;*>-=*M„%"/*|?-"< **‡-?M"; =?*"$%"-*;-``*<#$-=;#;** #*%*<*=*;`*=;G&P /!"**=*"]=`"/;"*$//-*!">$`=" `?*;/]//#"/;*/!"*$*"#-*=#-;*< -"*=**;=*;$"[==-+**/=--;+*%< "**$<$/!`"%"!";-$;#]/*]//#"=q*?< $""*;+**/] *R`<*-"*<-;/*]="=-#*;R ;* `? *; /#";" $-=* *; `=** ‡ Š*** &#?=`==*;$"!";-$;#]/;R`<""-; =""$;="=-#*;=*;-""@"=*;$"#$/ =$-!R=";*"*;""-;/!/*;/*]=!$-"`? ;*;#]="=-#*;-!""<`=`Studio/‹*R$""!*;* *(**;*;-*;"="*;$"Iris $"]<*";-$;/;

259 _/„%"/RR|?-"R*%/%="*#-;*#-"*;;`*<*`/*#-;* `$/!;*;!"-;<&@q *<`=*$=*;=*/=(**= "/@%*Š<=;=RŠR#-*‡-?*'%%+**RR+**/R` $/!;*`*"‡*=< _""*=;="$=$)%]"/;*=/-;=/==$;R-?"*R*; `=$=`$/!;*"**;=/]?;="]""-*;-*`=*=]/?; +*%<=""-*==-*]*-//"*;*!$$$*R@*R `==/ *#-*;=`@*[=#-;*$%[---;*;#]="$=$"*$% `$/!;*#-;;@***;#-";*=";* '%%+**_/„%"/+*%+*%)*?"]#""] *"?``='%%+**Helsingin Sanomat '%%+**R#"="@*`"*;$"!*"*;$;=*"$*"-$*-!"?" "+**/[="$-!"$-*@"-$";=;""?**;"!$‡*=< Š***< [""**<

87 =;="="*;$"/?/**;"$//*;;=/= ("*;(**=+*;$""$;?"[=`*/!"*=* (**="*$*#=;"`$]=";?"!";-$* @"=/*]="";*;!"*""*;$"[="R /*;`$"*"/`"%"="!***;$-!-"* `=$==-<-"*=*<$"/$*;=*;$"#*;;"/-*ˆ- =$*[=$=*=_*=/‹*The Studio*;=" *;$"/?/***"`*`;-!!"/*(**=" *"**=`=;-$*;#=*;=""-"$"* ;";"/==*‡-%**;„/Q""*"!$=-!* *;*"-$?*\-*$*=$*?"*/* [="`"="/>"$=**="R$*;!"*$* [=$*?"*$"*;"-"*"**`/;=$/; $"$"$="="$"/-*=]/#]/#* /"‡;!=‡!&*=`$*>-*$-";?!/*#$/ $"-$=!*Ž"=#"*q=#*]/*;$*;= "!;*$"*]/#!-#$*'"$<?"*/*!*"; q=#*<"!"?q=#**?"<;*;$"$-/?*= $;/][=!";"$"-!**;$*=!""?] "*;";#=";*]/;-$**;q=#*@"$* =*(**;`"=@"R$]q=#*;/*";#]" `=$=#**--/*`==-";!-#$*Nuori Suomi™-* (**;&*;Ateneum`"#=;*;#]"*;*$-;;/*]"*; "$*_-"!*"

'!%< ‡-%*!"$=;R!#-]R*;"-;"*`$*/$=$*;=$"??-=*;$" Q""*-"*`=-;*==@"*;\"/?/*<`=$?`*;-$* =**="-="!!;/*](**="<=-=="R=*%*;;*q*; $/<*`;*<#-"="!!-";-$**;**`%** ‡!<("q/!<=*¡¡<`=$=`-*;;";]**;"*= "/*$*;<=$*!=*/***Q-*$==-*;";"-*;*"/=" ‹* @"-!(**=!"$]/*;;"<`""<!*;$;/$$;Young Finland-*;; $"$`=$=*-*$=;*`!!"Päivälehti<!";$"Helsingin Sanomat[=!!"R -*;"<-=*@=<_"_"%%*;@"?;"*<`"]-*";$=;]`=`*;" ;/$"$*;#";?!/**(**=$]Päivälehti`-!!";*=-//" ("/=-<$*"=!q"$;#]=‡-*-="=;/;;"`"%;$-*;= !!"=;-";**$"**-/#"*$*@/*="=*<_;"*\=<_"_"%%< `;/;"/=!**;q;"/(**;```!?=;*/-“!"/**q=#* =/

88 The Kalevala’s nostalgic voyage

-"*=<=(**=_!$Kalevala`-*ˆ-*#]!"/-"$ "$*!"*[=/"`$$;#]!=_**"*; ``"%%!"]<"$--"[=;!*";*"-* **`*!""*;_?"*$=$/!*-"= "Š?*$="*;"=;!*;";=/!"*$]$ !!"$=*;!$*=QŠ?`";R@"<=/*-"*!$*; /]=$?**;="*;$="$"`=-!"*-"<?"-];?*< !`"[=;#$-;*]$-*;=!"#/*$="*= ="$*==*"!=$(""*!"$-"<=%]-#$/how to ;!$=Š?`";*;=!!*[="-";*"=$/!* -";=//*-"/<OG*";"*$/!-=*$]* #-;*<$=**;="/*<$/!"=-;%$$-*`= $*#-*;*`%*`*`"%*;*"$$*P[=$"]/*= =`"%=;illustrate(**=="]<"$*"-$="$< /]=$!#;*#>$*;*"/**=*"!=$$$*272 _q!;* /; Š" #] " *; =*"!=" *; = !*"* "$=/;*=#]=("*;(**=+*;$""=" =Q(**=]R**$*Š"=;"?;"*/***\-*$; #]]‹*-/@"<$/!"*;"$=$"?*;*=!" =*$*Š?/=*=/]$!*;Q;*R==] #?;=;*$q;*;`=$=`*`#?**`*="`"% `*!$`"%$/!"#+/"R;*;$*;R**; `="="|*/**$-;#$/!";@!*;"!=- [=Š?R*$?];$?"]*(**;R!"/?%$--" /"%*=?-"*/*]`]*;;(**="**` !-"Decorative art*;=total work of art`""=$*$!!*;"; #](**;R-"*=$*-"]"<*/"]=`=$-];!$; $*"/=Š?*==#-*;"#`*`==;#* "$]!"""/`"#"%*;`**;<=*%*"**]$? "*;$/!"<(**="*>];!";;$"#;O;*P [=`//"%;#]`;**=`=Q"R$*$!*;*` "!$"";*(**==*;$"@"=`"***]*;

_**"M&`(**=!=*;$$"";*(**="!"]+ #%*`*"$/!*=Kalevala<=**!$$/!;"/**%""!-#=; *& |*;"+?*< 272 |*;"+?*< [=("*;(**=+*;$""*‹*`-*;;**=*?$@="*#"*; /"(**]\=-"#" _"?/<

89 10. Axel Gallén Lemminkäinen’s Mother (1897). Tempera on canvas, 85,50 x 108,5 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Jouko Könönen/Finnish National Gallery, CAA

#"-*;"*;*"-*-"$=*;="!];#](**= "Ž=]#$//";?";$"?/*=%*;*$ "*;#"-=(**="*"**$*$-*#]#=$"* `"%"*;*";-$*#-]*=?"];]*?"*/*-`=- =*"**q$=*="-="?<!";$<!"*;"-"= /;"*`";=!";`-;*=?#*"--[=;?"]/;"* "*;=$="$;?!/**_-"!$*$;;`=-** (**="`="*;"`"?**;-$**;=!#] "?*;-;]**"**"$*"-$='"<"*]<‡/<("*$< Q-*$=*;"*„=-=*;=!$/#*$=;?*$(**= "`-;*?"=?%*!$ * /" #"$ ? $#"* #`* " * ;"* ;< -;"R;Correspondance<;(**="$"="=;*; $"/=**`*;-*ˆ-*/!-$/"//-$*;=„*"* $/!*!";-$;*="]#]‡#"Š>*-M&*%] =/-*;*(**=/]=]275@"=<`=]-**#- M& `= ‹; -!* % !"] =/ *; *="; Š>*-R !***$/!"*=]/!=*$!/<=%!"] Š-"?&*;//*%**&%*$/!]*`%*;Q(**= *R[===]*--/-$`";#-q!";=!`"-*$ *;-*]*$*(**=$--"*;*-"-$=/;$""!*; =!**=$/!");"*;<@q **;;<="R Lemminkäinen’s Mother<&`"*]$;Lemminkäinen in Tuonela< " = $*; /?/* #-R //*%** -  *< Š>*-*;#-`"=-;*//#""-!(**=/*;; "/*`=/!"]</-$*;"?"!!;*$$";*$`== ]/#;[=!"/q/!$#"*`=(**=!?*<= "!""/*$#-RFinlandia*;=`"%=`**=/>"" q=#*=;(**;R"]q$!*]$/!"=*?]277 @*="$-*"%**;!*;*$<"-*;;="`"%*`= `Q*?R=/[=";*"]<"-"!!</]=$=/*;= $*"]==/*;`"]!$]-#>$=]`*;=`<"**$ ("*$R**-*<=*=$!*=_-"!*"`";+`?"<= /"/]=$`"%`"*`]*=-$]"$?;""?"/ =Š?;!$;**-"/**"`"*]""*-;*$ -*;"*;"!!"$/("*$=$"$?*;-*;"*;=

275 [="$="`"%`"!""/;#";`=Š>*-=/$*;-$*The Death of Kullervo *!‹**;Aino*"**& *< 277 /;<

=-#>$`/]=$<`*="$$*<"`"<` =-=;!$(**=<O#$%`;*P$=*`==Q/;"*R=] $-]`*;=`#$/$"==//$!!"$=*-"/ `*="=Q*-R<="=/;";!$*/]=$*""? +**$/!**"=$"$!*?* *R?"* The Aino Myth&278†O[=*?"[="`#;-<*; */-$=;$-" **;-<=-=*-"]=("*$= $*R-*;"*;=/R`/"$*;*?**;`"%="< #$-=]R";P279„==`"%"$?;!""?`*=!"* *<=$"ˆ-!"%;*/!"*;$-"*=!# *;!"#/;!$*Š?R/]=$*""?*=="=*;< +**R"/%$"=/!"*$=$=;$*;*?*" $-*"#*$===]*=;<;=*;$;/$"*=* -`**]=("*$=`=;-*;"*;=/]=$$* "</"!"#/"*$*;*?`=* *RThe Forging of the Sampo&`=`**$%=/*[=-;*$=-= ;!$; " * = " [= /#"* $ ` `"* #- * = (**=!"`$"==]*;;%*`!!"$==" Q=]"R-`=`=Q"=*-R"=Q"=?$#-"]R”"=*` !!"$=/]=$";!$;*$*/!""]</;"*/**"”` *=$$*<$;/$"*-"$/;[=*`"]*-;"* ;]`=$=!";*$**;!"/?"=!"/"]-"$/;"*" @=//<*M<(**="$/%*`'"*]/#/ *;=*`;/"*";$"?"@"=;$/*$*$`== *`/?/**"=">$;=$""/**-"*;#>$? #"?* "] ]/#/ #"-= *` $*$!* = !`" ;$"?"=$*$-*(**="[=!-"-;$"? "<"/"-!"$]<*"*/*]*<`*%;`=;" $"*"=$;?`"/"!"-*;]=*=;#*!#`= =$!]*#>$"/*-"[=/"#"?``=/;"*;= *`!!"$*(**;R"*=*;$"";*";="R "Ž=]#$/$""/";?";""/=#"-=#-]* !!R ?"];] ? ` -*;"; = (**;R !$ *; $--" -**;;"$""*;"$/!"#=*]=" _-"!*$-*"]*]"=;;=]#$/*";*=*`!# =_"]‡**$*;"$=$"`""M!"$-"]=]*=

278 The Aino Myth *?"*& 279 '%%+**R"_""*<'"<"-‡$*<<\@@ Š***<

92 !!"$=!**[=`*=-**(**;*#-$*-; /-$=""!=*/***_-"![`";=*;=***=$*-"] _-"!*"#*q!"*`<!"-*;*"*="-*ˆ-$ !*;$--"="[="`****;*]!"/!; />"\`"***;#*=;!!"*"*$--" _-"![=;#`"]=!;#]=;"*-/#"$-*"" $--"<"$<*;-/]$*;$*/$*;!*;*$ $"==*;=***=$*-"]**/]=$"-" *; ** !$< -$= = Kalevala * (**; " = Cuchulainn *; *"*;*;**;*$*;<#$//>"?=$$--" q!"**;$";/=//!"*"=?"= //!"*"=!";`"%]-"*=/?/*[=] `"%;$""$/;"//$";*;/$$"*; "$;*/>"$=/"$=$-"‡="=*!";-$ !**<=""ˆ-*]-*;"%/*-/*!""///-" ;$"*"*;#$-=$/!$*=!-#$"=; ("=$-*"==;*]$=?;=";"/?"*]#$/ /!"?!"/="-*ˆ-;*$?$--"!"*-*#"%*`== ![=`!"$-"]/!"*"=/***=*"="*<"* *;`"*"*_-"!*;!$]"===;#*$*ˆ-"; *;;?;;#]!`"-*=#-" @=-=`%*`*=$-*"*="*_-"!R#";" -$=(**;<"`]<$*;<"*;<'*;*;+-*"]=;-*ˆ-*; ""$=*$--""**$*="/Q**"??R<282 it is less %*`*==-=$=$-*"]`;*$?=]=;/-$=*$//* @=-=;"$$**$*q;#`*(**=*;+-*"*""=*; $="<?"="$"$*"#-;"]-*;$-/*;]/ *"$**;q$=*"/=;-$**;q=#*!!"-** '"#-"<'"<*;*<"**;|**Ž=-*;***$$* /--/*;""$=*?"*$-"*;%$--"*;="/]=] *;*;"]="]*"-"*;/-$=/--;$;Q**R q=#*$*/!""]"*;*`"/*";"*;"$=$-"* ?"-$/**=Gesamtkunstwerk*;=/>""!];#] **;!]=*"**_q=#**;„";("=!";

==]<< 282 ‡*#`*(**;*;+-*"]"`"*";-"*='"„";("*<*;<"**$< @q *=;$$*$`=!!*=+-*"*"`";(**="=;="`* $***"**q=#**-;!*<*;`"%`"#-="=+-*"** Q--/<"**$ *`*;/;"=Defence of the Sampo&Š"?**Š** <

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“Art is at the crossroads now “ 287

@=/]/#/</*](**="`";!**`</;"* ;$-"<!=!=*;!"$$*=""`(**="="* =?--]#*%*$"="="*‡/*$" ]/#+`?"<`=$*;"*"*=<`=*%;"/= !*?`$-"<=$=**;?*`!"!$?*=$*q *;*\-*$?*=-=="*;*;="$*$`"%"`%*`** /]!**<=#;"*$"/_-"!***"/*$"=(**= ";$;;$==/;"*<]*="/"="/]=$*; ]/#"("**$<=\‹$="@!=*Q-$=*;/*]="/; ]$-"*"/=$-"?]*;;$;*@"-?-`";*-"$ !!"$=#$-`$*;";/"!!"!""=***;$--" $--<"(**="% **;+**<=*-"$!!"$= ;;*-="$*$!=*`"[=]$*$-]$=/"/;"* /;"="Š?*!";"`=$=%"/"/=/*-/*" =!"/?!";-$=_]!**;!$]_"]‡**$"`=$= =]-;;*=-?"*;"*]@;!*O"$=$P$=*ˆ-% /!"*;$-""/#*"$!**<="!";/=* "**;!"/**288 „==$"$
;-";‡;"/=Gazette des Beaux-Arts ;$"#; =$=/!*=*`*"*"*=\=/!;Q"q=#* "?*+"/**'-?;\=?**=/*\-* "*;*$=?"="/*]=/]$`"%– O_?"]`="* =q=#**$*=="/=*"/'-?;\=?***; /=*"/„="P289*(**;"="*";*-"/

#=;#]**"/*$"*<=@"R@$*<;!;";\</"= ='<="`**;==]"-"]/"$=;*='RQ]]!";"`"%*$ ;"]($< 287 |*/;R"\@@ 288 ?**;"< 289 O*;P<Gazette des Beaux-Arts(#"-"]">Š"<

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Art is at the crossroads now, the new representatives of the new art are Puvis de Chav [annes], and Manet. It looks so terrible, all the <@$< contours and painted with one colour. - - A couple of days ago I was in the Luxembourg where they have modern masters. - - There was this painting by Manet [Olympia] it was the same new style like [Puvis de] Chavannes’s but I couldn’t understand it at all. - - If this is art I should become a baker. No one but Enckell admires it. It is this that is called art for the future, it makes me cry. - -“ 290

[=`"==$%;`";=]-*/;`"*<*=$*-*< "=/*?/#"[="$"]=`=`*`"`=`" *\-*$/*]"*(**;;;*%*"/;"?" =!**$/!]*;=*#$/*";*;/""=Q*`"R [="$*?"*/*`";]#=;`=*Q*-_*$%*"; =@$; /-**!"*@"*]$-!/*==`" =/<-**;#]=*`q$*</]$""/`=$==;$*-/;= `='"=/O*$**$!=*`!=!=]<$/!] *`""/=#*#"*?"]`="Ž*=$ <*="*?"] $*?"*P292_*$%$/"=]/#/`/"=*>-*` ;/*!**†`*`!=!=]=`"\$;*=?"- ;"`=$="ˆ-";="-=$=**=#*;=*%* * '"< _*$%< % /*] =" (**= "< " *;; -! * = $*;*?*$"$'"*;=O+;$*;*?P`="+** `?*„"%*=@$; /-*`;/*;**;$*; /*]!**"/?/;</=*`=$==;!"$-"!!" _*$%+"q/*=*'"`"==]*$*"=;?!/* *"†=\;*`*\-*$`$*;"##-#"=* -//"=]-*"`-"*"/;!"**;$%$*;*$ `"-*;=/==!*;=/<#"`**;Self-portrait&

|*/;R"\@@ The Julian Academy<'"[=-;*=!=";"]<`™"%Ž">Š" < 292 '-%%<

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97 98 PART I

99 2. SOURCES OF COLOUR

This great symphony of today, which is an eternal variation of the symphony of yesterday, this succession of melodies whose variety ever X (Baudelaire on Delacroix, Salon of 1846)296

("/=*`";=`"**="\="-;"!`"-] *\-*$;==$="/*]"*;$"$*/-$==/`] =!$*;!"]`"="]/#/*"-"-;";"` =!"*$!=""//*"/"/*$=$`!!"$!!* =*"?`$"$-;/*=]/#Ž297=!'-|"* M&"!";]$"";**=$!$%*;ˆ-;"/-;"R *"?`<!"*=;"!R/*?!]$*†O[= /**&=*]<=]*=G=$";G=*]*;= /!="G!";-$=**=*`P298(`*-;"R;=* ==$#$/?*/"`;]%*`*`==!-#$*/-$= =""]*;"$$"$/`/-$==!"]299 ]/#/"!"*;*$"]"!*=*"$%!!"$= -"/`=$="!$;=/"`";*;;!$;=-/*q*$ "/"*!*?`]/##?;=="R-*$*$- !"?;;$$Q=`";;R<*;=//$""?* =*`"*;=" #*-;"!$;'R;$"*; *;_//*-`;*#"R$""!*;*$**=$!**;!*;

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27. Helene Schjerfbeck Cypresses, Fiesole (1894). Oil on canvas, 43,5 x 62,5, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Aaltonen/Finnish National Gallery, CAA

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/ +**ˆ-*`"*†O„*"R=$;$"*$*;** /%!"*$!-=*;*$-""$#"**"* -!"/*"</-$;"/P@]""<*<=!*Q" M&!-#=;O[=Q*]/#/P*Le Figaro]/#/ `*;<""]*;"$/?/*[=""*$<*?"-$--" !="<`"`;*#"<„*"<_;"@*'<='"‡!=*; „/Q""\"*!/#]=//!"*]/#!<-$= '-|"*< !=*Q"/ M&*;@"=-"‡/#-;M&< $/*$$;/!="[=`;$=/*"/=O$P -"/*;"/=`"*;-*="\$*/!"*/<Q"/ sets the allusion*=;$"!*Ž/"*"]!%*<the symbol is -!*=q$"!";-$*=-"`";[=]/#<$$";* Q"*$%<$-;O#-*$*$-<##"-="=-*#%*`*=!*; **!=/<*;*"]`]"$="#]*;==-=P*= ;""/"]<`=$=;;""*@=-;]`" =`=*`;***//$$-""\$;==$]/#/ [=-=!"]/#"\=*$]"*-=$"? /**"R;$*`=?"];]/;*<*$= $!//#"$;#]"`*$!"$!;#]=*]*;q!"*$ $-""*<"]/#=;`"%`=$-/;*#]*; #?#];*;<#-=;?;==]!";$"!?"""-" ==;#$/=$$!;"=-"`==;*#"=/ [=]*;;;>-*;<$"*;"<$*;**;]*==" *-<#-+"=&*<*=`]=]/#$"]/;= ?*";#"%="-=*formal **#>$?*-=`-;*<* !";-="`**\-*$<-$$;=/***"?`*<Q"/ q!";=*/-$=/"!$`]<""*;--"$`=--] `*="=]"=/†

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To name an object is to suppress three-quarters of the enjoyment of the poem, which derives from the pleasure of step-by-step discovery; to suggest, that is the dream. It is the perfect use of this mystery that constitutes the symbol: to evoke an object little by little, so as to bring to light a state of the soul or, inversely, to choose an object and bring out of it a state of the soul through a series of unravellings.304

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2.1 THE PURSUIT OF ARCHAIC AND TIMELESS ART

**?*colour ascetism*;synthetist colour*(**=*;_-"!*" =#$/$"=="-`""?*="*ˆ-*(" `=-;"*;/"*;$"?<"$=$"<`=$=="/] /*=*$*"Q!/*;_]!=$-;#**=-?" "*=/--/*_-"![=$*; -"$*!"*`/*]= !***;"$_"]‡**$<*!"$-"="*;"$ *;("@*$(**="`="""*=-?"<=/;/"; `"%="`"=Tornabuoni"$*;"$[=="` ("@*$R<Le Calvaire,`=$=`$ˆ-";#]=/--/*"

*(**;$"*"="*<-$=„**"?"<=?*$**$;=;/"*]/#/ #-<=?q!*;=;/"*"@]"**;_]!*""*O**"/*R "*""";*P„**"?"< _!$]*=#"-!*|"%;<'- "-"*;Q-"$*$*;";#$/*/*% -"<< /==;/"*--**;=#"-!`$*$*";*]*="$=$*; "$<#-**=;Q"-$= @"$=$@"<@"$=$œ"`=$=/"$*"$M\"`=$="`=$=!!" ;=*;??`*/<-$/=<@"$=/œ=/*=]*$*< *"]!"="$""*=";*="/**=`=$==?#*!""?;[* !%%->**< --*<*=="=*;<-*;=*$*'"-?*/-//]"/=*"="*@*;&* *!"*$"/$Oviri *;/*]!**[=/*<< Botticelli, Venus and the Three Graces Presenting Gifts*;Venus and the Liberal Arts with a Young man !#]"*‹["*#-*&$<`"";$?";**;#"-==-?"/† Q- ;--?"<@#_q=# ª=!†““$"*-?""“$"*“?”"?œ$"›"/›"*-œ**\""œ"-«& ("@*$<Le Calvaire<"$</† =!†““$"*-?""“$"*“?”"?œ$"›*›"/;$œ*-œ*

*="`*]*;/"=*-*"=";/"; ("q/!<*("*$*=/*"]*Q"$*;$*=)‹ "]*=@"/(**="<%'%%+**<=*$* ‡/*"$*'/!`"=;*==/ [==";!$`;/"*=;Q"+"=/;"*$*$! of historicity#$/!$*"*=/="`=-; colour ascetic!;/";|‹ˆ-‹!"$-"]"=-!"/$=*ˆ- `=";-$;$-"*;Œ-"#"*`=/]$"]#;*"$ $$![=!*="`"/-$=;/";#]
;-";Q*<_- * \"" "*;/Q$„="`#]/*]=""*(**= q/!<Q*-_*$%R*=-/;=/"?!***; "=q!"*$*=Ateneum "?`*("/=!*?` $-"$/<=-$=!*"("*+$M&</-"=- #$%$-"<*;‡/#"*;*="]"<`"%`;/";*;-;; $]"="*-#-!$]"="!"*;!*="!"" „="<Q**;=(**="+*$=>"#$%*!"$-""%*`* =?-;;=""*;!/!"**==;/"* `*>-ˆ-*$!]*=]"/**"=;Q"#- """*=/#]$-"„=";;"/="Self-Portrait* to his last Gold and Brown M&*=!""<#]#=!* ‡/#"*;*Arrangement in Grey: Portrait of the Painter*;#]-* =!‡/#"*;=-*;"*;=;/"*Q"?"<*"""* ‡/#"*;R!#]*/*=`"%Gold and Brown„="%"""* ;"*?<`=$=/]#*?"]/;"*!!"$=@*="`] """*;Q"`-*;"*/*\"" "*;$=>"#$% &;;#]Q#-""*/R<"/"!"$]#]*%*`/?* ="$$!**="-==*$-*<**="`/;"*!**< #>$<-$="/-""$"<`=$=""=th$*-"] *$*=*]*==*=$*-"];;=`"%*;*" *ˆ-"**;$**-"*?%*`;=O!;"*

See Manet/Velázquez. The French Taste for Spanish Painting_;[*""`<"]$/#"<*? ? [=Q"!*Q--/@"<`™"%™)*?"]'"<`+?**;* Några teckningar af Spansk arkitektur*;Brev från Spanien, /%$=!*="$=$-"< *;""/!*&Ateneum, "?`*#""](**;<+*% „="†Gold and Brown<*$*?<<q<$/<*"]@"<„=**Ž Brown and Gold <*$*?<<q<$/<+-*"*@""]<)*?"]` "/*< _- *\"" "†Portrait d’un jeune garcon (Marcel Lacarrière)<*$*?<q$/<@" *-<\=$<$ŽL’enfant au plateau (Élise Carrière)<*$*?<q$/<Q- ;R"]<'"<$Ž+*$=>"#$%Boy Dressed in Armour<*$*?<q$/<@" (-*;*Q"$$*<+*%&

"/

`*=<q? `*=<q?Ž+"=< [=!="#""`;#]`*="/'+"]RThe Go Between+"=< (`< +"=< $-"<=];/";"q/!<[*<Q-"*;=";Q"<#-`=/!"*= =];;*;!="$-""!Q*ROlympia&/]""[*RVenus of Urbino #-=;;*;![*R!<ˆ-=!!

-"$$="#>$=";/"*("*$$;Œ-"#"* $M&*;‡;"-‹;?]|‹ˆ-‹ M&<;"* "/**="=`!*=""@*`%*`*!*= "<Œ-"#"*`<?*;-"*=`*/<?"];"*"/=` "-$=|‹ˆ-‹Œ-"#"*!*;"--#>$**#"$!$< `="*$*";!`=*;#"`*+=;;?!;!$ =**$=*ˆ-`=`=$==$";=/]"-="//;? "-*`=$="$;("*$=‡/*$<Q*<]/#*;"" %"ˆ-*;'$+/*;/*/"/!=;==" !"-]`=$=$;=`=!!"$;$$!-"]*;/;? ˆ-]*!**[=/Saint Francis in MeditationM&`!"; ="-=!"*-$==!*;;$=*#]@!=*Q*<!-#=;* \="*$RHistoire des peintres de toutes les écoles. École espagnole& Q*<*=="=*;<`$"]*!";#]Œ-"#"*`=*=q$-;= Monk at Prayer $M&Œ-"#"*R==]!"-$$"` "*!"*"(**="Q*-_*$%<"q/!<`*$=*;#] Œ-"#"*R*/$Saint Francis in Meditation*;Saint Francis `=$===; **=+"/*'"#-"_*$%-;;/"Œ-"#"*R"`=* ="?;!**_""*;/";=!*=/" *;<*=/*"!=*"*<="="*-;?„**"?"& !"$-"]"Œ-"#"*R/!"*$"=(**=" „="|‹ˆ-‹$*$"*;=;/"*]-*;"*;#*$ =$=*$?="`;]"$*;#]="`";+!"" *!"$-""-*!";[="--q!"**;/!#-$? $/!*/%=!$*;-"/=;"%<?"-]-*;*;<#"$ #$%"-*;[=!]$=$!`"|‹ˆ-‹R!""<$/#*;`== #;*;*$/!"#$=*ˆ-<q!*`=]/*]""`=;$!] *;"*"/=`"%@="=$""*„=""?;"/ '"Q*$=""q=#*;"`=$=*$-;;`"%#]

@]<`%*`<`;/";#]Q*#-*#]==""*ˆ-*+*$=>"#$%< *=="=*;<;/";_"$/***]=;Q"`=`"$//*];/";#]= " <<< ("*$$;Œ-"#"*<$<O*("*$*Q;*M&P<*$*?<q$/< [=*"]<*;*' "‹<
;-";Q*<Monk at Prayer $M&<*$*?<<q$/<Q--/(*@"< *„*"-< _*$%<Q*-<P "$%**"!*%"%%-"P<Ateneum,*#""](**;< +*% „**"?"<M /*"""*$"/*$-"!""#-*"]="R"?"*=*; /!<***]/-!""!**_Portrait of a man<"`*<

|‹ˆ-‹<+*;|"/"[="/;"/!$*„="?* <=%*`*=?;=!-!<=;*;O=#-"-=P@ ‡$=";"/*!*-<*=Harmony in Green and Rose: The Music Room &„="#""`;;"$]"/|‹ˆ-‹†*=$/!q$/!* ==`=-"`/*"\$;*=/"""†!"$]*=/`] |‹ˆ-‹*=!**Las Meninas &@|*$*|*="/"% *=`$="$"$|‹ˆ-‹=!#$%<`=<"]*;!*%

The frankness of tone and the bravura brush of the !*=-" Player and the ]`=`"; recalled the masters of seventeenth- century Spain. Since then M. Manet has strayed from these healthy practices (…) he has taken an unusual fancy to black tones, and his ideal consists of opposing them to chalky whites so as to present on the canvas a series of more contrasting blobs. This manner, new to France, was formerly used in Spain (…) how blacks and whites set each other off (…) moreover, that colour is a language, and they sought hazy, strident, or dramatic effects in order to translate an emotion. (Paul Mantz 1868)344

[="*=""`=""";Las Meninas*=!**<"?; !***;=/*]#*$**$;`=!*="Ž=`<$-"<
;-";Q*[="?*q=#*Manet/VelázquezM&q!"; =$"*=!#`*Q**;!*="@Q*=/;< |‹ˆ-‹`O=!*"!*"Ž=;;*R-"!"/<=*$=*;/P ("*$\$=*&/**Q*RSelf-Portrait with Palette& /*=;"|‹ˆ-‹*Las Meninas#-="Q*%!=* #$%=*@*/*]Q*RQ!*=!**R=$-""/`= !"Ž`=!*;"%#"`*#$%"-*;<=`=!**"*#$%<

'**<<Ž"/*< "/*< |*="*";\/!"<<The complete letters of Vincent Van Gogh<|< [=/*;+-;*<*;* '-Q*‹<O*;<P<L’Illustration<-*<<'"<­-;*/"+<
;-";Q*†Boy with a SwordM<*$*?<<q<$/<[=Q"!*Q--/ @"<`™"%<_"`*?< [=!$=#*-;;="-=]*"="]<*;*M**--"*#q=#* Manet/Velázquez, The French Taste for Spanish Painting=`;=("*$="R*\-*$!*= "@„="`!"*;*=q=#**;*=$-„*#"< Manet/Velázquez. The French Taste for Spanish Painting_;[*""`<"]$/#"<*? ?[= Q"!*Q--/@"<`™"%™)*?"]'"<`+?**;* Q*R"+*"(**-"<Q;";<!/#"<Q*<
;-";Q*<Self-Portrait with Palette&<*$*?<q$/<'"?$$* \$=*<

29. Helene Schjerfbeck Going to Church (1895–1900). Oil on canvas, 70 x 95 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Aaltonen/Finnish National Gallery, CAA

#"`**;`=<?*=!`=$=*]!"]=`*<=*="$-" =-;#*;<=`?"<=*=/`"!*;`=*$$ ![=-manière espagnole*;!*;*$"*!#-` ==];!*;**$*q@Q"!-*;"/&"=-]*< ="-=-=***=$*-"]<|‹ˆ-‹`"#"*Ž!*"*;"*/ %;;"*]="*;q!"*=]*;!*$$";*$`= =$-""*/**"!**Q*R"*;*;$-_;"M &%*`*=?/!;/|‹ˆ-‹R-!*MO|‹ˆ-‹R /-;;*PM?Q*Rq/!@*/!"**#]";‡]& ==$-$"|‹ˆ-‹R$#";"]*;#$%*#-*; **]*$*$!-$=$="$-"<#-*="/*=/"-=- *=/?("="$**=`"/-$=?;#]=("*$=!*" =***=$*-"]*;#]Q**!"$-" @$-]< `= = q$!* Olympia &< = "`"% #] Q* /**;*=-;]$*#*#**=Q!*=*!";`"%) ("/=/"%*=Q- ;R"]RWoman at Her Window, also $;<Angélina &`=$=;!$?"]$-"-%*!*=`/* ==;`"Las Meninas?[=!**;!$]-*`/**!*= ;"`=*<%*"/`*;`Q*=;"?;!**< *;*="(**-"=;/"=;`"Las Meninas-= $$!"#$%""The Absinthe Drinker (A Philosopher)M &`=$=""#=-;"R!/O‡!$%"R`*P*;|‹ˆ-‹R !=!="!""Aesop$&*;Menippus$&@*/*] Q*RQ!*=*\-*$;R`"%=#;"%!*"";-$;$$ #$%<#"`**;`=

_<M`<M<$MM< the white – that black – look how those ribbons are put in. O what a swell he was - -. (James McNeill Whistler on Hals 1902)355

-*;"/<< O#--q*;";|‹ˆ-‹P<*$-"M<?< ‡]< Q*<Woman at Her WindowAngélina &<q<$/<*$*?<Q- ;R"]<'" /† =!†““```/-"]"“"“$$*“$-;-?"“"-$$*=/”*› $$=œ‹/œq›;/‹/›!‹/žœq›;/‹/›!q/;žœq›;/‹/›!#$% žœ"Ÿ($$*Ÿ($-;-?"Ÿ("-$$*=/Ÿ(*›$$=ŸŸ‹‹Ÿ Q*;/";=;`"Las Meninas*="(**-"Q*R"+*"(** -"<Q;";<!/#"<Q*< „="*("*+RRegentesses in Haarlem *-//"?<Ž"/*<

@/*(**="+*$=>"#$%<*!"$-"<=";=/!"*$ ("*+*;=$/;=?"*=-=$-"#$%!$$] "/=-$="(**`"*=*]"#*!";#]+* $**;/"`=="|‹ˆ-‹*;+!"$-"]*„="R" +<<%|‹ˆ-‹<-;==]/*/$-""*!$]*!"" `="*#"$#$%"-*;`-;/!==$*;q!"* =/;+R""$;!!"$-"]*$#*=\=*< `=$="/]"]"#$/*$"*]"]<-**]==;``" !*;/#-#$%<*=/*]!""*= #$*"?")!/*-;/]#*;=<*;;*#$% *;`=<+-;*]$="$-"*;#"`*-/#"&<$$*]";#- *"]*="$-"Q*`*";*;/""+*;$!; =`"%Q*R`"%"/#*=-#$%*;/-;"=$-" @+*$=>"#$%$!;+RPortrait of Dutch tradesman Willem van Heythuijsen & *"*="/="Self-Portrait=!"" Brown and Gold M&„="`=;!*=/?*=** =;*#"`*/"/*$*‡/#"*;[==`=;"!] =/‡/#"*;#-=`=</;"*"<;?!;=`*`] ;!*‡/#"*;R!@=`"/$-";</#*$`"!= -*=*;*"*;*#"`*;"%Q="*R<="";] ?!"*=;""/=?`")*%=""!""Gold and Brown M&`="="R$=`*`<="*Brown and Gold „="=#-"";=?*!"?**=/!"!"]*]= =*;<`=$=*=`<#"**$==!"=`= !**„="R$-#;-;*=;"%**;=]"*$"] *‡$=";"/*&<*=="=*;<==!= |‹ˆ-‹RThe Jester Pablo de Valladolid$M&<`=$=<"/$-" !*?`<?"]$$%*`-;"-=<*=]" ***;*q]"*=`<„="=`*/* "/*=/#**=""$=**<=Q"[=

">Š"< *=`"%Regentesses of the Old Men’s Almshouse& "*+*;"% `< ("*+†Portrait of Dutch tradesman Willem van Heythuijsen &<*`;<<q<*$=< ;*-]#]=#]R „="<Brown and Gold M&<*$*?<<q<$/<+-*"*@""]<)*?"] `<"*'=!ˆ-"/*< |‹ˆ-‹†The Jester Pablo de Valladolid$M&<*$*?<<q$/<Q-$*; '";<Q;";

/!"*!"=!$";#]=!"""*|‹ˆ-‹<#-=/ "%* M *; = / /;"* M !$ = "`"% = $$ ;* #"`*=!`=`=$==`=!**q$-; [="-=-=$""_- *\"" "M&`$**$;="-! "`=`"*!]=/|‹ˆ-‹*;‡/#"*;*= $"$+*"]\$=**Gazette des Beaux-Arts!$;\"" "*=/!* =Q"<*""/?;"/‡/#"*;[=<*?!*/< =/*$="/$#"`*<*/!**"`=$==`/-`*/*] `"*=\"" "R$$"<`=$=#;*;-*] `$-"<--]?"]*;#"`*<$*#*`*=!==; Q"<`=<%=/<`"$*;#]=$=*ˆ-=?*-"/" "/=;"%*#]**]!"]!"?;*=**"$`"** "\"" "R;=<#"Q-"]$**$="‡/#"*;R<O`=; *`=/#;‹‹;#]=;-$?"=?#`";<#- =/*]!*=-P\-;‡"Q"q&$=peintre des maternitiesO/;"*‡/#"*;<ˆ-];$=;"/=`*/<ˆ-] "]*;*!"$**-*--$=*ˆ-*`=?"]//**;= -!"*-"`="="*]`=/"*;$//*!$P /**&<*=="=*;<=?"$*-"]; ";**#"/<`=$=%#$%\"?/>"!"!***; -*;"*_-"!*"`-;"-=\"" "R/=;!***; $-"`?"];"*+;;*-="!=*;=;`#-?"] `!$-"Q"?"<=-#>$;!$-#>$%maternité, the inner ="/*]*;**=-/*<ˆ-=!!\"?[=; Q"`"%*`*\"" ""/=-?"<*;"/="?*_**;< !*<-/<+*;!$]‡/#"*;&]*;`‹"*;*/] !**<\"" """;"$]|‹ˆ-‹`==Marcel, portrait &<`=" =#]R!*;$=<!$]=Q!*=R$"<""=?**= $*-"][=`=!**$==/!;"|‹ˆ-‹[=;"*$ /"*=$=*ˆ-semi-obscurité`=$=\"" "-;"/*`";

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@=<< „==-"**R#"`*"]!/*"`"%%{%|}$ M&<-$=*$*?<q$/<-=/!*@""]+-;#"="!* =""`"%<`=$="\$/"=$="<‡R! *!"*<*="`]("*$<+*$=>"#$%!!;*|**<`="=-;;#$%*; `="!";-$*-"**@!!"*< ‡!< ‡!<

„=/-$==/*;*;"-<=]/#/*!-;*;* ?*;";="-#>$/"<-"**";*"<`=="/]=$< "-<"$*<*;"="=*$*'`"-!*;; */"/"]`=$="‹**/<`=!"**!"* `";"*`*"!"*$="$""/**+`?"<"= ]/#<$-=-!*=$==/"!<"='"‡!= #"=/</;?/`-"=;#$/-*$=?#; [=#$/!"$-"]/!"**$"-*;*$"*];$- -"*";**-"*†*=$]/;=?$=*;? $/!]=*$-;**"O#$%PM*!$"/M#" `";@*;=-<+"=&<*-*;"]*=//-$=]/# art is nostalgia_?*=];"/;!/*;!$*`=$=` /"?#<=]=!;"??*"=`/"/**-Q;$] "$*; * = =*= $*-"] *; * $*;"; < * ` "*]*%;=/$%*Ž#]=***=$*-"]<=`?"<` $/!q"-$-"!]$=$<$<*;!=]$]/!/Q;$" *=;<$*;";$*-`$-/**< $**-;!!"*="]/#/@=<=`?"</!==` "=!";/=?;?!;/"`*=$*-"]!!"$= **$$!#<?**?#/*;*;/$/;"*] ("q/!<=**"=!/***=$*-"]"<-$= ='"‡!=*;]/#<-;#"/;?*;=$"$* $?"="/`=?*"""*$*`==]$*;";/!"< $//-*<*;/"!"-"[="`"%Q?%*/;?/R; -ˆ-*`==""]="-*`"=$;Q-="/ ?"-";"R/P*"*=`+"=&$*"/!"* !**<"/"!"$]="!"$$<`=$=<`=="="""-"*;

+"=< [=/*;*;";*;?$/*`"`‹"*;R/"$*"];"</%* =!"!""/*P*P*/!"*-*/"]!"$;-"+`!"?** #]"/?*"/*;"==/*;"/=;"&*;=`"=;#]*$"$"* "`*=\$;;""-"*=/*$%?&`"=];#;"/"?%! -*"/*-/#""#*%<Ž+"=< ("q/!<="#]@--@!<$;*"#*%< [=$**-;*`"%#]*["!*;=*[="*'"%%"*!"$-"*/`"%<-$=[="* '"%%"REpic Monk<=/=/?<!!"*??-*?"*"?<"%*"/ *;""/;?*;="/*$&[=;"`*`*-"=[="*'"%%";*; -"=*`""_/|"="*R*=]!"];The Monks-|"="*R !"]$*>-";="$!!*=*/<[="*'"%%"-=="-=/<]<*;?* /;=;"`**?-/&?%/=<***=$*-"]"$*"-$*<` $*";*=!"-*;?;-!!;=/!-#$]**=$*-"]$ +"=< `"<-*<On Longing<+"=<

#?-#"-="%<"=-*==]=?#*ˆ-$%]<?* =-"";]<q$-;<`==Q/;?R!"$`=$=?=/!"* `<//;?!"$;-"*=!"="*;;/*;"/ =?`"/";#"**;*=/`*-=#= $/;"*-"#*/&[=-*/*"Q=";-$* /R*;`Q!"-R!"$$`$-]=/*]"*= ***=$*-"]<*>-='"‡!=<=-=="q/!`$"*] **!"*/*]("*$=*;_-"!*"[=!$Q!"- *;*$*!"$$R#$/*/!"*;"(**="[=`# ;$-;"*!" [=" " ` *-* `"" `= "; " ;/" *$* "$[="`-;"<`=<*Le Peintre de la vie moderne &< $//*"*]*"$=$"!`"-]`=$==-;#;/"; -;"</"?"<$$!;M*;;<"$//*;;M=;"`*;!" "/=!"!$?!!"$=-";?!;*$=_"]‡**$ #]*-"$]*$*;"$$*-/*/-$]+ !$$];?$;"-"*=q!"?!`"*;="/*-$ $=?;#]"$=$"="-=#";/**;;"/*†

I want to talk of an inevitable, synthetic, childlike barbarity, which often remains visible in a perfect art (Mexican, Egyptian, or Ninevite) and which derives from the need to see things on a grand scale and to consider them primarily in their overall effect. It is not out of place to observe that many people have accused of barbarity all the painters whose vision is synthetic and abbreviated. 388

@$$";*-;"<=;#"#";/**;;"*"/*= ""$=$$--"M"/*=**$*$/!***;$-"M`" *=-$$-q!"*#"$=-=@=-=-;"*?" ˆ-;<$""]=;†==/!$**;#";/* "$=$";*"=!-"!q!"*"="/*]"<*$<q/! /-$]);*=$**$*<="/synthetic`*=*=" !"!=$<"/#;;=="$<?*#"#"$]*`-;$*"#- ="$="/-$]<=?$*$/!q;*;/*#] //#"`=`#%*`*=$*"]*=$=@=-=

+"=< [=/!"*!$=#*;#]_‹#='">=**The Art of Pre-Raphaelites'">=* < -;"<Le Peintre de la vie moderne<-?"$/! †""< ""<

14. Pekka Halonen Sunday in a Crofter’s Cottage (1894). Oil on canvas, 105 x 97 cm, Halosenniemi Museum, Tuusula. Photo: Tuusula Museum

=""$=$!";<'"/?*;;Q"<`"?`;-;* !"#]=***=$*-"]"`=="%;#$%"""<=]*"!"; ";* ="-= "?? ;$"?< /-" !** [= ="< ]*= !!"$=`;"$;#]'---**;<*/]!**<%""*$ $-""/#="$=$*;'"‡!=""/=#/!"* !„=/!"**=`=/!$]=Q"$=$R *;!"/?"<;$"?*;!"-!`"*;$"]"/==; #$/=;*=]*=" [=="`"";?$=!`""$`="$"$#" @#"@-""`=*`"=/-"$†Le symbolisme en peinture – Paul Gauguin<;/*;*“Walls, walls, give him walls”*=/!"*"$ @-"";;`*=$"""=*`"Ideas<=]/#"`=$=< =$/;<`*];<]/#<]*=$<-#>$?

and (as a consequence) Decorative – inasmuch as decorative painting, as the Egyptians and very probably the Greeks and the primitives un- derstood it, is only a manifestation of an art that is at once subjective, synthetic, symbolist, and ideist.391

And decorative painting is, properly speaking, true painting. Paint- ing can have been created only to decorate the bare walls of human ~- + +/+ picture-making could only have been decorative.” 392

This is art that I have tried to legitimise and characterise, this art that may appear complicated and that some chronicles would gladly call deliquescent, can therefore, in the last analysis, be reduced to the for- mula of simple, spontaneous, and primordial art.393 Such is the criterion of appropriateness in the aesthetic reasoning I present here. Ideist art, $`$$X$ seems so paradoxical to our civilisation, which happens to be both deca- dent and forgetful of any revelation, is therefore, irrefutably, the true and absolute art. Not only is it legitimate from the standpoint of theory, but it is also, in the last analysis, identical to primitive art, to art as it was intuited by the instinctive geniuses of the dawn of humanity. 394 (G.-A. Aurier, Le Mercure de France 2, March 1891)

‡!< @@-""Le Mercure de FranceQ"$=&† @-""<""< +"@-""%=";"#$%-;"R/*""<< ""<

/!"*"=`"*]@-""$*;";]/#"#*%; =;$"?!$@;/"*"*$**;!"/?"$`* **%[=/]"-"$=$*;_"]‡**$"`=;/; "=$/!q]]/#"[=!#!$"*""?<$/#** `";</*;="]<"/*;="]<-*;"-/*q!"* *=;$"?/-""=***=*;"]`*=$*-"`=$= `;";!$$/!$;*""?*;]/#$/*** *;=/`"%[=;;$"?"`=$=/;"*;?# =!-#$`/#"$;#]='"‡!=<'-?;\=?**<--*< =]/#M*;#](**=" @*"`==;*/!"*/!$*/*]"`=`"*\-*$;#] ;/"*"$`--*+=;_]!*"*===/<$* it l’art célébral pur[="!";-$**=`='"-;* "\$="#>$=;/"*†*;)/"R`;$-`"$!] Q*ROlympia,$RThe Birth of Venus<("@*$RAnnunciation, ``"%#]'-?;\=?** /!"**=--*<<"?/%=-"$?< /!*/"$`="*;*;`=;$*?=`-;# #=;";*$-"*;/**=-$==?]/*!-*</?* `]"/=]=**;;;!!$*!*?-";#]= $;/$!*"=;]<$="$"=`"%=***=$*-"] "`=`";"`*q!"=;$"?!$+"=== /=?*#;**`==="/;="Q$"]R<"/ **$/!*$`=";*"-"!"**"]*";-$*= q"//*!-*$-"<"/*;$=*ˆ-="**-*$;= ?`"==""`**-*"]#-"=">-/!*/ *="/; $"=<"/=$$/-"'-?;\=?**--*R ]*=$$*?*;/-"<="*!"*"=""`;/"* "$=$*;_"]‡**$"$[="/`"$"=/]$ *;!"-!"$$*$*"*=$*-"]"`=!*;=true artŽ =;$"?\<`;/**-"$<`=$*-";/!;"/*

[="/Q!"/?R`$;*/`="]"%?<`=ˆ-"$*!***;`= "#"[=$--"!=*/**=#**?;""Primitivism and Related Ideas in Antiquity, $$*"%*;*q*="**;*"**#]@"=-"?>]*;" @**†*|*-"RIl gusto dei primitivi*;?**'"?RLa fortuna dei primitivi dal Vasari ai neoclassici/#"$=< Q"$<">Š"< --*!*;$!]"=/"Q*ROlympia* ?"/*<Ž+"=< +"=<

"`=`=;"$=="/=!"-!"$$;$"?!** `Q-"$*@//#"Les Nabis,*`=*`="<*< `";`*="="="-!+"=$/=$*"=!† @"=*$$**-"<=/-*;**-"`=$=$**/"] #?„=""M="`$;$"?M="=*;*< =@]"*<=_]!**;="%<="=Q;;@*;= ‡**$<*;=;$;;]-!""`"%Q;"*@"<#-=;-* ?-"*M*-"#>$M$";<="/$*;/!"?$*”

$€‚ monks, transformed by the aesthetic sense of a pious people. Again, compare the natural lion with the lions of Khorsabad: which forces us to kneel? The Doryphorus, the Diadumenus, the Achilles, the Venus de Milo, the Winged Victory, these are, in truth a redemption of the hu- man form. Should we mention the saints of the Middle Ages, both men and women? Should we add Michelangelo’s prophets and Leonardo da Vinci’s women?

I have seen the work by the Italian artist, Pignatelli, which inspired Rodin’s John the Baptist, and instead of some banal model, I saw a venerable bronze, the embodiment of the Word in motion. And what kind of man was it that Puvis de Chavannes selected to be his Poor Fisherman, expressing eternal sorrow?

Everywhere those with aesthetic imagination triumph over those who attempt crude imitation, the emotions of Beauty triumph over the lies of Naturalism. (Maurice Denis, Théories, XXIV)400

*"*=`=`$-"!"$$M$-"$$*;]*=$-" M#==";`$**;*!!"$=!$"!"$$`=!";q$ =";†$=?!"-*;="-==!$/*!/*<$*?< *;*/$!"/"[="ˆ-"$"]*;!"-]//"=/ *;?!*]$!"$$de/"=!=]$-"$=$*? /-$=!#*;<<#]colour ascetism"#]synthetist colour *;#]/-*=/!"/*="$<`=$==]`=true painting<=]-=$=;*$#`*;$*/"`";*;

*<¡¡|*| _*=?"**+""*„;"<

=*#`";;"/*;=;?**/]!**<=$=*M`=* =/"#$/!"=$**M`=/**"Q;"*/ *(**=*;<*/$;$-;="<*_-"!*"@=!= -;]`#=<$-"`#*;?!;q!"*`%*;=$ *-*" _"*/#"$==*The Preference for the PrimitiveEpisodes in the History of Western Taste and Art&$;=choice of modes*ˆ-*+% `=="$-;#"-;==**;**$*$‡!=R"" /**"=-;#"";;**/!"$*#-*"*? /;</-$=?;R"#--;*=;"";;=!"/?]"% ?=/!!"!"/;”+"`="=**] =/**%?`]=$*$!*?"]/ /;M=;<*="`";<==$""==$=$*;#] adopt !"$-"style for a particular context@*;`-;"-=<= !*<="`**"]*`!!"$=<=$=$/;<`=$=?" /-$=`;"$!;?!*`*-*;?*$="/=; [=$*-"R;"*Q//$%R=*]"-?"-"`"* ;*"*"**==`=!";=;= ;?"]="[=consciousness of historicity ="`==consciousness of mode`#!`"-"*$-;;*=-;] [=-*#"-=="*="!$=/-""??*_-"! =*;=***=$*-"]"#*q!"*`*"* /*-/* ;$"? $=/ $?"* ? -"$ *; * !** ‹[=*;*$]`/""*%;=**$;= "`-!"-*;=//*/*]_-"!*$-*"[=*;= =$*-"]`/"`";"@‡!&<= *"*`"*;#]=!=*/**-*?"q!*</!]; "/"]*;$*/$/="/*;!*=$/#*;$=*$ !""`==!!"!"*";*$--"<`=$=`!"$?;= !$$q!"*?***Q]=*;*;`-;=""!]* /!"*"*=;?!/***;*[=-*/]=]< "$=]<*;%"=;]%=!<"q/!<*(**="*;

?"/*!*-=!$`=--*#-"?*="*ˆ-*?"/* <=?!"*;=!$*/]/"R=?**;"<< /#"$=< /#"$==`-;#*"*"$="=!=*/***=?"-"*= !"$;*]"_?**="]=*=$*-"]<$=$-;`"$*$"Q*=*-R< *;$/!Q_*=R*;Q("*$=R-Q‹";!;-="*$=""==]/*=`/* *"/-"$$/!*]*=";=?"*The Magic Flute<*;=?*`$/!= =*%?*=]/**=ˆ-"!Q*=];*/;R/#"$=< ‡*$-*"%+-*"]<\‹$=*;'*;`$*;*;"*;=;="**"??

*="@q *`/#/$=/;"*$*\*/]=] `=="]<"=-;`]/"!"$]/*;="][=$*?"*$ /]=]*;"$=$#>$?];!$;*;#]!"** $*"-$*==-/*/*;#;*-*;*="$"-= [=!""#>$?%*`;="";-"*$*$!* /]=]="*;!$</"=$=*$/!/** $*$;$?"[=$"*]!"?;;="]!**`=** !!"-*""*?"***=$?<=`?"</*]" ">$;=?;]*];!$*="$;;*;/#-;/]=`=* *"];"*;/** @"*/*]$-*"/;="/**;?-";!]=!$ -"="**$--"*=";$$-*"!$]<`=`=`* =`";q=#*=$--"q$*;;"!*;"/" ;!]=*#"="="`*$--"'"*-*$;!"$*;*$< `=$="-*;!$$]*!$]-!!";"*<*$-"!! "\$-!*=""*+*$?-"=/*;#==!!< /]=<*;*;=*?*;$!@-]\?&;/*"< *$*/]=/;"-/!=*"!!"*$=-"*=$*-"]<`=* ?"-$==-=">$;=/;"*`";<`=!?"]<;?**; $*\$`=$==;#*=/"*-"!**<*;="%;#$% *;;;*@"*;]$Q;;@]/#/<*=="=*;< `$*$"*;`=%*"=/]=*;]/$]"";*=/* *#>$?/**"[=*``?*"`";/-""$*$;;`= /*];$"*!""//#-;**#=("*$*;(**;("/ =="`"*;;"/*]/>"/*-/*!">$ `"-*;"`]("(**="="*"=*`*"*=;$"? ]*="$$*$`=("*$="*;="`*;/"*"=/-" "'""'-?;\=?**<!"*"*;_;<`=/**; "**%`==="]"`=$"**`?-*-"= /;"*`";+*<$$!`=`=$==$";=/*-/* *;;$"?`"%=;="*\-*$*(**="*= [=$*;/!-"*$$"]*=$-"$=/]*=; ]/#/*;*"*=*$**;"$=$"@]"*;_]! `*=_"]‡**$`=$=#$/=$";""%_*$%< +***;[=[=`#;$-;*/";*!"

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2.2 COLOUR ASCETISM

2.2.1. NEW AESTHETICS FOR MURAL ART – PIERRE PUVIS DE CHAVANNES

I have condensed, assembled, packed (Puvis de Chavannes 1868)410

*]`]""*#"‡=;-*;*!"**=;];"/ @"‹‹*;("*$*;_;`";-"***=?*/;?$=?"]< ("*$=/*<'""'-?;\=?**M&<$*$?;?`"%#; * $/!q "$ =-= ?-] ?%* ;*< /`= *#-- ;*@=$-;#$;"*?]`="$‡/**; ‡/**ˆ-]<*;?*`==Q;;@*;=_"]‡**$@ %*-;*""="$]<==;;!;/!*"$/!* *;="/*-""*/*/-;$-"=#"-=/*;=_"] ‡**$< ?* =-= = $ ! *; `=* = -" * -;*ˆ--"][= !=-"M&`="("*$= $"$*=**??$="$"'-?;\=?**R`"%<#=* =*?*?=*;*"$-*;"$-""**;*=-*]*! -"</"?"<*$*`$*$"*"/-$]*="R=*;** *;$-"+?*-=`";synthetic*;$-*="R$/!*< /!]*;#"/**;/*;!$*;=q!"* #"$=-=-"`"!*;*=`<$*";"$$="$"$

$-"=""="_-"!*"`=$-;#*=""-!=?$=*=q/! #$-="/]*\-*$;=(**=" PR$*;* <"/ < P'-?;\=?**"`*'"$<<

'-?;\=?**R-"*;=;"/%/!="*`=$==] q; ("/=$""<'-?;\=?**`;"?*#]=/#*$" "/-"!**@/ "`*'"$&=`===/ *"$="!!"!"]*;;=/$=$$*/"]`= `=$==/*;*;[=`=$-;=/"/-* =$!"!"/-"[=!$=`"%<=$$*/"]*; =/-"=$M`=$==/?$=*;?"/M`"$*"= ;?!/*=!$-"<;]*$"$/**"=$=*;=!$";/ =/+$]"=*`*"**$-;;==]/*!-; $-""*`="$-"-;`"*;#]Q/="*R="]" /`=`=$=?=/!"*Q"R"$ @-$$-!<*?<!]`"=<*;$""#<-"#$/ *";*"/*$*;`-;"R-!!""*;"*;<*;`=/ ==]-*"!;;$;Flowers of Evil**$*= *-")"?`='")*?"_q=#*==;`"**= #-="/*‹"**;="='"‡!=*-"!"*< =""<==`*?="*]Bellum„"&*;Concordia '$&<'-?;\=?**R"/>"`"%+-*;";==]$*-; ***;!"-""/`"%`=]*;$*"!=]`"";* *-"/

One may say that the real debut (of Pierre Puvis de Chavannes) dates from this year. In one stroke he has come out of the shadow. - - Puvis de Chavannes does not belong to the fastidious school. His mind dwells in the highest sphere of art, and his ambition surpasses even his talent. The very aspect of his two large compositions, -/ and \*$"- ;, challenges the onlooker: Are they cartoons, tapestries, or rather frescoes mysteriously removed from an unknown Fontainebleau, +$$ emblems reminding one of those of the Farnesina? What medium was used? Tempera? Wax? Oil?

One can hardly tell, so strange is the gamut of hues, so far outside the usual range; these are neutral or skilfully muted tones of mural paint- ing of the kind that covers buildings without introducing elements of gross vulgarity and, rather than represent objects, he gives birth to the idea of them.

""< "`*'"$< ""<

In a period of prose and realism, this young artist is naturally heroic, epic, and monumental, as if through the startling rebirth of the genius of earlier ages. It would seem that he has seen nothing of contempo- rary painting and has just come out of the workshops of Primaticcio or Rosso.

The subject of „" is conceived in the synthetic sense, outside the contingencies of time, place, or any particularity. It is the idea itself, rendered perceptible to the senses with a singular poetic power. - - Peace transports us to - - a vale shaded by large trees, irrigated by running water. - - One could imagine oneself in the Golden Age. - - Even its colour is less abstract and more human. - - Flowers and fruit of an excellent colour surround this Arcadian idyll and complete it; the ornamental and decorative sense of Puvis de Chavannes emerges even in his details.414 (Theophile Gautier, Abécédaire du Salon de 1861)

*=""*$"$*;!"]-"$**$'-?;\=?**Q `"%=*<$-"*;"$=*;*""!";*;=/** = q*=$*-"] !$ (**#- *% = " = * **;"$]$-"$="$"$=*!*"`=;$"; -"R**$*;$"?-"$$?;*$*`$*$"*" /-$]*="R=*;***;$-"(-"="/"<=O"/-=";=ˆ-]*@"$;* ;]*Concordia*#=$$*=`"!*;*=`<$*"; "$$="$"$'-?;\=?**R-"<`=?"$*=]/=

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#*;*<*;=;"/%/!="*`=$==]q;"%* =/*#-/""";"" Q"?"<-"!*-=*$*-$-"`=` $-"`-;]/#*=!**[=;==ConcordiaR Q#"$R #"="$-"`"$=*]/#Q/"=-/*R$ *"-**=`]=BellumR/"$$$-"`-;/!== !**Rless human *; more abstract *-" '-?;\=?**R"/>" `"%`"="*`=$==*";-$=!"$-"%*;$$!< $";!$]"/*-/**;;$"?!**M=/-/<!< "]=!M=?=-*"$!**<=couleur crayeuse as Q-"$*$;*=$"$=* *$;$"?/* =;#$/*=/]/#"<=]/#=;%*=" /;=-*ˆ-/*-/*"=;"*"*"<'-?;\=?**< `=$=<="`="$=$"$<=]"];/"; ]='-?;\=?**=;;?!;!$$!**$=*ˆ- to create the illusionQ"-R"$`==-*ˆ-=$%<;"]</!*`= "]=*]*`"%!*;*$*?`=$=`=*$=;=` +/-"$-"`"%];*$=";==-""-*;*"$=$-" -";/-"$-"=-;#@*q/!<*=<!"!"* =*'-#$#""]/-"<=`-;$ˆ-"/!="]?*; ]`/"#-;"=`=#-;**;%$"-!--$"/ +Q/="*R<%!/$--]*$"-$#//";*`"#*&< `"-;="-=-/-"Rq$-**"**=`'-?; \=?**$"=complete work of art*=!**`==?"* $-"*;=`="`"=-""-*;*$*;*=!$= ;$"*/-=?#**"=`"%#*Ž=/]#* ="*"=?"]!!*='*=*<"**$<=" =<#-*$*=`"%` @"<=!-#$q=#*`"/;";$"?$*?= `-;*#*;*=#-;*"`=$==]`"$//*;<=- $*"/*=;/**$/*-/*`"%?"!***=-?" [=-'-?;\=?**R`"%$-;#*"]"-"]*=*+ $""*;<"q*<=`"#-*;-!*=="]=?;$"?

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?"'-?;\=?**R/*\-*$*$!<"(**="< were his famous couleur crayeuse, the dry, plaster-like, pale grey, ascetic and tonal palette which imitated fresco, and his unique, timeless, even static and melancholy vocabulary. These were the principal qualities that were admired and adopted by many Finnish artists.431

2.2.2 TONALITY – JAMES MCNEILL WHISTLER

ŠX $Š+ ‹/ + €~/+X <432

When the critic Édouard Rod from the Œ €X@ described the champions of the new generation of artists in the Champs-de-Mars exhibition of ="/**;'""'-?;\=?**=/*\-*" He recognised the overall harmony of his mystical works. – “Everywhere in the exhibition one can see that there is something from Puvis de Chavannes and something from Whistler.”433 It is interesting to note how Rod connects these older generation artists and also how their tonal, ascetic art had become an inspiration to the artists of the 1890s. These artists could not have been more different in the choice of worlds they depicted. Puvis de Chavannes had his timeless allegorical arcadias and the mystical and melancholic depictions of his easel paintings. James Abbot McNeill Whistler (1834–1903), on the other hand, painted contemporary scenes and modern ingenious portraits, but both painters shared a mutual ambition to control the palette through the harmonious tonalism they created. This musical and harmonious art was of particular interest to European and Finnish artists during the late-nineteenth and early-twentieth centuries. Whistler was an international artist in the most profound meaning of the term; a true cosmopolite he lived and worked in the United States, Russia,434 France and

431 '%%+**`*\-*$;#]'-?;\=?**R$*"!=]`=$=$*#**-$=!** as { (1900) and } (1904), see images, von Bonsdorff 2008, {<<Š, cat. 122, 165. 432 Orientalist Ernest Fenellosa’s artickle on Whistler, Charles Freer collection. Spencer 1989, 366. 433 “Les Salons de 1891”, Œ€X@. 5. February 1891. Sarajas-Korte 1966, 116. 434 He spent his childhood in Russia. His father was employed by Nicholas 1 to build the railway between St. Petersburg and Moscow (1843-48). He began to study art at the St. Petersburg Academy of Art where he was best in his class. Walker 1987, 9-12; He had learned French as a child in Russia. Lacambre 1994b, 39-41.

133 30. Helene Schjerfbeck Seamstress (1903/1905). Oil on canvas, 95,5 x 84,5 cm, Ateneum Art Museum, Finnish National Gallery. Photo Hannu Aaltonen/Finnish National Gallery, CAA

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of modulation rather than modelling in colour, based on a scale established by the palette: “Like Whistler and the painters of the Ecole des Beaux-Arts, Cézanne set out his scale of mixtures on the palette before he started working and did not mix as he went along; this must, of itself, have imposed some conceptual coherence on his rendering of his perceptions from the outset.”484 But what was the connection between Whistler and Puvis de Chavannes, the two artists who worked with a tonalist method? They were not friends but they undoubtedly knew one another’s work from the Salons. Each developed his own particular tonalism, Whistler used his “key note” and his “sauce” to create symphonic works and Puvis de Chavannes had his greyish palette of “mother tones” which were keyed in chords to those of the surrounding architecture. And they both strove to create complete works of art through the control of colour. They both became so involved with their personal palette that everything else, even the subject, became secondary. Whistler’s working /=;=\-;Q-$R*;=Q%]*R`=#=`"%<`=? seen from "%  (1862) to the last work "{ (1895–1900). These artists dedicated much to and few other artists concentrated in their oeuvre on as thoroughly as Whistler and Puvis de Chavannes. This, I would acclaim, was their legacy to future generations.

2.2.3 CONTRASTS – ÉDOUARD MANET

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Looking at (1863) now,486 it may seem unlikely that this painting could =?!"?;;$-"/!*"#=$*/!""]!-#$`<=`?"< = $*;"# ?;*$ -" *; /** * ]/!< `*; #]

484 Gage 2005, 210. 485 P?"! -q/#-""" "Ž;"**/;"*/"¸?**\Q*//**] stil som Chavannes kunde jag ej begripa, den såg ut som en Borgåskylt, om det skall föreställa konst så blev jag bagare. Ingen annan än Enckell går och beundrar den. Det är det som kallas framtidens konst, det är så att man kan börja och gråta. - -” Väinö Blomstedt’s letter home 9.11.1891, CAA. 486 Manet, (1863), oil on canvas, 130,5 x 191 cm, Musee d’Orsay. See image: http://www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html?no_cache=1&nnumid=712

144 4. Magnus Enckell Boy Resting (1892). Charcoal and watercolour on paper, 54 x 57 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Matti Janas/Finnish National Gallery, CAA

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synthetist view”509 which could be summarised as non-mimetic, strong contours, contrasts and a reduced, ascetic palette. In the 1890s it was mainly this bold use $-"<*=-#>$<=";/";"`"="";#]

2.2.4 MONOCHROMATIC – EUGÈNE CARRIÈRE

R +<+ ‡# ‰š–›

Of all the artists who developed and used a palette it was only Eugène Carrière who used the extreme form of <`=$=/*Q!** with one colour’.511 This, on the other hand, was a painting technique which he himself had long developed,512 but it is also an extreme way of simplifying painting which, as we know, interested such twentieth century artists from Malevich to the Minimalists. In Claude Roger-Marx’s (1970) words Carrière was a master whose care for plastic values matched his intellectual preoccupations, and who, thanks to his $, the magic world, the hyphen of which inseparably links the known and unknown, was always intent on the visible world he observed. For Roger-Marx Carrière’s work was dedicated to woman, to man, to child, to the hearth, which is another word evoking so well the radiant warmth of an environment at once physical *;=/*;<`=$=$*"#;?=-*#*-*; for ever.513 Due to his extensive social contacts with so many of the important poets, !]`"=<"<$$"<*;$=/<514 Carrière painted many portraits of his fellow artists, for example {{ (1891)515 and {{“ (1890).516 The critic Édouard Rod saw in Carrière’s art the ultimate protest to “yesterday’s Realism”. We can thank him for incorporating

509 As Helene Schjerfbeck later said, Schjerfbeck’s letter to Maria Wiik, 16.7.1911. Appelgren 1949a, 139. 510 Oulmont 1970, 17. 511 QQ*$="/$R]-;/*!**;*`=`$-"[=<=`?"<*$""$*$ there really are monochromatic works made with one colour. 512 Carrière developed this technique also in prints. See, for example, Carrière catalogue 1996, 212-213. 513 Roger-Marx 1970, 5. 514 Bantens 1983, 129. 515 Carrière, {{ (1891), oil on canvas, 54,6 x 65,4, Yale University Art Gallery. 516 Portrait of Paul Verlaine (ca. 1890), oil on canvas, 61,2 x 50,5 cm, Musee d’Orsay. See image: http://www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html?no_cache=1&nnumid=117

151 ==""*"$"/<"=`*-==-/*-P It is clear that "‡;<\"" "R!""*!"$-""!"*;=/]$-"`=$= \"" "#$//- \"" "=#**%;`==]/#/?/**;="=#* =`**q=#**;==]/#*=="=*;<‡;!= ‡!*;="=?"=-]-*;"*;\"" "R*;?;-]* \/Q-$"""";=/ un halluciné, un voyant, un inclassable \"" "R;-$*;/]$"*;!$]=Q//"R$-"""; =!-"-#]-;"*;="]/#**"$"= ;[=-=!"*!"-/<=dematerialisation of the real #$/ =;Ž!*`"*-"=";"`"%*=#true art[=!"*`";/]"-*;//""voyeur, a seer, ;"?"/-;"R="=`*=!*-*;*/"]"/ =#]$"<#-"/=#]!"$?522@"$"$@@-"" %`$*;"=-*;*%*`;#-#>$?]</]$]< *;*-?]"?;-/]$***;*-**"**-= /!$*@-""R$*?="]'R$*$!"$$*=-"$ -"%*`;@#-;<*;$*/!**"-/**= "$*\"" "@-""""Q//"]=-"$"*;R He connects =/*$=]!`";"/*;="*?!*/!=" `==#]"//#""*=*‡$$*<=]<"!"* =//-#"]<=<;*@-""R!**\"" "`=" `==;-*;";=`q*$*;=!"=/#$-=- ?#*=!**<#$-=!*=-="<*;#$-= %=?`"`]"/O;-*;#"-"]P#]#=**/]"]+ "*"/"]*=O/$;"/P<`="/**"-="+ ?%"-`";]-/*-/<O=*?*=;PŽ=$!-" O/*$=]?*/!;*=/*-*$"*//"]P+the poet of recollections[=$//*#]=$*/!""]-/=*= $\"" "R/]$"=;*;=`]*`=$=="`*%;= =*%*-;"*;='*

Les Salons de 1891‹;-q@"“<Ž">Š"< ‡!< Q-$"<\/<O_- *\"" "!]$=;-/] "P<Idées vivantes<'"<‡! < ‡!< -"<< 522 -;"O|$"+-P<ˆ-;*Q$=-;<-]<Message poétique du symbolisme‹<'" Q=`< ;-"/*<@-""<@#"<O_- *\"""P<Oeuvres posthumes_;&<;-"/*< ‡/]<Q"$-";("*$&<'"Q=`<<<

\"" "R";/"%#";<";<=*<!"]"*!"*-"$<`=$= *?!=-#>$*=‹]<$$!$[=*]$=";`=!*<\"" "R #"-=#"*"/-==;`=*#*M=]= -"=*;"=-=‡"Q"q!$]=O*/-**< /-;;*]!"<`*"/**;$!!!"*$""< "/=$-;*=#*;<;-;</#"<??]#$%/"? *]"="<=$==*;=]#]-$=$"/*"*;"!*%Ž `*;"*<*q-"/;?<-"*;`";=!"=--"</*] $-=-!*;"//"?*=*"]P His fantômes synthètiques,525 as \="Q"$$;=-"</""/=;"%*.\"" "R/*] !**$*!""<*;$!*;=/-QQ"* R!**@* Q*R`"%<\"" "R/]"`$";#]$*"<#-`=$=*ˆ- ?"];"*"/Q*R"*$*"\"" "R<`!*$=*ˆ- --]-;*]`$-"M!]$="/!"#;*#"`**;?"]" #$%*;`=[=$=*ˆ-;?!;`]?"*-/#"]""/ *`";*"*=<?*=-==$*;";]/#"< \"" "R-#>$"*]/#-$=#-/*]=*/*;?"];] =/][=*$=*/*="#;*!"**Q=-/*- $*;*;R*!***="`";<`=$-]Q]/#R*=" =$=*ˆ-`=$=!";-$/#"$?**$$$-"

A mad man, a voyeur, a man impossible to categorise (Camille Mauclair 1904)527

@‡!&<*\"" "R`"%<=$$/=!<* $"$;#]=$*/!""<=`**$!-"!"/";=!*; ="/?/*="-=-"<=!"*$*=!**!$`=* "$*#-"=`-;`=/#;*;<//;]* *;$!]/#$"*<\"" "?%=-"+"] Q--/*'"<`=$=`!-#=;*=Écrits et lettres choisis *528 [=q#"`*/#$*$!**-"<#;**ˆ-?*$ #`*=/*"<*/*;!*"/*;#"**="$*$#]< #*$<]&*;=$*-*%*#?]/#<\"" "` "$=*"*`";=*$!-=*"]=$/("=/< ="`*;"*$#`*!**-""*;$!Ž="!"*;

‡"Q"q< 525 \="Q"$<Mercure de France<@!"<**< ‡!<< 527 ”Un halluciné, un voyant, un inclassable” Q-$"<\/<Eugène Carrière et la psychologie du mystère <Ž‡!< 528 \"" "< #=`=/""#ˆ-;"%$-"-?/*<!-*"] =*;$!;*`]=?""-*;&<*--*;*=] -;="/†\"" "R!**?%*/-$=`==]"!"* %*;/*/*$!"*$[=*#]"!"**`;$"#; #]'-*[-`=*="/-;=`*#"?***= *#%*†

The greatest thing about Carrière, which recalls Rembrandt, is that he expresses or suggests the undercurrents of life – it’s the fact that what he shows is only the visible knot where forces and obscure actions which began outside the canvas get bound together. Or rather, did not begin. For life is not something one can contain within a border, or +$œ + up, in Carrière’s work, the visible is only a grazing of the surface of the invisible. Like rocks that are slowly uncovered by the ebbing tide.529 _?*=-=\"" "R"="=/!"#*"*<=-*ˆ-<< *?!*/<=monochromes arabesques#"`*<=*/!**" `=$==`/-`*/*]`"*=]=/\"" "` "*%;/*=/"!$;"=/* !;Q#- ;?;="=;*"`*=*""`!=\"" "R/*$="/$ #"`*<*/!**+`?"<=;#*;**"!""*]= `"%@=!*"=/<maternité *;*;$!=-#>$/" `*]/#<#-="/*=-#>$`<`=$-"*;"/ @/*=]/*$="/$`"%*$**;#=*;$!*;=-/* -"<`="=!**$";-**$-"*;=#$*? It is /!"**=/*](**="`"$*;";=?#**\-*$; #]\"" "R$$"("/=-<_*[=R!**<& "/==?#*$/!";`==("*$="R=‹]!** In "/*$="/$]<\"" "`*-"=<!**$*?-**] *;"%$-"<==##*==$-"`=$=`="-=`="

529 [-Ž‡!< ‡"Q"q$=`"%O/*$="/"#ˆ-P‡"Q"q<  !;Q#-<O*;-\=/!;Q"P< Gazette des Beaux-Arts<"<-]<! **<< ‡;!=‡!!-#=; Eugène Carrière 1846-1906*<*;"$*]&$- "** ="R`"% =-;#*;=<$=*$]!%*<#$-=#*$$*"?"Rq/**<* !#]>-"/%*=!**<`=$=$-"\"" "-;`-;]=*/ =/*$="/$`"%=-;**#"`**;-/#"#"`*=-;#*;== !**"*-;#-*=;`"% ">Š"<

*;;[=/*$="/$!**<=/q"/$-"$=*ˆ-<` ;!;#]*(**="<Q*-_*$%&<`=<*;<-; #$%`"$-"*;=$-";!!"=Q="$-"R*==" =*;<*="?`=@--/*q=#*<=(**="$"$-"; (""-*%`"%+*$=>"#$%!*;*=*;"] =$$"\"" "*;„="<!$]*="-/"%*; O**;/;P @‡#"/**&$*$-;<\"" "R*\-*$*;=$$/ "=`"%`"#?-];-#*"!"*?*!$ ***=*;"]`*=$*-"][*"\"" "`-;#=?* *$/!?`==$$/="!=<="!-*= ;$*;"*-/#""****R?`<*==="$$-""* `=$=/";;-"*=$*-"]<=#*$$-"*\"" "R;"% !/]/%=`"%/";`=`;`-;<=`?"< "-=\"" "R$-"$$*;/*$="/$"/=`$**-;* ="=\-#'$*;"ˆ-&<=-!"/Q?$=&*;" *==Q*/'$*;Q?$=$-;$"*]*=? ?;;%*`*\"" "R-*ˆ-"*="]`*=$*-"]_?*=-=< =/\"" "R;=*<==$/]!""";=#"=< "*$-"=(-?*;=_q!"*</"$*$;*$=<" q/!<'$RQ-'";R;=?#-*"-*;”@*;* "`";<$-;#=Q*R*;\"" "R$*"#-*/!]*= !q"/`-;$**-*=!"<$$!@*]$\-#/< *=#$%<"]*;`=-;”"?*/"*Q?$=R/*$="/$ !**”

Enckell, Portrait of Toini von Rehausen&<q<`"$-"*;$="$<[-"%-@"Q--/ ?**;"<< (""-< **-O/*$="/$!P**< @**/**\"" "**!"*"'$RQ#-!";R**<

2.3 SYNTHETIST COLOUR

2.3.1 SURNATURELLE COLOUR – PAUL GAUGUIN

Above all, don’t perspire over a picture. A strong emotion can be trans- lated immediately: dream on it and seek its simplest form. (Paul Gauguin in 1885)539

[=-;*!"*$!/!"*/M!**=//*<$!-"*==< !***!-"$-"M`<*=*"/<"*""%* $**$*#`*/**;"/*;"$;#]=/*"][=` %*`*q!"/*'---**;_/"*";*'*@?*`== **"$!*;\*;-"$"";`=*`/=;-* $-"*--*'""'*@?*<"*]*!";#]== =$*;$!<=#*$*$*"****;";-$*?-/‡-*; =/==";/"-!"[=;?*=]-*"*";` -"**!**\-*$;#]!*`;$-*;/;?*;<"*"; /!];#;$*<"*?*<$*-";"/*;/=q!* -*]*$-"Breton women in the meadowBretonnes dans la Prairie<& `=;"*!**=$";*=$"$*!"*"?;?"]=* =--*=;!**"]="]""$=*"*;="];!;= ]-*"R;*;[=/*&$*$-;=-*;"=*\-*$ %"*;!*!"*<--*??;`";\*/<]?* */#]=$"$
;-";->";**"!*"*";R$** */* $=*ˆ---*`==]!!"$?"*";R"*;=;"** =/!]/*]`=$=-;--**=ˆ-q!"=*$ #>$*="-=-;]=-;<"/=!*?` $-"<--*%="`]"/$*#$%$*-"]*;!* =`**;;?!;=$-"$*$-"-"="`";]*=$-" `=$==;/*]`" =-;#*;=--*Rˆ-"*`*-*"`!"$ `=$=#**'*@?**;$**-;"/="*=-;%`=` ="*"-$="$=”#"?"/*&==`*=`/* `"--*;$?"*`*;/;"*"/$";"=?;

'---*_/$=-*$%"<*-"]<­-;**;$=*<_;&<Impressionism and Post-Impressionism, 1874-1904: Sources and Documents<_*`;\<†'"*$+<< "**Q-"$Q*-<Lettres de Gauguin à sa femme et à ses amis<'"†"?"/* < =*<Ž"="/=*;$?"*Q]*=/R</#*< [=/*<

25. Eero Järnefelt Symbolist Landscape (1894). Tempera on paper, 105,5 x 74, Ateneum Art Museum, Finnish National Gallery. Photo: Janne Mäkinen/Finnish National Gallery, CAA

157 #]="-]/="`""-*#*;*#-`=$==; **=*;#/!"**="$*$-*<=!*="=" <-;`";"]<$=$-#>$*;"!"""$$=*ˆ- Q"?"<=-=?"/*q/*=`"%?*=*;--*<= *`!!"$=$";*;!$"=-;#q*;;"*=-;] `=;!;=]*=!

Yes, you are right to want a painting with colouring suggestive of poetic ideas, and in that sense I agree with you, with one difference. I R<œ$$/</ EVERYTHING poetic and it is in the corners of my heart, which are sometimes mysterious, that I glimpse poetry. (Gauguin to van Gogh in 1888)543

"=/]"--*`"%;`=|*$*?*=*@"`="= !*;<"q/!<Women from Arles in the Public Garden, Mistral (Arlésiennes au Jardin Public, Mistral)&`="=$**-;`=/!;-"$ *;"*;*$/!*#-/""/*"]!@"= /-!";="-"*;"*]<'*@?*`="=q!"/*`= $-"\-"=;("q/!<The Yellow Christ&<`=]/#* $-"</"*"*"/$-"*;!* If in Vision of the Sermon =";$-"<!-"?"/*<"="`"%surnaturelle !="<" ‡!!*-<=`"/$-"]/#=*"]="-*; *;$=-*"]=?*<=*="*The Yellow Christ<`==;"* =;$="/]`*`=$==`=!**#-<=]/#* ;/"]";/$/="-=<*;`=$="]!-‹‹;--*Q" !"$]<*#=!**=$";*;"-$***"$";#] =-#>$*;$"*$-"`=$=/!==$****;#"** /*?="`"% [=-;]/=`==*`-;`";emphasis on technique *;transfer to the medium`#=;="-=*;?;-"-$= --*<`=<;-"*=/<*>];"*`*@"%_;" <Q-"$**;'- "-"<*"*`="*"%*`*

?"/*< \!"<Ž"„-]*%`*<< Women from Arles in the Public Garden, The Mistral (Arlésiennes au Jardin public, mistral)&<* $*?<q<\-"]=@"*-\=$ --*?""*]*(#"-"]*;]**'*@?**;#]\="?*;_/ "*";*'*@?*Vision of the Sermon (Jacob Wrestling with the Angel)&<*$*?<q <$=*"]<_;*#-"=ŽThe Yellow Christ&<*$*?<q<@#"=Š*q "]<-<`™"%<*"'-"$=(-*;

;$!<*$-;*='*@?*$=*;=`(**="/;*; +**`=`==";];/";--*R`"%<=*=/=*" "/*;;$"?"?-**="*"=`-*;-#;] --*R*;?;-"`=$=<"/*`";<="/;Q]*=/R=" "/"*--*R"`"Q;$"?R*;Q!"/?R<`=$="#$/ "/!"*?*-";"!!;=$;/$=$= [=#"*"/*;$-"="-=#;*$*-"=#* >-;;"//;"*$"$*`";#--*R//!"*$] =`*=$*-"]*;!$]=?*";"-!;"-*;Q [=ˆ-*"/--*R"?*==`---*R;* "*;!$]$-"`-;"-==$]"/"?-*` "?-**-*]*=$-" *"*--*R]*="=*$;'"$-"]*"$*]" *`""$==#*!-#=;"-*;$=*$*;$*q-*" |>$= "„-]*% *; #" ?"/* & =? #= q/*; --*R $*"#-* = ;$"? "?-*< $**$* = "/ ;?!/* = $ *; ="$ $*q< $= "/ ;"* *† "„-]*%R-;]*"*$#"*`==*"$*"?"+ ["?"`*"*;?"/*`=**"*--*R"-!*; ="$*=$";*=-;]/]/#==/!"* "*"=/;-/M!$]"/=!*?`synthetist colour - *;#=/!"*!"*=transfer to the medium`=$=/* *!**<`"**;$"$/=!";"/=="] *;#]*; @/**;""<--*R;*"*;$-";"?;"/-;"R $""!*;*$="]<`=$=`;!;#]=""]**=** O\""!*;*$

]*=/"/-;#]-$=!/!"*"'---*<_/"*";*;- @*ˆ-*;*-=="`"%"//!"*/_""<]*=/=#**%;`=="/ \*/*;"`=]/#/[="/;"?;"/=("*$=?"#synthétiser]*=‹ "$/#*"/*`<$/!q!";-$&/!]< "„-]*%`*<< [=/*< [="-!"*;*?"/*R#%<*;";;*]"""$=*;$$/!"? $"-*]"*;!$-"<-="-$!"?;*`!**"]"/`=$= $*;"=***=$#"*#`*?*=*;--*<"*`";*/ ="/>"!**<*;=`;""**$=";#*$=*ˆ-</"<*;//"] =];=/!**-"?*-?"/*<

!`"*=*-$=/-*!"-/<$-"<*;-*;„ /=--*`"$-"R**"!`"</]"]<*/=` Q$**$]/!]q$!*/$]R<$-!//;**< /-$;|*/;<--*R(**=!-!<"!""/'"* *-"]O@=?"%"$"ž"!*;*$<="/*`=$=`=; *?"#*-;="*#-P552 ?;*==$-"]/!"; *=*-??<-*//"]`"%*=!**-;"R$*$! !"?;"`=;"$*`=/%!**]/#Ž*= -#>$#-=]/#<==;;**#=*;@*;*/*]$*"* ===;;**`""!"*;#]$-"("q/!<?*"- #]*"$?"/**;/"]";/#]]` *= !=!=$*?"*/*--*<‡!&<*==" =*;<"=*!*$-*;"!***]/#;/-*$"ˆ "!";=@-""`O`*"/;*!=!=]*;$*$P*"* =`!=!=$=*%**;$=*$**?**!**`"* *"`*\="\= *;=#]?/#"--**; "-" =;";]#*O**;=]/#?-"P<!**-=O* #"=/=]/#< "-"`*;=*;!=!=$;$-*P< =?*-=Q-"$*O=!=!=]'*-*;=*"?*= $=*ˆ-*;=$]*=!**"$?;"/--*P@ ""/--*$=-*$%"=`</"?"<=#]== -`"#*;#;#]"

Explaining in painting is not the same thing as describing. That’s why I prefer a colour suggestive of forms, and parable in composition rather than a painted novel…. In painting, a hand holding a handker- chief can express the feeling that gives it life, an entire past life as well as a future life. Since everything is conventional, and happiness and unhappiness are words in French that express a state of things; and black, mourning; why shouldn’t we manage to create various harmo- nies that correspond to the state of our innermost selves? (Gauguin December 1888)555 +"--*q!**=$/!q!""*$"$-"]/#/

""< < 552 |*/;_""*<_@ $"ˆ<-*<O@#"@-""O<Essais d’art libre &<†‡!< \= < 555 @"-*;$/#"<Correspondance de Paul Gauguin<*&‡!<

[=;$""-*;`=$=]/#/;?!;`#;*=!"*$! =-*"]=#>$?`";*=";**!*$!=!=]< *#!!"*$`"*=!"\$*=;?*;<=*]"- "]@*]"!";-$*=!!"*$#]`=$=@-""/*-"/ *;/!"*/&"="];"**$;/$/*;;;#-]& /"]$*-;;";;"/="-=*"=;!";-$;*= !<"/*ˆ-];`*=ˆ-"$*[=-;;*;-#$**# "]<`=;]*;!=]$"/`"%`"$=*;<$*$"*; =/"]!**†*$!**`/"]*Ž=/"?"] q-"*"*=!=;<=/"/!$" -#*$*;">*=!-"!="***]O]/#!**P` -*$=;="-=!]?-*;-"ˆ-?*$#`*=?* ==-*;=?$=!"[=synaesthetic**`!"*; #]@-""`=*=;$"#;`=--*R!****;;=`†??;< "%*;$"!*<"-O?*P?%;**"R/*;--*!";-$; O=]!]!P="-=*=>-q!;!$$*;!$"'** `*?$?;/Ž=""/-#*#"$*("'*-<`=*= ;?*-/;/"-#*$#$/O=]!PM=?"]=$ "/@-""-;*$"$-]*=`]=*#`"; ;*//"="`";

Art is an abstraction, draw it from nature by dreaming in front of her and rather think of the creation that will result from it, it is the only way of ascending toward God, by doing as our Divine Master, creating. (Gauguin to Schuffenecker, 14th August 1888)557

*;;*<?"/*&<--*R"$="$"]//"=/ *;?!*]$!"$$de/"=!=]$-"$=$*? /-$=!#</-*=/!"/*="$<"q/!< =-=$=;*$#`*;$*/"`";*;= *#`";;"/*;=;?*<";?*-*--$=*$"/ $=**;!"$=*"!"*`==$*;";=/**$*;* /;"*/"][=!$"!"$$=;!";q$=";†$=? !"-*;="-==!$/*!/*<$*?*;!"/"--*

‡!< 557 PR"-*#"$*<"‹;*-"*"?*;?*!*‹!-$" *ˆ-" -"< $R-/]*;/*"?"-**$//*"?*Q"<$" "PQ"= <?< "<

=-!-"-;=!$-"#-<"=/<#-]*!">$!** /;";?*]558 *=-//"<`=*?*=*;--*`"*$$*$ ="-=$""!*;*$*;;#"*=""*/*"="/!*;* $#"* * @"< $= /#"%; * ;*$? !""// !$" q!"/*=!*"$*"-;=q!"/*!"$-"]$=**< /!=$]/;"*<*;*-"]O]/#$;=$*-"="**" ?**;"/*;$!<"*;";<--*q!*;<*-*/%#] O***-"P$-";O!-"?"/*PŽ='"-*#-"/**; ;*`*=*<*=="=*;</#;]=/=!** *;**-*$=-!""]=/*;R]?"=]=#;][=#"; /#"=";*?!*=$-"*;=\-;q"** ="**"?*<!"?;*"//;-/"--*RM;!$= !$"=;?*/""]*="/=-!"*-" @"=!**R=*-"<`=!"$$"]-*"*?" !"$!*`"*/$="-*;]/#---*"*"/; = $* * *"$=*?* !*`"" *„"*/;? "#<*`=/<*%!*`==>-=";"/*<=!"-;`*< ==`"!"*=##$"-$#*;=@*[=##$ =/</"?"<#"*/*;$"qRStruggle of Jacob and the Angel, $/!;*"*-!$*'"<*;]*="$* *;;<`*"/;;/""$"qM*;--*`;*]* =M`-;=?"$*;$"qR-"O*/#/=";

558 ?"/*< 559 ""< ­-;*"<"**Q"= <|$"<;&Correspondance de Paul Gauguin: Documents, témoignages, '"<(*;**"'*$<<Ž?"/*< /#*< ?"/*< Q=`+"#*<P[="*'---*RVision after the Sermon: Jacob Wrestling with the Angel,” Art Bulletin<*<!<+"#*;"/*;="/**=-#>$=;>- #*;?";=!"=$=-"$='*@?*

which God sometimes subjects the chosen ones” and, as such, of the struggle of the creative artist with his ideal.564 Not surprisingly, the painting has a highly subjective approach; the priest on the right has Gauguin’s characteristic angular nose, as if to stand for the artist conjuring up the vision of his ideal before the congregation and introducing to it the new artistic tradition.565 But it is not just the spiritual aspect which is interesting in this enigmatic painting. The red colour itself draws the viewer into a strange world that is part real and part apparition and gives an interesting hint. The fact that Gauguin set this work in Brittany, where a traditional local wrestling match merges into a subjective vision of the biblical struggle between Jacob and the angel, was a conscious and deliberate choice aiming to expand the boundaries of expression.566 Interestingly, the *$*$!$*;"*"<*$<=?"/*";#$%"-*;"$ the glow of Breton buckwheat and the headdresses refers to locality. But whereas Gauguin underlines the abstract dimension of the work using synthetist form and colours, the effect is to increase its fantastic and dreamlike quality and still Gauguin’s Q?*R*!$$]$=*Q*;$!R`=$=*;%"$$*** to the work. This kind of dualistic approach is also evident with Finnish artists. It is clear that colour played an important part in the renewal of Gauguin’s art =/!;*"_/$=-*$%"*†

/+“</$+ $%$$‡X‰ $Š$ˆ“`‡_ ‚$‰$ <$ $Gœ+ $ž@+ $< RG/ $<~€X@šŸ

*"*=--*RQ"R`?$/#=$!!"*<?%; by the prisoner Jean Valjean dragging his chain, and the corruptive contact with artistic convention – the “putrid kiss” of the Beaux-Arts and the debased shackles =`";[="R?*]*;*$*;""/-$=-]*

564 Quotation from Delacroix’s invitations to the opening of the Chapel of the Angels at Saint Sulpice whose walls are decorated with his paintings. Sérullaz 1963, 391. 565 In R, Merete Bodelsen tentatively proposed that Gauguin was indeed the priest. The evidence appears convincing. Bodelsen 1964, 182. 566 Dorra 1994, 192. 567 From the English translation, see Chipp 1996, 67; French letter in Merlhès 1984, 248-249, #168.

163 $*$<#"%*=$=*=#-*;=/`==$;=O?q*$ =#-";*/P[=!"$`";*`<#"$*-*"``] ;?!**="!$`=ˆ-"*`$";"`=$=*=; --*R"*;<?*= *?/#""==;"-"*;"*]<--*`""/ '-;-*"?*==*$-;;;$"!**;%$=` `"%<*`=$=`Christ in the Garden of Olives„=*`"*= #"="[= <?*=$%;="--#>$/"*;*%;=; =*`\="*=";*;$-*=">$*##$/; `="$=*"="/;"*ˆ-?*+"/*;;[==;/"* "=`]‡/#"*;<$"q*;='"‡!==;=*;;"- -#>$<#-=;;*`*$**-=;$-**"*= ?*=/**='"‡!=*;=`==""`;$-; *"$"$=/[=Q\="R`=$=?*=;;*!!"?`" "*"*!***`=$=$=$$-"#$/*/!"* !"=/** ("q/!<*=The Yellow Christ (Le Christ jaune)&<--*< *; [=/* & < $*$-] /#"%; * /" /*? *;/#-"`"%<*$**!";#]"*!]--* "*"/;=[" /$-!-"**-/#"*$*`]<;"$; "*`* = ˆ- " /;"* $"] ="-= **-" !**572 _*"*=[" /-"*;/?*"/=$=!*""-;"< --*!*;=$-";\="**;$!=;#"]q!;= O/#-]="*;=/*"]P<=*-"*;=-!"*-" It is *"*=`=/#-]-;"R**O=="*;*` *;="*P/**--*R=-=*;"[==]`* '*@?*"$*#"**=;*$*;`/**"*$-/ =#=$"<>**<`=-/;*<$*/!""]";"*; "*$*;**575

[=("*$=Pq*$ˆ-G/! P†*""/--*?*=<!/#"<Q"= <<˜?"/*< \!"<Ž?/#"[="O'---*<"|*$*?*=`=%$= of Soyez amoureuses*;Christ in the Garden of Olives<<|*=Q--/<@/";/ |*=<†<[Ž?"/*< [=/*< 572 ("="$*?The Yellow Christ&--*;"`;"$]**"$"*"-" @?**=$*-"]!]$="/;`;$-!-"\="*=$"==-**=/[" / \=-"$=*"'*@?*/*?"/*< "< „$=?$="?< 575 ?"/*<

There is no denying that we are the martyrs of painting. (Gauguin to Emile Schuffenecker, May 1885)576

*"*=/?/*"/*?"]*="`=**?- ;=;#*=%]*--*RVision of the Sermon<*;/`"" =?*;/"#`*=`"%The Yellow Christ&*;Christ in the Garden of Olives&577 In Vision of the Sermon=!$"/#* ?;*<`=**$/!"**"*;"<`$-]==*; *; "#""] $-" $=$ /!= ;!"-" "/ ?- #"?* --*q!*;==-;"*Q?"/*R*Vision of the Sermon*";" ?%-!"*-""/*$/!"*===%];-!=-"]`*; "]"*!!"*The Yellow Christ=/*$*?]*""/ `";]*$="@"/*$*Vision of the Sermon"=!**; $-/=="*"*`/*<$-="**;The Yellow Christ*=/`]=/=;`/*`"*=Vision, *`=$=--*-;$$O#"$*P$?=*"-*?** =?-<;!$**q;//*$*$`==$";";"@*< =/$"hypostasis @?"/*&*<*The Yellow Christ<*=="=*;<=!"]* `/*<*/**;"!<";==$"<*; * = ";] $"$ *; [= ?$* * "* ";" #]*; !!"*$#*=`[/*<`/*"?*"=*<`== -";$$??*="-==`*-"**;!=]$**=*578 --*$"]!-"-;=`*??*$=*ˆ-\**</!$*< *;";-$*Ž="%*]`=%]<]/#=-"*\="<*;< *;[=/*&=-;<;!$*=`*"[=*`!$ -*=/=\?"]"\="R*]**-#"!=$`]<` *";-$;#]]/#!%$?Q"#-*;@-""579 But for the \=""<`=The Yellow Christ, The Green Christ (the Breton Calvary)&< Christ in the Garden of Olives&*;Self-Portrait with Yellow Christ& ?;*=]*=$-"*;the transfer to the medium=;#$/?"] /!"*--*[=\<-*/;;*;-*?";]`The Yellow

- "*<*<The Writings of a Savage, Paul Gauguin<`™"%<'"* 577 --*<Christ in the Garden of Olives&*$*?<q$/<\$*="*Q--/ @"<„'/$=<(";/<?"/*< 578 ?"/*< 579 [=/*<< --*?""*]*(#"-"]*;*]*'*@?*<>*;#]\="?*;_/ "*";Yellow Christ&<*$*?<q<@#"=Š*q"]<-<`™"%<*" '-"$=(-*;ŽSelf-Portrait with Yellow Christ Portrait de l’artiste au Christ jaune<M&< *$*?<q$/<Q-;R"]/† =!†““```/-"]"“"“$$*“$-;-?"“*$=/”*›$$=œ**-/;œ

Christ<--*"q!*;<`**;;q!"=*==;#- =;**;/;?ˆ-]"*@=-=<[=/* -<*!"##]`=]`=*=`;*$"-$q ="-;=-=$-"„=*"*=--* ?;*]-;=$=*ˆ-#*=-"$<!"=!;-=* =!/**;?*;!!"*$=";*]`‡*=;+" &=";--*R*;Q;-R=/;-/!** „==$*--*`"$=*"/<="" @`=?"*;"/'=!&--*-;/=/;"* $-"<$##-</";"*<?";*<$;/-/]`<$="/]`<$# ?<*;/q-"$##-*;#"-/-$;\=""*#-</" !"$]'"-*#-*;-"/"*`"=*]$-"--*$//*] -;-*/q;-#-"#$%582 In The Yellow Christ<*/*]= !**<--*-*;=\="-"`=;"%'"-*#-<*=*$* =]``=$=;/*=!**„"/"**;]`"$*"; #]=$;#-=*=="‹**;%]*;*=;"="* `/**=""-*;[=*`*-*"*;=*`/;=--* `/*"`""*"";=!**=/]"-"*]@* =-=<="-"*;!"/?/!="=";$=;--*"/ ==?]#-";*=Oputrid kiss=-q@"*;=;#;=$% =`";P-`-;"-=`$"*]]*=$-"=`"%; =Q/;-/R#`*"/*;/**;"$;=/*"]*;;?* **[=$*$!=!"/?<$";*;!"/";`!"*; #]synthetist colour [= "* " = ˆ- " !"/? !$ *; /*; "/ ] *=;"-*;*=$=**/;"*`";*"*=* =*;="-=-=<=";**!$*;/ ;*";*=*`/"!=!*/*$*-;*;?" q!**†"?;*;"-$-";$‡*;"==;$"#;th $*-"]"-";*`=$=O$$]/$$=*P$$-"";<=O$$ `"*="";*";P="*+"=&;/*"=`=/ /=#$/;"=O$$P$]†`=*`;/<*`*-<*;*` ";*`""ˆ-";=*; $-"#*-*`/!`"";"`* *="*<*`/!!*`*;;*?=/"! /*][=*%$=*$;?*$=$-;?"$/?*=/ !=]$*;#*""#-*;"-"#*!$<=]/#$-;*

+"< 582 < "=<Ž+"=<

*"!*$!!-"]*-"!$#-$-;*];"/-$=*; [=-<*=/#?-$--*<*"$="="-]O!"/?P M=<*/"$<**-"#*$--"M;"/"*]=-= *;$""!"*-"---*R="*"*? $--"*;"**/!$"="=*q!$$"$/„==;!; `==$*;";*?]*;!!"!";*-/"-O!"/?P?- "/<--*R"$/*"";*=„"*_-"!** `=$==`"#*`";#"]""$;-*?"<!=!=$`"% `=-$==`%*`*Where Do We Come From? Who Are We? Where Are We Going?&[=/*-/*!**<$*;";=!*"R O`*;/*P<]!$]!$;-="Rˆ-*<!"*=-= =]/]=?#*=""*<*/]"-]?$?$/!*<; `=/*;]/#=<*--*Rq!***;*/?`"R !**<`"*]!"];$!="#585 --*R"!**$*#*Q=!=$/-"!**R *`=--*=;/!"*+$";=`*]*=$"*??$- ""]$-"`=$=$=*;="-=/"//"#"=";"%"*587 --*R$]`!"-*;$=**=$Ž*`*-*" ??;synthetist colours`=$=/#;;*/*$+?*` /;`=*"$*$""/="-*;=/[=/*]** $#"*`=;"*"--*/*;%*`*;`=/=-= *?"*/!"**_-"!**;(**="

2.3.2 THE NABI GROUP – MAURICE DENIS, PAUL SÉRUSIER AND JAN VERKADE

For the future, I dream of an utterly pure brotherhood comprised uniquely of committed artists in love with the Good and the Beautiful <$ quality I call ‘Nabi’. (Paul Sérusier to Maurice Denis)588

--*<Where Do We Come From? Who Are We? Where Are We Going?&<*$*?<<q <$/Q--/(*@"<* 585 +"=< *"*=@'*R#%De invigdes läraEsoteric Buddhism)$%=/<`=$=; `="$[=!=]<$**--*R=-=*O`="`$/"/<`=`"*;`="` "*P`=$=$*#-*;*=!"$=#% 587 [="!";-$**=`--*R'"*-;*-=;/"*Q"?"< "/=!*?`$-"<*$-;*=*]_]!*"$<!*;$-!-"*;!* `;$-`""*<#;/*]*!"/"]$-"[=*"**$=="q/!=" #*/"$$"*$-" 588 -"<

2. Väinö Blomstedt Episode from the Kalevala, Kullervo Cutting into the Oak (1897). Tempera on canvas, 93,5 x 114 cm, private collection. Photo: Hannu Aaltonen/Finnish National Gallery, CAA

'- "-"M&<`=-;*$;=/?=Nabi after the +#"`#"="=;!"!=<"#/&<=";"-*; "-""= -//"[=*/`$*;#]=!+*"\‹`=;"` !"#`*=`]=!*"/;"?!**prophets of modern art589*--/* "-"=;;!];=Talisman=@$; / -*<`="=`=Q/"R_?"]*`/?;#]=#;**; /$"""*]`"/;<$/!"*'""**";<+*"#"#< '-_‡***;Q-"$*[=]`"">*;#]Š"¡?"‡- *;_;-";|-";[=`( q|*<=*Q**<= +-*"*‹‡!!‡**;=-$=/**|"%;`=>*;= #"-!*Q*=@$; /-**;"=!"/* '-‡**<=]!"$=;=`"%"=*;!";-$*;?- q!"*="R]*=*-"*!"*=$/!="*; ]/#[=]!?;=`]"="]=$*-"];?!/*#"$ *;**"!"**"[=*"*"*;;]`*=] =;*$//*`=/!""?"=/*<=(**= "`=-;;=@$; /-**="_*$%</;*"+** $-;=?/;="*#- "-"RTalisman*;=]*=" =#"-! [= *;"] /* #`* --* *; = ]-* "-" ` ;$-/*;#]/*]-"$ "-"<!";-$="$'"*@$; / -*<-*;"=!--**;#$/=!@-//"`= --*'*@?**$=*;=`"%$/!]*;=!";-$; !**`=$=%*`*;]#-`=$=`/*/!"*$`=* `q=#;*'"*$#" Q-"$*"$$;=;"/$**L’Occident"--*R ;=*

It was following the summer vacation of 1888 that Sérusier, lately back from Pont-Aven, revealed to us the name of Gauguin. Rather mysteriously, he unveiled the lid of a cigar-box on which one could just make out a landscape that had been treated so synthetically that it had lost all form – in violet, vermilion, veronese green, and other pure pig- ments, just as they come straight from the tube, without adding white.

589 !#==*$%*/"#$-O/=/`"#";</`"`*;`" ;!"]"*P-"< +/?;'"<`="=/'---*<Q>";+**;'- "-"<*;"ˆ-*;=$"$ #@"--*R;!"-""=-=<|"%;"?;"*]<$$/!*;#] Q**/!]< "-"`=R/"R<`=/*;=-;<$(=""<\="*<P`=*=@$; / -**;(-*;"‡;!=-*&P<Q-*<Gazette des Beaux-arts<<Ž?**;" <

“How do you see this tree?” asked Gauguin, standing before a corner of the Bois d’Amour, “is it quite green? Put in some green then, the most beautiful green in your palette. And is that shadow rather blue? Don’t be afraid of painting it as blue as possible”. In this way for the X$ with the fruitful concept of the “plane surface to which colours assem- bled in a certain order are applied”. Thus we learned that every work of art is a transposition, a caricature, the impassioned translation of some feeling sensation.592

"-"R The Talisman (Landscape of the Bois d’Amour) * *=* !**?*#];]R*;";M*;*/`"?*;! *]‹@*;$!*?#"*;<"*<";*;-";"*#-<!-"! *;?"/*<$"#"$*=**]Š*;*%]RQ-"*-*;$! "-"?**;!"/#-=ˆ-*`"**`=$=* ;*;=/?/*("**;=-;/<|-";<‡-<**";< |*<*;-** '<`=*!"-*;$=*[="/*< |‘`"/-;#]***;` -!!/*;*#] "-"R*`"* ABC of Painting[=" $!-"=$-"="]q/!;#]=$=-"*`=$==-= =@$;/‡**[=]$=O#PM+#"`"O'"!=PM#$-=] -*;";==]`-;#$"**`"/q!"*]=*;= ;$;="-!`-;!-!#-`-;*\-*$="`"%#=**"; *;|-";<`**#!*"%+*"Q*!$] `**$-*"--#>$*;/-""<*<=!-#=;= $$;="$*;="$`"%-*;"=Nouvelles théories sur l’art moderne, sur l’art sacré`[="Q;"**;$";@"& Q"%\==/&!**-=]/$*%#`* "-"R Talisman &*;=*$*"%pharmakon*; "-"R!** =%]=";**;==""///*;!*;-!=!=* O*P"*=!*$*=$";#"$*"/memory \==/R-;]*$*;`";=/]$/'*-#-;=` -=`]*`=$= "-"R$-"-pharmakon/*$;**; ="**$;/$!"*;"$!"*`#"$" "-" "!";==!***";-$;=/=$*$!=`"%" O!*-"$$?";`=$-"*$"*";"P[="*/]= =[/*`*!*;"///"]-<*$"!"*; "-"R

592 *<_*=*-"< "-"<Landscape of the Bois d’Amour (The Talisman)&<*!*<q$/<Q- ;R"] ‡]<

13. Pekka Halonen Three Holy Men in the Forest (1894). Indian ink and watercolour on paper, 27,5 x 21 cm, Halosenniemi Museum, Tuusula. Photo: Tuusula Museum **`/=]=O";paysageP&<*;/#;;= -"R"/-";#]--*<=!**#$/!`"-/*/*$ ;?$<//"]**] "-"R/**<#-=*R !"$"!*!*=*595\==/R$*$-**"**$Les Nabis"";;=/?**;-;!"??$#-"][=]$; -;ergasterium<*;*;;=""`==*E.T.P.M.V. et M.P., /**O_*!-/</*?"#/!* P*=!/]-"=*;</] `";*;/]=-=&

In lieu of the Cloister I found the Studio, The Studio with all its frivol- ity and debauchery; and while I’m looking to reconcile the teachings of heaven, my broadening knowledge is opened up to a greater variety of ideas. (Denis’s Journal, March 18, 1888)596

$"-$*=`==#"-!<*;!$]`=*< "-" *;|"%;<=ˆ-*"**;!"-]#$/!$("/"] * Q-"$ * =; -"!"*] #"; "- "% " -$= * ?* ";-"<`"**=*#%=*<O™<R*$"]= /\="*!*"<=$#"=/"$\="*]< *$"]P597[=""*;`=!;#]=ˆ-"/]$"("= /"!"-]*$*;"=#"-!="%`*$*>-"-! ]/#""#-*;O!$ˆ-?*P`==!*O"* *;"-/*P598]$"-]$**;/*!-*="/;< #]$"*-#-*$-"*;*#="%*]/#?* *!$<=]/#`"#/%"=`*#/ *;„=*=/*`"!!;="<?`"`"-!!;# "*!";new reality<*;<`=-?"$*$?*=/%*; ==]`"/!]#"?**/„=*;;;=]/# -#>$M;#"]$;/*;#>$=*-"*`"**;; ;=?`"-"="*="/;M""/=$*/!""] `";`/;!#599

595 \==/<Ž‡]< Denis, Journal, 1884–1943<?<\/#<'"MŽ*< 597 [=*/]`\-**;=]-*Q-"$*;;#==
$;-q@"<`="= -;;`==("*$=-"!*"*;="-!=#?"<*;"/=@$; / -*<`="=/;=$ˆ-**$'- "-"<'""**";<'-‡**<*;+*"#" #<`=`=/="-*;;=#"-!*< 598 -"< 599 +"=<

/!"* * = $ ="* " *; =" `"" =? -*;"*;=***=$*-"]/]==;*?*";<q!*=` ;!]$<*;"<*;!$"`"*$"#;**=$$*; !"-;"$***;=`=!"$$*?**q=#;"%*] $`==/"%*$$*/"*$!$*/]!$$ ™=O;?**;=#*<=]"=""?;*'"+;$-* `=**; "-"!*;=/`";!"-?*"

q*;<Ž(#?"<-$*<Le Problème de l’incroyance au XVIe siècle: La Religion de Rabelais, '"<-&Ž?"/*<< *'-?;\=?**ˆ-=$ ;@"("* *;#*=`*=*= $ *;-q@"<`=$==`-*;*//#"‡!<< ‡!<

$"-$*="=#"=ˆ-*sacred art` /*<#=*="]*;!"$$**|"%;<`==;$*?"; \=$/""?*="-=]<?;*;$*##]*-"** =-!!"*-#[="(=";"-*‹=;*;/*$`"%=! ;*;!";-$;$"?""*;$*#=/**‹<`==; "*;*"*Q-*$=<-=#==O$**P"-"* `=$="$=$-"<"$<*;-"$-"*=*`"$*$?;*"/* ?"!""//"-Gesamtkunstwerk+-"$*$-;;"$=$ "%"*;_]!*"<`]‹**"*;#$"/="] ;]\="*]+/!];/=/$"*=!$*"-$]/ !"!"*="\$;*-/"$]/#//**;?* ="/*]*‹R""$=`"!-#=;*"/***;"*; *("*$=#] "-"*|"%;<*=="=*;<`"%;*; *‹*?"!">$<*#]!"$!**=;$"*$=!= ##]*#"<'"-*?**'!*"//#";|"%; ]-*/*`=`*;O"??="-$";!**=\="*"P `=q$-*=""$"=("*$$**(*=-//" @"*"*=/*"]<|"%;"/*;*-$=`==#< *#]q$=**"-=$$*;"*`=**; "-" |"%;"`"=//"Yesterdays of an Artist-Monk & *#";**=="$;*$-;"*!"$*] /;"*"<`#**$-*"!=*/*/;#]=$-"/;= ?*";<-$==`]'"**;\=$";*/]*;*$? **$*q=?=!;;"*%*;"R"$!?]""*$ ;/*;#"$**=?"/*&=#**"-;#] $""*#`*/;***=$*-"]\=$"/**;=;** #"$*Ž*"*=="*-*;!"$$#"$* /"#`**;`=*'"*"$"$`=$==";("*$= /*"];-$**`=$=-!"*-"\=$/<;'*/< *;?*";]/#/$/="*;]*/$$--"/q[=*%" *="$*"/*=$#-="*""*=*#*$;*ˆ-*< *"=="-"**!"$-""#**$"!";**] ="";$#"%"/*-"/[=!*"_;-";|-";<"q/!< *;;Q"/*"]<`="=-#/;"/*=-"]!"]" =|"*Ž=`""$?Q"#-`$=;#]=-Ž@--‡;* !*/*'"/*"][=*"*"**;?"*`=*("*$=

'!*<Ž‡!< ‡!< / „#"";|"%;<Yesterdays of an Artist-Monk["*("/="*"/*#]=* ;;";<`™"%<'<Š*;]*'-#="<)@

\=$/<`="=";=#*`";**;="`";*< /-#!$;Ž=]$*#";`==*-*$*;="$$/!q] =$="=?=`**"$*"-$*$/#?*$<=*/"%" $!"$!*<*;*;";-/!*?*";!*"*;=" ?-"/ In his | ‘ Q-"$*;=`%*`* ;**`=!**†

It is well to remember that a picture, before being a battle horse, a + with colours assembled in a certain order.607

*!$]`"/=-*";*=?"-;"„=*<* <*";'-|"*RSagesse<*!";#]=!/<=*;$;; -"=#%[=`;$-";]=`;$?</!;"/`= ==]!"-O/#";"]"#ˆ-P*#$%*$/!"*`==" #"<*=?"];*$?]*;!$*]*= $-"#"`**;"*`=$==-;*="]!*** Landscape with Green Trees&*-=/%*;!"$*?;-" ==;;*=`;$-Sagesseˆ-$"==];!$" $=*ˆ--;`/-$=!*"<==]/!;=!<#;" $-"<*;""-*%$-#]=;=!**`=;"%"$*-"[= "<`=#"]-;<#$//!"-*%"*?"-!`"; [=$*;"#$*/]/**;=$=$|"*"**`= $-;*;#-%]$*"$"*/]"]*;"/"%#/;"*]*= `"%<`=$=`*-*;";*;!"?%;/*]="$*;-"*= "q=#*„=**;!$!"$*]-*"<?;* !*%?"*$-"*--*RMiserables&<*"#$="= ="/]$="**=-"=/?;`]"/ ="-!>**="<`*!";<!$;#]*;`;"%#-``=$=

[="*/*;/*;'*/=$="]-*/*='"]$ \*;"$ =*$-;;|-";*;Q-"$*!"(‹_;-"=*R;"*<“Vision and Visionaries: Nineteenth-Century Psychological Theory, The Occult Sciences, and the Formation of a Symbolist Aesthetic in France”<'"*$*)*?"]Ž?"/*<< *< *< -*< Denis, Landscape with Green TreesLa procession sous les arbres, Les arbres verts &<*$*?< <q<$/<Q-;R"]/† =!†““```/-"]"“"“$$*“$-;-?"“*$=/”*›$$=œ**-/;œ *<

/"%<*=$`=*<=!"*#`*``";M= $-"*;=$";<"=]*;$*"*=/*]"R ?**;;"/"!$;;!*;Q$";"?R<*$;*;*/ *;$!`="$"$"/*]"/;?$*$`==!"`"; %*!$[="-==""*$="`;*<=";!$;= "*;*-"=!!=$-?;*;/;#]/;"*/*[= "`*"*ˆ-*;!"-!$("/*RLandscape with Green Trees<"+*"]*;_;`";@%**+"*RThe Druids Bringing in the Mistletoe<Š?*"?@""]*;Q--/<`&< *;--*RVision of the Sermon&"R*"$<*/$?*" *!$;`=*=/$"/"" [= "=]=/$< ;/** $/!* = " "-*% " * *="*R`"%-$=The Orchard of the Wise Virgins&*;The Muses&*$=$*"!$;*/]"-""** "$=";;*!!*=`/**;!**<*;!$= --"`Q"=$*"-"*=Orchard==/=q!$* ==-#*;*;=$*$"*/""*"";#]/*]]/# Q;?*;$*/!?<Q"=!!"/>$]*=""-*; =;$"?*;/*-/*ˆ-"!**=#*;*="#%= !!"$===-#*;=$**#-*+=";"<`=<";-$; *;!"$$]=;;*#]="*="==*;$"*"<$"=#$%"-*; *;$!;`==/"!$*"/**]`="=] ?;[=!;=`*;==?"*Q<†&-!"/!; *=""*$$=?"][==?"*"==/#="*= #$%"-*;<`==`?"*Q"=*/-!"/&<=]`=%*` =`!"!"<O*$]=/?P<"=/""<!"#=$*; $/*=\="M!"!"=/?*Q"*hortus conclusus!-" *;!"$?" [= /]$ -""-*;* " * The Muses &< `=$= ;] !"##]*R#%*`*`"%*;/#/$=`"%;-"*=#]" @*'--*&-<=!**""'-?;\=?**R The Sacred Forest, Beloved by the Arts and the Muses&*#=-#>$*; @"*;*-"<=/"*;=!"-M==/`=]!"* *;=*--*?"„=/*-/*"*=<ˆ-"""=/=

[=!$?;**/*]";$"R`"%*!"$-" ?**;"< Denis, MusesLes muses<&<*$*?<q<$/<Q-;R"]/† =!†““```/-"]"“"“$$*“$-;-?"“*$=/”*›$$=œ**-/;œ '"]<

/<=`"%!/*R=$=!";[=/*-/*] $";#]*"!]`="=*=""-*%$*";`==$-"?] "#ˆ-=`/**;=#"*$=`=;$"??@=$-" $=/**"!]`=;"*]*=*`"/#"`*<"*< ]`$*";#]$;"*!/-?<'"-*#-*;-"ˆ-[= /-$?"="/*]$";`=*"?=-=*;***?? ]*=! [=#"`==;$*$`=(**=*;`;="-;'" `" "-"<|"%;*;**|"%;"?;$"("*$`= =*=Q**M&„=*"*<*;*%*`*-; (**;<= "-"*;|"%;/=(**=`""-=*@=*;= "`|**];*";*("*$*;*="*?`"" *?;%!"-"**q=#**+*%*= "-" *;|"%;$**-;=";$-*"*$""!*;*$`==(**= "$-!("/="?;*=#==/`"$*?*$;= *`!"-*;;$"?"`=$==]`*;$*?];*"; *;%;`=="==;$=*;="]<]*===-;#*;* $!]**-"*--/* "-"R*;|"%;R]*=`"%`" =`*=q=(**=@"Rq=#*[=]$=q=#;="`"% *;=!**`""$?;$-"-<*?*;*$/!"=*#*$"$< =`?"<`=O=`"%=?/";`=*$*"=*]/#/ ="#=""*/!/=;<`=/!$-"**; "/Ž=$/!/*"]=$-"`;%=!$?"]=* @"=q=#*|"%;R`"%`"*\!*=**`= =!;|"%;=;!"?q=#*`=$=<$*""]=+*%q=#*< `-$$[=q=#*`"?`;*=*=]/#!";$ Taarnet`=-"**;="$q!*;|"%;R;*" Taarnet ``;]";/*(**="<*;@q *"*%*`* =?$//*;*="$[=$=`=`=*`;!"; *(**;*;=`;?"=-"$]*="`"Ž"/"`"%=`* *+*%"$<!"*$*$*;$""!*;*$/!"* *="$q$=*%!$-;='"*"$**;= ;*]*=;$"?";;*$/]"/--*#-"/ =*"**;$!

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PART II

3. COLOUR AND EARLY MODERNISM IN FINLAND

An artist can be a cosmopolite – and still always be national. My roots are here in the North. Of that notion I am not afraid. From all the /< (Helene Schjerfbeck ca. 1918)620

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20.Pekka Halonen The Lynx Hunter (1900). Oil on canvas, 125 x 180 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Aaltonen/Finnish National Gallery, CAA

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The time has come again to search for something new, which is likely to become the art of the future – the appearance of subjectivity for the most part. Mock Fantasy no longer. It will once more be euologised (Väinö Blomstedt to Eero Järnefelt in 1894)643

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„="†Gold and Brown<*$*?<<q<$/<*"]@"<„=**Ž Brown and Gold <*$*?<<q<$/<+-*"*@""]<)*?"]` "/*< \"" "<Portrait of Leon$&ŽChild with a Plate (L’enfant au plateau, Elise Carrière)&<* $*?<q$/<*; L’enfant malade&<*$*?<q$/<Q- ;R"] P*>*--=%/>%-/*>--"-?--;**!M-#>%?--;* *]/**/--"*//"(**!%@%%=--*"?*P |*/;R"_""*<_@ =-;<*?"=<#*;=<"=/>"](**="<]/#/*;Q]$/*;; /**"!"--;"="=*!""//;">$*="*";*-"/ *<Ž"*<

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">Š"="/=-$*;";@q *]/#"">Š"<¡¡Ž ">Š"< ("q/!<+-/#"<;>"*$=*‹*;Q"„%$-;#-;;*=$*q#-*$ =""/*]<*;%!=-;]*!"!"*<=?;$;;$*$*"*=$=* q/!`="/$"]=`=$=**=!$$"]*=$-"

28. Helene Schjerfbeck Boy Dressed in Armour (1894). Oil on canvas, 57 x 41 cm, Art Foundation Merita’s collection, Helsinki. Photo: Matti Huuhka, Ilari Järvinen, Museokuva Matti Huuhka & Co

3.1. THE PAST AS A DESTINATION

Here, studying the art of old Pompeii in the Naples museum, one’s soul rejoices – – You can’t really call it ‘old art’ because great art is always eternally new. (Pekka Halonen to Axel Gallén 1897)648

@`=;$?"<(**="`"*";-$;=/;"*;] ;-$ ;/"* " *$* "$ " @ ; ""< = ;] `-*$=;#]='"‡!=*;‡-%**;`!"/;#]\=" -;"`==;;$"#;"$=$*;!"/?"!`"-]# ;/";-;"=;!"!;=;"`*/?`]"/=!"!$? !!"$= *-" ;?!; *$ = _"] ‡**$ #] *-"$] *$*;"*";"$$*-/*/-$]*!$= ;?$;"-"*=q!"?!`"*;="/*-$$=?;#] "$=$"="-=#";/**;;"/*[==`*" =-$$-q!"*#"$=-=</-$]<?$*$/!q; *;/*@=*`!"*`"/#-;*=*`"=-"* =`*=$*-"][=/*=-;"R`!$Q;"*/M ="*"]"=\**=*=*;*;=eternal*=="M`" `;;-]`=$=<``<`q!";*(**="]/;"* "="-"$`"@#"@-""R="*;`"**"`=$=`" %*`*="-=-_-"!*=/-"$*†Le symbolisme en peinture – Paul Gauguin<@-"";/*;;O„<`<?=/`P+"@-"" ;;`*=$"""=*`"Ideas<=]/#"`=$=<=$/;< `<$*ˆ-*$< *];$"? – inasmuch as decorative painting, as the Egyptians and very probably the Greeks and the Primitives understood it, is only a manifestation of an art that is at once subjective, synthetic, symbolist, and ideist. ("=$=**==$;$"?*;/-""<="colour ascetic or synthetist*$-"<="*$*-#$/"?*"=(**= "*ˆ-*("`=-;"*;/"*;$"?*$* "<`=$=="/*]/*="Q!/*;_]!=$-;#*

'%%+**R"@q *<""*<!<\@@ -;"O'*";?/;"*P<Oeuvres complètes†""< -;"<Ž("< @@-""Le Mercure de FranceQ"$=&† /==;/"*--**;=#"-!`*]"="$=$*;"$<#-* "=;Q"-$=

*=-?""*="/--/*_-"!="-"$*!"*`" =!***;"$=_"]‡**$*;="$*;(" @*$*!"$-"*'%%+**<*=="=*;<`*= Q- ;\-*]q!"*$=O"!"-]*;"*P*;O!* "P+**=;>-!!;`"%*--*R@$; /|*;<` "/="<=;#*-]*;*=$*$!/;$"? "*$*/

I’m off to visit a place called the muse de Cluni $ž - - I’ve taken the week off from the treadmill for a bit of change and relaxation, to visit $M@$+R plenty to see here. By that I don’t mean Paris, because I’m not actually in Paris. I mean somewhere ages, centuries, thousands of years ago. Those eras of spirituality and greatness when people weren’t so tied down to material things as in our own decadent times. The period that Europeans now call the ‘pagan era’. What I shall tell our children is, don’t believe what your teacher says because they are the living dead $+M was done in the world at every period.” (Pekka Halonen to Maija Mäkinen in 1894)656

*;;*-;]*$*/!""]"*'"<+**;?; /!"="$*;/;?"[="=*$ Q>*ˆ-; #?-=`"]=-;;*;";#-=O/!"-]*; "*P<=*$*!";==%*`="-=[=!=$`"* *;!"##]"/=;]--* [=-;];!=**==;="/**;;/"* "@*$**;'"/?!";<]*;!$]$-"";=*` !-"-**"$"#]-;"*;"#]=]/#[=` $**$;!-"-!"-/Ž"-*`"%*=# true art*\-*$;#]*!*<$=$*;=!=$=*%*`=$=` *=$"=#;]="!"-"("/'*-$/=

*="`]'"(**="!!;--]*\!*=*"$%=/<Q-*$=*;"**; ?;=/--/="[=]?;'"#-"*;=+"/*]=]"?;/*] ‡/<**<("*$<|*$*;! -!**<Ž-/*+*=?"<$=!" +**R";-*$"$"=/!"*(**;<`*;#]--**Q"$= *@"$=?(**;<+*%-!**< '%%+**R"Q>Q"&Q%**<@!"<\@@ *(**;$"*"="*=?**%;=;/"*]/#/<#-<%„**"?"<=? "#-;;/"*"@]"**;_]!*"O**"/*R"*""";*P „**"?"<

;=`=*=;?*-/;/"-#*$#$/O=]!P= ?"]=$"/@@-""-;*$"$-]*=`] =*#`";;*//"="`";--**;!$] =#/#"$;=**"$"*=/]$*;!"-!"$$ *$*"*=$*-"]"`=!*;=true artŽ=;$"?\<` ;/**-"$`=$*-";/!;"/@"`=`*;"$= =!"-"/;$"?!**`"Q-"$**;'- "-"<= /"/]$]*$*;=#<*;*|"%;<`=?*#$//*% /!"**=`=/!$]=Q"$=$R*;!"/?"< ;$"?*;!"-!`"=#$/=;("]*=$-" `--*<`=<%=$-"""*$#="/"$=$"*;"/= **$-";"='"‡!=*;=/!"*`-;!!"< =`?"<==;/"*--**;=#"-!`*]"= "$=$*;"$*;*/-$="=;Q"!"*;*=-;] "*=/*]""?;]*;/"=*-*" =];/";-*;"*;#==]`=;q!"*$*;-;]= Early Renaissance frescoes in situ("q/!<="$*=/*"] *Q"$*("*$*;=`"%$*=)‹"]`"* *;-;;#]`=`*="@=Q!*R‡/*"$*'/!`" =;*===/#](**="-$=+***]/" -;;="$$=*ˆ-*!"$$„="$-"`$*$"*;</* ="$<`=<;"/"=$-"$*$!$-"$/ *;*/[=-="*"=`*#](**="*/!"*; "$!**;;*/"]/"/;""**`$=*ˆ-[= !"$ ` $*;"; -!* @" *!"; #] "$< -$= /;<_;< *<+**<$=>"#$%*;[=<`*;/ ="#--$="$"$*="`*`"%*$`?"-]/!# !";-$$-"$*(**=$*;*<=]";-!* =**;;`**?"-`]Q*]q!"/*;`=-$=*;/!" `=$==]=-=#"!";-$;==*</-"$""$+** $**-;q!"/*`=/!"*]*;;?!;=`*/=; /q*/!"`=!* *`*;"*=!"!"$=*ˆ-*; *"]-;]*-*"$!**

‡!< -"<< @#"_;<Q*-_*$%<_*[=*;+*$=>"#$%;/";*;-;;"$ =-?"*;*]?**;"< _="$*=";- -Q--/`""-*;#$-=*""!"*;;/!* '-<Ž *R*"/"$";="$"=";*"**= *Š" *< '%%+**_@!*+!%]@!"<(**="-"$]

*"**=*=-/""$"`*=*$;#]= `$="*(**;[=*\-*/*<!$]=`(**=$;/$< _@!*+!%]*;=*%#[%%**<#=`=/%*`/;? *;‡**$"<*>];$"*`=(**="*;-";=/ *;"*=/*/--/_-"!*;"?]

I soon intend to leave here for Paris. Once again, I’ve had enough of Italy for the time being. I simply can’t absorb any more in one visit; there’s no modern creative and thought-provoking life here at all. Though otherwise there’s certainly quite enough for me to see and learn from. I’ve seen much of it with quite different eyes from before, maybe because I’ve tried to paint frescoes myself. There is very little technically pure fresco painting here. Masaccio and Giotto remain in my mind as the best and purest. You don’t just delight in them for a moment; they have a lasting impact. – –All this has made me very << because you have to create art on your own ground. 663 [=""/+**[%%**=`=$"*=![%%** =; `= -$= ;* (**= " +**<  * *; =" * [%%**``%*`*$="*;!"""="]`==;"?;< !-#=;*;$-";*/;?*;"**$"[%%**R$*$ `=="*$-";=/%*`*!"*"/*-** -"$*"*==-"*=`*=$*-"](**=" ;/";_"]‡**$"$!$]*="!"*$"/;"* *;;$"?""(**;[=]!"=!;*;=/?`==_"] ‡**$/"`=*="`*/"-;/;=!$-!=? =**`="<*!"$-"<`*/;**" ?;*"/+**R"==`"?**]`=?"] Q/;"*R-;*?*/--/<*]`**`=*";=/< -$=_"]‡**$*;‡/*"$"/'/!<>-`=*=`%; *=-?"<=$;`=*;$;=]=$*/!""]* =*=`;=]/#R**=past as a different realm@ /#"$=&!*;-<=;"*$"/""/`== !";$;=choice of modes*ˆ-*+"`="=**

'%%+**R"[%%**<<)*?"]+*%#""]@"$=?<"*|" |*** =*%#[%%**#*;=*"*$="=-/]/;"="]**;!*;* $;/$;$!**$==;`"%/*/$"$q!"*=`*$-*"]<-*;"*;# ==-*;=$="]$//-*]#";<!"$-"]*="/*!%*$-*"|%%"< [%%**R*"*$-"*;"/`*=*$;#]="]"***"[=/]# ="*`=]"%+**`"=/="q!"*$*;*];="=]=;* /#"$=<

]=/**%?`]=$*$!*?"] //;M=;==$""==$=$*;#]adopt a !"$-"style for a particular context`-;"-==!*=" `**"]*`!!"$=<=$=$/;<`=$=?"/-$="" $!;?!*`*-*;?*$="/=;[=$*-" ;"*Q//$%R=*]"-?"-"`"*$"-/# *"**==`=!";=;=;?"]= "[=$*$-*="]="`==$*$-*/;` #!`"-"(**=" $"?/-"`";]-;=;!$*/]=$?* *;$/!$;"[="‹*;/!;"/=`"%*;=" \<`;/**!"!$?`"!"!"=*`;$"?"=  *< " **$< $= " = `"% * Š? =/ @=$ ; "/*$*/`"-=**\-*$-*;*-;"R`"**; *]/#/-*;"=$//**/O"$=/P`=$=<"(**="< /* * !"$$ -;]* @]"* *; _]!* " * = -?" @=-= ""$=$!";*;='"/?`"?`;-;*!"#]= ***=$*-"]"`=="%;#$%"""<"/*](**=" =;*$?<$$]$-";/-"='""'-?;\=?**`" ==]*$*+?`"%`"#;*$/!q"$=-= ?-]?%*;*;*@=$-;#$;"*?]`= "$‡/**;‡/**ˆ-]<*;?*`==Q;;@*;= _"]‡**$'-?;\=?**$?"];!;/!*"$/!* *;="/*-""*/*/-;$-"=#"-=/*;=_"] ‡**$?*=-==$!*;`=*=-"*-; *ˆ--"]("_-"!*"<'-?;\=?**R/!"$"; /]"-*`!$"*-`=/*]/**@"`"*!"; #]="*ˆ-<="*;/"$;<"\$*=];;=;* ;("*$=$]("(**="=!$`$"*]*!"* *=!"=-;]=!#==<**"<;/"*""$=$ "*;-*=_"]‡**$="-==/*"$<"

/#"$=< @"$=$@"<@"$=$œ"`=$=/"$*"$M\"`=$="`=$=!!" ;=*;??`*/<-$/=<@"$=/œ=/*=]*$*< *"]!"="$""*=";*="/**=`=$==?#*!""?;[* !%%->**< Q-""œ=*"*/"/*-/**;;$"?%*;"`=$=*"$#-/ $="$"Q-"$*#"/;!**<'-?;\=?**R`"%"*$*?-; =`$-=$;<;/!$/<*="*("*$*"(**;`!#!";-$R"R "$!*;*!" /*<Ž‡!<

="-=""*$=;Q"*=;!*="!<$*-; *`/;"historicity*(**;R"]/;"*"(-"="/"<(**= "q!*;;="-*;"*;**;%*`;*`/;-/*;= $*$!transfer to medium#$/!$[=*`$*$!<`` <`";!;#]/*](**=";-"*=***=$*-"]<**] #]=*/;]/#-$=/;<_*$%*;[=<#- "% *<+***;"*`="*!"$"<` =Q!*"/;"*/R$=>"#$%[=="*`=]=-;] ;!="/Q_"]Q;"*/R`=$=*$*$!!"$-"] !";*;$*ˆ-*]#"-;=q/**=`$-" !"$$*(**="*"]

3.1.1 THE CRADLE OF INNOVATION – THE LOUVRE

As far as painting goes, there is something completely new in the air here. Assyrian and Egyptian art is now the ideal. In my opinion Assyr- ian and Egyptian art is the most interesting art at the Louvre. There is an overwhelming power of expression in its lines and the decorative (Väinö Blomstedt’s letter home, November 1891)670

*|*/;<=*?**'"<`"=/#-*`/?/*< `=$=q;=];/!$]"$=$"!"; "?*= =/;="$=$"=O*?"`=/*!`"q!"*P>- -;"=;;$"#;"$=$"!`"-]#;/";/; =;!;=/!!-""/=;]*;`"*="=/= O=;$"?ˆ-]P"$=$"O/!]/*$*P@*<=$= -;"< `= =; -"; "-"* = q!"? !`" *; ="/*- $$=?;#]"$=$"="-=#";/**;;"/*`=$== $*;";*"=?$*$/!q;*;/**;"= -$$-q!"*#"$=-=@*=]O'*";? /;"*P<-;"-;="/Q/;"* R<`=$=;*/*/"]of the !"*#-"="!"$-"-;to=!"*@(";"$/*& <-$=$*$-q!"*$/;"*];?!;*]*=/;; =***=$*-"]"?*=<#;="$=$_]!**;

|*/;R"=/="<'"<\@@ -;"<\="O'*";?/;"*P<Oeuvres complètes†""< -;"<Ž/*<

Q!/*"*;="$=/;"*/"*=-?"<`The Poor Fisherman &'""'-?;\=?***;
;-";Q*ROlympia &=`"=%]*`"%*#](**="`=*=]""?;* '"'";q$]=-?"#$/=$";**?*[=;-] *$**;/;"*`"!"*;*(**=""/=*`"; *=***=$*-"](**="$ˆ-";=""/!"**; %*`;"$=$*;‡**$""/=-?"`="=]-;; "$#]=_"]‡**$/"*;"$$M&*;(" @*$$M&"/=/;!*;="%*`;*]*; *=?"-/--/_-"!+`?"<*??;/-$=/"=*/"] $!]*!**†#$/=!$*`=$="*#-=;$"?" *;`=*!"*"/*]"`=$*;";Q="*#-] ""$R!*;#]='"/?[=/;/";`"%="`"= Tornabuoni frescoes of Botticelli, Venus and the Three Graces Presenting Gifts *;Venus and the Liberal Arts with a Young man (possibly Lorenzo Tornabuoni) $&<#=`=$==;#*$ˆ-";* *"*]<`*=]-*]/#*"*`=";$!] =`"%<#-<*!"*+*$=>"#$%<`==;"-"*;"/ ?<\"*`*;`;!""*`*!"*=#*$!]; *;=]"!"##]=/"$`=$=_;";/=?* ;/";("$=>"#$%=*!"*=-?"$//`=*= `$"]%*"*`;"$**=""‡Š***&!* -=!""?*="R$*]*\"*`?<$=>"#$%=; *="-=;"/$-"**!**="Q"?"<="Convalescent &<;]="//-!**<`=`**='"*-*;"= */Première verdure, `=$==#**"!";!"?/*=" "$?"]Š***&]==-==`"%!*;* *-"/**"</!=!$;*$***;=-;#*/"%* =*;="*-"!";*;*`"*!**="$""`"; /"!]$=$*;*"?";!!"$=<=`?"<*"*= $=>"#$%"*"$=`<`=*=?;=-?"<O==; ="$*;"-*/!;/*;=`/=**`"

$R"$*|//`"";$?";**;#"-==-?" Š***< $=>"#$%R$"*;="`"Q"***;@;"*%("$=>"#$%R/*\"*`< Š***<Ž"*_*=#"!=]"*< +*$=>"#$%=;#"%*="*/**-*%*`*"="=/*'*@?*< "*]*`*"Š***< *< Š***<

/P+"$-*=O=;"$P*;=/"O"-P/;<`=$= ="$-;/*-*?"*;!"-$**"="*"*=< `=*$=>"#$%!"*;=Copy after Sandro Botticelli &<=; !""]-*/*< =**-@"$]Rq=#**(**;<=$"$ *;"(**]\=-"#"M&"*]$"$;=-*$* $-;*O$!]=!;]=$=%%$-"P"-==!** ;*=?"]=<$=%%**;!!"/`=;"%+`?"< \=-"#";/";=*#<;$ˆ-=!**`=$="/*;; =""]"*;O"*!";=?`"`]"/=!?"]/;"* =;*=(*]P*"**=*\=-"#"R/*; =$=$/;-/=-;#"/=$-""$ *=="=*;<Q*-_*$%<`=`;!]*";*]/# ;]*;`=`/!";#]!=*' ;*R;<`*";* #=_"]*;+=‡**$„=*=-;;=@$; /-** M=-"*;=-?"-"$"**[="=`# -;]=*"=‡**$/"<=/]"]*";; |*$R!**M=*;"]*-#-]=*=!M*;=_"] ‡**$*;*!*$"$_*$%<`=!"""; -;]+=‡**$"*=?*"' ;**;=‡$"-$*< `-]`"=*`$-""*]/#/ [=%$=#%=]-*"*"*<-$=_*$%*;_*[=< ="*=-/"*$*"*/">Š"R&?`<*; /*]=""="*=?"";<O"]/#&""/`= //!"*<**;"*$"*"Ž$-"<*=="=*;<` *-/*<//*"]*;\*P=-=-;*#/!=; I `<=`?"<"-==-;]**;$!]*"$=$"!*"=" =$;/"*"/!;;$"?"<`=$=*$-;=";-$* $-""/ascetic or synthetist`;/**\taches$*-";" #-"";</]/[=";-$*=*;=;`"=`;/** *;/-"$`*=*$;#]"]=$-"&/*="$*; #];!$*=-#>$#]/*!"-Q"$=$/=;R`$//* !-"-""

+*$=>"#$%R"@;[= *<<\@@ Š*"***q!*FinlandŠ***< =-;#*;=<-*%=""`"%!"*;*=-;]<$="#$%RDetail of a Fresco by Sandro Botticelli&<Portrait of a Young Man<!"?$$*&<!"##]"*‹["*#-*<= #*?#*]*!="!= PŠ*"***q!*PFinlandŠ***< |=*< ">Š"<

„=`%*`_*$%R;/"*$*#-*;*="(**;< =//"*;*=%$=#%@=;"<=/*];/";= "'-?;\=?***;Q*<#-=$*#;=?#*"*] *\-*$; #] `= = -*; * = -?" _*$%R %$=#% " M $**;"`*`"%-*;!"$-"]*=@]"*"$* His %$=#%;`=;*;!$-"@]"*"<-$==="* "*;;'"*$!?;*"/`=/;`"* "==;/"*""$=$"!";/*(**="+`?"< *=-;"//#"==]-;;=@$; /-**M< `="=]!"##]%*` "-"*;=#"-!*;="#- ;$"?"*;!#]#---*R]*=/[=<*==" =*;<!"$-"]?-";_]!*"=-;;\"#-`$ "*;_*$%*;=]`"*$*$`=**="*'"[=R %$=#%=?";"`*_]!*"<-$=="$!=-‡/ *;;=/#"=`"";/*/*<=;*$"+=" *+**R%$=#%"/=/=?-"??;#-="*; !**"\$=!"$-"*"*;*;!"="$"$"= *;;*="/$=*=$;/]<=];-$;=/?#] -;]*"$=$<_]!**;Q;?"`=$=`*#-*;*(**= /--/ *=!"?-]ˆ-;"`=$=/;`"=/#-=*` /?/**?/#"=$"]q!";=*=-/"=]; /!$]"$=$"!";† O*/]!**@]"**;_]!*"" =/*"**=-?"P*"**==/" "?==`!!;#]Q*ROlympia&*;'-?;\=?**R Poor Fisherman&`=$===;**=-q/#-"/--/O=/ *`]%'-?;ž\=?**R#-$-;*R-*;"*;G= "=-;#$/#%"*#-_*$%;/"P It is clear that /;;*O=*`]P'-?;\=?**#*!"= /;$"?;@*";*`"-"/<=`*$*?*$;#] ]/#/="#-=`-;$=**`=*=#$/--*R !-!*;$/!]"?";=!**="=";=/;/"*

%$=#%“<@*-/@"Q--/">Š"<<< Q*-_*$%*";=@$; /-**!"*The Julian Academy<'"[= -;*=!=";"]<`™"%Ž">Š"< ">Š"< ">Š"<< ">Š"< |*/;R"=/="<'"<-*;]<\@@ |*/;R"=/="<'"<-*;]<\@@

*$--*=;_]!*"*===/[="!";-$* *=`='"-;*`"$RThe Birth of Venus<(" @*$RAnnunciation*;'-?;\=?**RL’ Espérance (Hope) $& /;$**-O="*?"`=/*!`"q!"*** *;=;$"?ˆ-]/!]/*$*=?#-*!***ˆ- ;"*`]"/#"$*-""/!"*P[=q"";*"] *$=!**"/=]"*;=`*]"=`*$*-";"/ *"*]=*=`-;"?*;/"*"=O?"`=/*!`" q!"****;;$"?ˆ-]P=/;!"* "*@#"_;<*;"*"*"*;=;*(**= "*'"=/`!"*"*;'-?;\=?**<`" *=;"]= O™";]!*=-"*=-?"/#-]$"‹]#- $R"$!**$/$"$P?;** (**="=;/"*"$*;"$=$"`*/-$=-"="=* `=="-!`=`"$;]/#*"*==;= ;$"?"*;=;$-"$="$``;];/";#]/*] *;=**=$*-"]"_?*_*$%=O@=]-*" *'""]/#<*;?*=`=;*R`*#]/#=? ;;$;=/?Q]$/P *=/*"-*//*"$=$<!"/?*;$*/!""] "$*#**_*$%RSeine Net Weaver&[=q$!*!*** -$=`!"*;(**=="/*`?**<#-_*$%R/; `$-]!*;-*_]!*Seated Scribe"/=-?"[= `=$$!#;*;"%=;#"`*<`=$*-";-** #$%*;*$*>-"$*=O="/*P;*"/ Enckell has ;";=/*#"`*="*;"-"*;?*=/;"%="[=%* ˆ-#"`*%==Scribe*;=/"-"=$`=== $=%#*"?=O-"$P"=!**+"the past as a destination is *=*$;#]=choice of mode†=$"#$%$*-"*;$$;"%! #"`*/!==Q"$=$R/*;$!!"*$;]<= !**`*`"$?;[="$"$$@="*#"=-==!**

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-]*;$"]<*;*"*]/**#Q"$"$=/R[=" ="**;$"$[%%**=-==_*$%R`"%`"O#?= -;*$)==]"!-*;"*;**;*P?"=_*$%R q/!=`$"]=`*"$-;"]%**$*-*; /%$*/!""]/;"/;"*"`"%Ž_*$%-*=$*$! Q'"/?R**``][="-"*=q!"?!`"*;="/*] !"/? " ;?$; #] -;"< `=$= " `-; $=? ="-= /!$**;]*-"];/*";="

/$`$$X- ments because it seems so paradoxical to our civilisation, which hap- pens to be both decadent and forgetful of any revelation, is therefore, irrefutably, the true and absolute art.” (G.-A. Aurier in 1891)701

?;*=="*;*;*"$"=_"]‡**$*; "$=$"**"!"?;;=-*;*"/"!"-*;-*;"*;* =*$*$"[="$;$?";*;$"-]*];* =-?"$;/!"*!*""*`"*=!"/*](**= "@=*;=th$*-"]=**??-"$=-?"`" **!"*(**="<"/=;=$"$$!;#] $=>"#$%*="--#>$*;#-#$%"-*;("@*$R< Le Calvaire avec Saint DominiqueM&<`=$=*!";+**<$*# **="`"%*<#"?*"("*$<+**!*;= -;]"=Q%%"!$*=!"=\="-"*("@*$R X`=`=$==$/!;`"%=`/*]/"*$/!*< $-"$=/*;*=/!;"$%!!"$=`=$==";$=? ="-==-"*!"*`"$-"@=*=;`"%"/ "/#("@*$R"$[=$=**=$$;=- /;-/Q*]-"*;/!"*;-$=$"/"]`= *=$*-"]"$[/!"*;!*;/$-"`$*;";# !`";"$"?*=<`=*`"*="*;Q"Š"=* *<_;q!*=O/!";$?*]"/#"$<#-]-can

$@="*#"<(*%Š**""*-**P| "]/#"PNya Pressen<\@@ [=="=$"$/`-*;;_*$%?"]*;=/$"$;`"%`=Head& [%%**<P(*%""*-**PFinsk Tidskrift< @@-""Le Mercure de FranceQ"$=&†""< +**!*;P\="*$"P*<>-before?*"]*;`=`"$-"=-?" ?"*`*=/*;?**;"<Ž-%%"**< @=*=;`"%"/<="!$"/#("@*$R"$'%%+**R" Q>+**<„;*;]?**<\@@?**;"<

/%$""$*P=_;*;"*$=$/#**;/!" "=/-"=)*?"]+*%R$"/*= It is clear that the /";*!**`?"*;/*]q!"/*;`=/!"< `=$==]#"!$;==*</-"$"$+**$**-; q!"/***]*;;?!*=`*`]/q*/!"*; !*Q*]"*$"!";=!"*$!;$"?!***=" `"%Ž"‹</!;"/*;\<`;/**!"!$?`"=" !"!"=*`;$"?!!"$=("**$<$"=;-"*= ]"M=/=;`-;#]/*]"*(**;/;-; -*!"/;$*?`=]*=!*=]/#*;Š?`"% @ *$=/!""="!***Š?=/+*** -"*;?!;=**;!*`="*-$*!*;`="]= $*/!""";]$*;";"/*$*'-?;\=?**R/-" */*"$ [= /]"- "$=$ *; _"] ‡**$ " ` = ; /; " =$/!q]=*;***=$*-"]"[=!#!$" *""?<$/#**`";</*;="]<"/*;="]<"-]-*; `]q!"**=/;"*;$"?*;/*-/*"=***= *; "] `*= $*-" /* = " $-; ;!$ $/!$; *""?*;]/#/****;=/`"%"$"? /*`"/-$=!"=!**/-$==-#>$@=-;] `!"*<=;-$ˆ-]*;/*`/!=;#](**= "`=/!;$-"*;"/@=;;$"?"<`=$= /;"*;?#=!-#$<`/#"$;#]='"‡!=< '-?;\=?***;=]/#*=***=$*-"](**=" =;$ˆ-";=""/!"**;%*`;"$=$*;‡**$ ""/=-?""/=/;!*;="%*`;*]*;* =?"-/--/_-"!<#-/!"**=`$; /-*"$*=-?"=`=""-"$/;?"<= ;Q"*;!$]"-"$"

_;R"Q"Š"=*Š-*##%<\!*=* ">Š"< '%%+**_@!*+!%]<(**="-"$]

11. Axel Gallén Kullervo Sets Off for Battle (1901), preliminary work for fresco. Tempera on canvas, 89 x 128 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Jouko Könönen/Finnish National Gallery, CAA

3.1.2 CONSCIOUSNESS OF TIME, FORM AND COLOUR

Medieval artists had the kind of inner strength and inward eye that I wish I had myself. (Axel Gallén to Kaarlo Slöör 1896)707

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@q *R"Š""%%**< [=!!;`="*_-"!<*"*;*;$*;<`="=\$‡??/?/* %`%!$"/!!*!";/**]_*=$--"="-=="/;!# ===/!$$**$="$"$==]<**The Rediscovery of Ireland´s Past. The Celtic Revival 1830–1930. [=/+-;*<*;* ‡!< |*;"+?*< @/"-!-"*"`*`="*_-"!<*=R\$‡??R*

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$/< but in a small, newly-shaped country personal initiative and stimuli are very important. In future, artists with talents greater and above +X /// and exciting experiments. And ultimately, it’s not just art that all this serves. For art is life, religion — everything. (Axel Gallén, sketchbook XI-101)715

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$$‘ and Pompeii. Certainly I learned such a lot about art that I’ll never re-

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gret making the journey. It’s helped me to understand much better the greatness of ancient Greek and Roman art. There was so much new to see in the wall paintings in Pompeii, for instance. A couple of thousand `< (Pekka Halonen to Eliel Aspelin-Haapkylä 1897)721

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It’s an old phrase that Italy is rich in art treasures. What it really means as far as paintings are concerned is the Vatican and Palazzo Pitti; however, many small towns are complete works of art, from the layout and buildings right down to the simplest decorations; this is what we rarely think about. Amongst all this splendour the paintings never push to the front, but are associated through s e r v i n g with the <$MM and yet a whole, what serious depth and what strong love of life is in both their thought and in their realisation.729 (Axel Gallén in Ateneum 1901)

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/++- ones from which we are most quickly estranged by a kind of disgust and surfeit. How much more brilliant, as a rule, in beauty and variety of colouring are new pictures compared to the old ones. But though ++ roughness and crudity of old paintings maintains their hold on us. (Cicero, De Oratore III.xxv.98)740

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19. Pekka Halonen Washing on the Ice (1900). Oil on canvas, 125 x 180 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Jouko Könönen/Finnish National Gallery, CAA

?#=!-#$`/#"$;#]='"‡!=<'-?;\=?**< =]/#M*;#](**=" [=;!-#$<-!**;!"-;$"?"`!"-*;*" "-$= **;+**[===!";$//*+** =$-!"_/„%"/=`/--/*O"-"*;"#;* =(**=**!"Ž=-""*=*;!`"*]?"$/ „";R$=*!!<`="!]*/*%*; P752[=]`" -*;#]=;/%*(**="#"%*`***"**"*[= -$$;;#]*;q!$*='"„";("_q!*)*?"& (**;``"!"*;=("R*"**"q=#* `="`*?"/;[=*$*$=*;?-"`==" =‡-*"*;-$=]`=*<"="/<!"*;!"]-*;" =*/(**;Q-"`"%#];*(**=";$";`< *$-;*`#]+**<Washing on the Ice &*;The Lynx Hunter &<`=$=;!$;"-"*;=-**";* [=/-"Washing on the Ice*;The Lynx Hunter&"*q/! =/*_"]‡**$"$"*;=;!*'-? ;\=?**R"*;=*![=!**<$";"=(**= '?*</-#***]"/**"$!"@*'-?; \=?**R/*-/*"*"$-""!"**$*$!<" q/!<*L’ Espérance (Hope)$<-?"&755+**R"$-"< =`?"<"!"*(**="/?=;*;$--"[==-*"=`* *!"<$""]*=-**=`;"*<"$%*=]*q<#!"][= /$-*-";/*=*`]`;"**;$![=]-*`/*<* =="=*;<=`*"*]*;</**-"<]/#$--" *;$!="!"*"$--"*;!*"/*$--"="** $=`=="#"=*;*=*=$*;=/*/!="*; *#="/*]=!**";;`==-#>$-$=„="'-? ;\=?**$=/"$;**;$!=-#>$"=!**< +**=!$;=-#>$*=$%[---**`]`;"* *;$![]!$=(**=!*"=$//;$*?];#]=!** *;*?#"-=`==**;*"*!"*</-"$`=$= "/#/-*/%#]="$[="=$"]-=

752 '%%+**_/„%"/<+*%)*?"]#""] ("q/!<'%%+**"$?;?"/;+**q=#;Winter Sunset &<`=$=` $*;";"!-"$="=("*$=$$*<=-==;;*%!$?**;"< ="`"@#"_;<|**];";<|*/;<-=‡**<'%%+**[= !""//`$//*;#]@#"_; 755 /*<<'-?;\=?**RHope$&=-**--*R`*;=!** !!"*`--*R!**Still Life with “Hope”

"!$/*-/*]="-=]$/*Q"/!"*]<= ?"="/*]$";#]="]=*!=`"%=-$$;; *?*$<$"/*/!"*+**R"*"*/!" *;"$!**`=-/"=*>-**";-$**`!** $=*ˆ-Ž""";#=ˆ-"$*("*$*;/;"*"-;;#] '-?;\=?**[=`/$"*]="+**/;$" =$*"#-*=O*`‡**$P"(**; +** !";-$; / = /*-/* *; ;$"? !** " /?*[---*[=/-"='"„";("MWashing on the Ice *;The Lynx Hunter - *;=/!*Pioneers in Karelia&M "/;*$"-!*;$"]=/="R;$"?"=-"* =th$*-"]@"=„";("<=`""/'" *†O-`= -"-*$**;`=`=?]"#$/**$"*]$"/P757 +**`*;=/*-/*`"%"\$=;"]*;!"$* `=$===;*%;`= **;`==$--"!"-! $;Young Finns/=*=!=<+**$*;";* *-"=;?*$**"*;$--"[=;$?`=] *$-*;*="=/*;*$-";"*;!*$*$ "=";!$$]*=!==*%*/=;$=* !!#*;;*="/*;`=*-!-"(**=**;$--"O„ /-`"%="?(**;`*"</=*"*;"-P758 [=/"!"$-"]#?-*Pioneers in Karelia`=$=+**"; =`*;@*\$*759+;;**]=*`"=q!$; *;`"]-!#]=*?$"$/=`"%"$?; *=?`\-*$"\_*;"<OThe work lacks energy, as $+ the clothes. They are not credible and one does not really know just how they are dressed. I have heard tell that the artist intended to use a symbolist approach. But if, in fact, this was because the artist’s powers faltered in the course of the work, it is greatly to be deplored. Blows like these do not fell trees and such methods do not dig up boulders. –It is my clear impression that Mr Halonen is a gifted

?**;"< 757 '%%+**R"@q *<<ŠQ 758 _|*/;=$-*™">/;<™">/;R"<]?%]'"?*$ @"$=? +** *; /; "; **R De invigdes lära _"$ -;;=/& *; =" =!=$]/#"-""<+**R#""]$**;=!=$#%*$-;*`"% #]?%]*;_"? 759 Halonen, Pioneers in Karelia&<*$*?<q$/<@*-/@"Q--/<(**=* "]?**;"<Pekka Halonen<$

and important painter who has been temporarily led astray by the disastrous theorising going on among our artists”. [=*-;+**"!;_*;"< “I have myself felled trees and dug up boulders – and continue to do so while working on the foundations of my planned studio! – What I wanted to depict in this painting was the calm, tranquil and endless character of Finnish work. – The painting also has a decorative purpose, best achieved in my view by giving it a tranquil and harmonious overall impression. – In that respect the work is certainly stylised and carefully composed, in terms $ whole treatment of the theme. But I should not have thought that such a method denied the freedoms granted under the laws of folk art.” _*;"R$"$/*;+**R"!*=`-=="R?**; =?"-*"!"*]/#`"%""]$*$;;*=="=*;< +**Rq!**=`*;-$"]`==;$"?"` /*@*;=("*$=$"$"Q$=;*OR@-""P*†OQ" '%%+**=-#>$%]*=Ž$=!=!$$*<$= /?/**=/*/!<*;$=-"R!*"*=?" -#>$Ž*`"%=*;;*=`]<#--?"/!"*$=?;P [="-$-"=!**`<";"<*!";#]#=--*R ]*=]!***;="$"'-?;\=?**@-* *;"/&=+**R`"%`*!";#]'-?;\=?**R !**Winter (L’hiver)&<`=$=-"/""-!`"%*/* $"-$*=#=";!$";*"]!!`"%*;#"] *;-*=-"";]+**=%-];!;=;"/%!$-#-]" `=$==`"%'-?;\=?**""*`*;@$""/_*;"R $"$/<#$-$ˆ-]*;!`"-]*=/=!**"$?; ==]$*";$"]"$!*[=!"#/"=$"$`==-#>$` *";"$]*-=*;=];=;$"?$=?/*< =="/*]#`***;$-"`=$=`="-#-]=!** „==!**+**$"*]";"$=/=*/*-/**; "$*=/*-/*!**+**-;*<="/**! "]*[=";"/=;$<=*!*"$ in Washing on the Ice *;The Lynx Hunter_?*=-=="!*;`= <=!*/;=*=?=-"$$/!]/=*;

\_*;"'%%+**(**="**&$/#"?< '%%+**\_*;"<$/#"<`;="-"$][=/*-/*!** `*]!-"$=;"=@*\$*#$-_@!**;@#"_;`"*?-" La revue des B(atignolles?)<$!;"$"/=(**='"@"$=?<\@@@*;"/ <

/+$=*ˆ-"/#=*]„="*;==*Q-$R `=$=`!"]#"#;#]=$*?+**R-*"$"%* *;-*;"*=/ˆ-]+**`]**;;=/*-/* /-"!**#*#]=!-#$("/=-==!;=Pioneers of Karelia`-;##-="=@*$$*`=$=$-;#$/!";`= =-q/#-"/--/R$$* */]!**+**R="/*-/*<;$"?`"%$*#* !"/q/!-;"R;]*=heroism of modern life@= ?"]*;="?`=*-;"$/!*==!*" =;]"**?=!"*

And yet the heroism of modern life surrounds and presses in on us – – There is no lack of subjects, or of colours, to make epics. The true painter we are looking for will be one who can snatch from the life of today its epic quality and make us feel how great and poetic we are in our cravats and our patent-leather boots. Let us hope that next year the true seekers may grant us the extraordinary delight of celebrating the advent of the new!”764

_?*=-=+**RQ="R"*$;*O$"?*;!*="#P< *;$*#**/;"*<`=-;"`]*`=="=" $*/!""]!$$*#-*;*==-/#`"%*/*@** /**;!;**"?**=/*-/*!** /!"*< =`?"< "$* = = !"$ ; `" * /#"$;#](**="@*;*";!;;$"?"=" *$"***/-"""(**;Q*-_*$%<"q/!< q!"/*;`=;"*/;-/<-$=`"$-"*;-$=<$=? "*!"*Q"$%R/-"$*=Seine Net Weaver&<`=$= `*!";#]=_]!*Scribe`=_*[=$";"-=q-";< Q/-"%R-"$`=*+%%&=!*;-=;-"*=" ]*("*$*[=!*;";=;/**$*?$-;"; „==!*/*=*Q"$/*"]/%*-;("@*$R "$=`"=O="/*%*;"@*$`== !*;*;;$";=``=`*;"-"$G-*`"=]` =#"-="%M$*?=;/**P[=!$]?;**="

?**;"< -;"<Art in Paris<Ž"/*< @/*-/#"(**="*$-;*_*$%*;[=#$///;]*";*("*$= ]/#/`=*=];*'"("=/<;!(**;R!$-*<`=q* !"#/=*;?;-=`"$*;";!"/"]/!"*$<*=!$-*(**; |=*<

Q"$=*RLydia &<`="]-*"`=="/-=!*=-"*;`] "/=?`"=;**=*;*]?"="$=[=*/$!** $";#]*"*$*"*"/*;$**†!""#-`== $/-"*;`]<!*/-=;#-*/;<]-=?"-Q*$*R -"$<\*//*?"-$/**;$"-;"-=$*-" *;$]-*-"[=$*"$**-*=$-"$=/<#$% $="$$*-"?"-<$$!*;`="][=!**;* `=/;!#-`=/*]=;#"`*<`=<";;=? [=R"/"*"*=-?"$**-;*]=!*;* $!]`=$=`=`*=]"]@"$]Rq=#*"="*"* =[=R/="$"$=!**#*O*ˆ-"-"<*; ==;#*/""<=`-;=?!*;‡!="="/"`=" /"/""-"/*;-*;"*;*P$"=("@*$` *%*`*"?**=;]<*;[=R$=$=`="!""*$ "@*$R/"Q*$*R'"/?=$</=*=`*`*= [=R""?="-"$;/"**;*=-/* Q$$<`=/=`<"q/!<*\"/**;`=`=O/" `=-=*";*;=="/"+;;]-*<#-`==;; `"P$/**;#][=<`=`=Birth of Venus *;Primavera*=)‹‹"]_!$]=Primavera`/!"* ="*$=`"=""";==%!=!"**="`*;=; *!="!=";†O`="*;]M#-`=-M `=`*;"-=*]-$**;*=/--/=" „=*"*=[=*;+*$=>"#$%!*/`"%* ="**Q"$*;"`"%*`=*=$-<@**'"* [=`"=/*=`O``"*-"`*$`"%***?]P `-;!"!=?*=-=$=>"#$%`*;"*;/"$$/!=; "<="""/="!*`";$=*`";**//$!!"$= `=*$$!*;*`-#>$`<`-;"-<!"=!*/"] ;-=("@*$"$#-=""*=!`=]-*"` "`="/=;";]$*?";*$$!"]=*/<

[=<Lydia &<*$*?<q$/<Q"-$=*$$*<'"@"Q--/_* [=R"="/="<("*$<[=$*"=?#**$;#]+%% +%%< P( *-/;*/;**%-#? ;"-%";$%;*""*%"? "$=;->" %%"-= ;‡$=;;"*;"*%"="*<//"*"/"? ";$= -!!**P[=R/="R"_*[=+%%< _*[=R"="/="<("*$<+%%< _*[=R"";[=<("*$<+%%< _*[=R"="/="<("*$<+%%<

`=$=$*#**="Self-Portrait &*;"]=**;=//"* #$%"-*; %=]-*_*$%*;[=<$=>"#$%;;*%!"*=Q** $-R+""`/"]*!";#]"$`";`==";$"#; O=!=]*=$P@*;="$=>"#$%#*q!"/* `=;"*/;-/*;!$]"/*`";`"%;`=-$=< `"$-"*;$="$„=!"$-"]*"*=$=>"#$%" q!"/*;`="*/***$*\%;!"-"$*=" ;$The Fragment M&<772;!$***$]-*"`=="] =-[=-"$$"!;*;`!;<=`*;"*]"!*/* ;""*;"$`=`"*-$-"[=`*`$=*ˆ-" $=>"#$%`=$"]`*;$"**$*"$/;`=%` =*/=/!**""Q"/*R!"=!_"]‡**$ "$”"]/#!**;*‡;*”"*//* #=”(*;*$*"!=$-"$"=//=#*"*<#- `-;"-=/"/!"**=`$=>"#$%q!"/*;`= -"$****??/**"*;<#]/-*/*`==]" $-"<=`=/;"*historicity`#=;*/*];"*`] *"*]<=;="$]$/-*="$="#$%!** */=;/*!-*/*$=>"#$%R`"%<*Boy Dressed in Armour&<*;Cypresses, Fiesole &<#=!*;*]*< =`=!=*/**#]#-""*/<#]"""*=!#]-#>$*Boy Dressed in Armour"#]";-$*=*;$!"/=`-;*;$!$ *;/@+"=&;/*"<]/#"/;?-= #$-"#-?$?$-"**-*;*]/#!"][*$-"*< -**"`$-"/<?;-***;$"= -*"/#]""*/** /**="=!** `";*`=$$$-"#"`*<"]*;#$%*;;`**=*$ =/!;</]"/$=>"#$%R>-"*]]**;*`" */!"*$"*=$=*‡Š***&Boy Dressed in Armour $=*$=>"#$%R*"*-"**"-=*!"* $=>"#$%=;!!;*|***="`]("*$*;=;* ##$%*;`="!";-$*-"**R`"%775[=(**=" #$/*";*O=="/*]*;**<=/]ˆ-=;;**=

+*$=>"#$%R"@;[= *<Ä#@$;/]#""]@"$=?<[-"%- 772 $=>"#$%<The Fragment M&<*$*?<<q$/<]*#"(-*;*Q--/<+*% +"=< Š***< 775 $=>"#$%/]*=?*-"**R!***$=``*;"*#-=$-"*= "

1. Väinö Blomstedt Francesca (1897). Tempera on canvas, 51 x 38 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Aaltonen/Finnish National Gallery, CAA

221 !**P_?*=!*==;**-"**R!**< the Boy Dressed in Armour`/=*-"**R/**-*; /!;$-"`=$=/!==;"/%/*$=]="$ *;/]$!**-$=The Wheel of Fortune&*;`=_‹#= '">=*&;$"#=$-"/$"]*;;777[=!** "/#\"" "R/=;""=!!$=>"#$%R/*] *\-*$<?;*=="=;";]#-*=`**"*= /"/]$;"_""$=>"#$%=;=`**!"$-"*"* '"*]/#/Ž?;*]-"***;_*=@=/`/" ="778?"=<=="]=*]`=$==`*="!** "=`*`*=$=*ˆ-and$***="!** *"*="*$=>"#$%/!=;="*]" *"_*"‡-"=!%="O*!";P`=*=";/!] $$";*="/;779*"*=("*$R""-"*; -*ˆ-<!"-/!="*`=="$=*Q"$/*"] `"!$!"/"/="/**;<"/'"‡!= ]/#<`"(**="<-$=_*$%<$=>"#$%<[= *;+** -""*/*;"""*=!`**];*`=*$$! *"*=|*/;-;=/=;#-`=]*= !;=!"]%„-"!**/**;""<=" *!**"`=$==#%*`*[=;"/%Francesca <&< `=$==/*$*$-*(**=]/#"„=*/;!-= !***;!]"=*"!<*$"$*$;=*`$-"$=/ `=";!#-"*!];!" P*$="!]/;=-*; !"$-";!"*!"**;/*-"ˆ-#-$-"`=$=$*#-*; *<"q/!*=!**In Arcadia,*;?*=`"%;$<;$"? /;P[=/*"$-"$*#-*;*/;RSunset<"/ &<#-="*Francesca=!"/#/"=/]=$=/ of Episode from the Kalevala, Kullervo Cutting into the Oak <&= =/"/!"!**`=$==??"]--*ˆ-!"<#-`= ;!]*=!`=""]$-"/""/*$*Q-"$*R

@!!"*< 777 '">=*<<'">=*<_‹#=O'"‡!=-]P<The Pre-Raphaelites<*/--/ $%=/<q=#*$-* 778 $=>"#$%=;!*;";*$"„;RPicture of Dorian Gray*;`="`*";*= `""R="_">Š"< 779 +*$=>"#$%R"_*"‡-"<Ä@ P;*;**%"*="/;$=/;**;/<;>-!*/%*$= %"# "</]$%* ;*/R@"%;*R"**;%"??"%*PHufvudstadsbladet

222 /"/-;$-"$=/+"/;=*"*]q!"/*;`=* #"#*<#"`*<-*!"/;$*?`=$=$"/-"$*;-*]* $-"$=/[=;;R"**$R*;$!`=;"%$]!""\$** =-"ˆ-#-`"#=*;]-*";";*‡**$;" $"]*[=]-*<#--("*$$!**!"<*th century /;<*;=;!!!]*="=*;<#"=*=$*‡%%`*& notes that Francesca ""*RHell *;= =!/`=("*$$; ‡/**;'Q782 / = ] =; *!"; /;< =`?"< % /" "-#;-"ˆ-!!"$=*=!**<=$*-#-]#-`= /#"]/#/*$=]%*'"‡!==$**#" ‡RM&<`="*;*@="R!"]<=*=/- `"%<Beata BeatrixM<["*&;!$;#";`=$=;"!!* !!!]\`"*"qR!_]=-="\$;?*=/;R `"%Francesca<=`?"<$-*=]*=$"//#"*</*= /%*;!!!]\`""!*]-*;"*=;"/%<="`";] $/!="=!**("*$$R*/$*"$;*;/ !"; /#"$ /*$=$ * /-; #] ]*=$"//#"*"#]*q$*$!-"=/%*; /*$=>"#$%RBoy Dressed in Armour<&<#=;!$* ]-*!"**=?"!-#"]<**$**;-""-*;;*=/ "/=;"/]*;$!"""*!//=#=/; *;$=>"#$%`"*\-*$;#]'"‡!=" @Q*-_*$%"?;]*">Š"&!* -=`_*$%*;="*;[=`";?;#]=$-!""; ("<*;""$-]**'"785("_*$%="!;"; "/="Ž=`*";*=*/$`"%*";*;‡?**R *$*/$-?*_*$%;;*?;=-"="$-"* =$*;"!]<=$!;Q$$RExpulsion of Adam and Eve< @*-/ @" Q--/& " $*? * !< "*-$* /!" $-"< /*=;$$-""$

[=%*;$=*ˆ-`!"$;#]„="<#-*%*`*/;`/"`= 782 `*< ‡;*;=*;;;R"]**;=?"q‡$/!;Beata Beatrix a ]""=`_‹#=;;R;==;;*?";-;*-//;%*`="] =!***%*`*("‡*;;;<**;"q<'">=*< [=/%*;!!!]\`"*("**;Š=*!RDream Flowers$<'"<@-;-]$$* /\"< 785 @=!";">Š"/!==/!$@"*;$%**_*$%">Š"< _*$%$!;*";RAnnunciation @*-/@"Q--/&*=)‹"]<("*$

It is not merely the Spanish school, but one may, in fact, say that the whole of Spain is condensed into this passionate painting, which is devout and sombre, mystic and brutal at the same time. (Magnus Enckell in 1901)787

*"=Q$-R-$=*;!*=/"`$*$"*;<=!!"$= (**="`;"*@=-;]=!*;-\"" "<Q**; „="=";%**"**;;/"*"?**=$*-"]-$= *;!*="[=`"-/(**="<788 such as Enckell, "**;$=>"#$%`==";**"*$$$-"/=/ $!;=`"%|‹ˆ-‹<"q/!<#-/"/!"*]=]Q#""`;R /*<!"!*;#>$"/"/!"*]M>-\"" "<Q*<„=" ;;M""";‡/#"*;"|‹ˆ-‹#];!*="/!;$=*ˆ- *;$$!/!"**==!!"$=;"*"/ =/*"$"*$*"`="=`=!"$$`$*;"; #"*="$!"-*;`="=`="`"%` $*"-$;--]#]=/;;$"?"

He imitates nobody except himself and Velázquez (Albert Edelfelt on Whistler in 1884)789

-;(**;<„="%*`*=?;/";="‡/#"*;<|‹ˆ-‹ *;+@*;=/*/;-"\"" "*!"$-"=?#**%; =";*$";#]|‹ˆ-‹"?*==/"#`* ="`"*;#]="$=$*;$"$-";(""-`=<*= "="$-;]<*%;O*="$-"*P"O*#$-" ="/*P=#$%$;!""[**;|‹ˆ-‹Pope Innocentius X& `=„="R!""=/="*;\"]@!"?-];/*";< „="`%*`*-=/=;*;$=*ˆ-;Q"<-$= $-";$*?!"/"%-/#"#"`*+;?!;=/=;-"="*; -;"]#"=O%]*P`"%"]-(**=q/! =/=;'%%+**`=-"!"*]-;*-/#"#"=`*"

787 Icke blott den spanska skolan, utan man kan säga hela spanien var sammanfattadt i denna lidelsefulla målning, hängifven och dyster, mystisk och brutal på en gång.” _*$%*="$P"" *!**P< Ateneum/‹**†<< 788 ("_;<-*;"/< 789 _;< "/*<Ž„%"<<Ž**< (""-<

*;$!<Winter Light at Lake Tuusula<&792[=#"`*#"] $";"%</]$/;="-=-=`=!**[=;$"?"< =$%`=*`<`==]-*/#"$="*=""-*;"*$-< *;*$*"`==?**;$!*=#$%"-*;`==;"% #-"]<=?]$-;*=="‹*[=$*";</`=$$! $="=`=;$"?*;$!`=*/*-/;Q"?"<= -/#"Q`R="-=="*!"*`=!**;$"=-*ˆ-Q# *R=!**_?*=-==-#>$(**=`*"*;$!<= $=*ˆ-$==$=*ˆ-„="*;“"=;Q"Q]#+** `*!";#]=$*;"!=%]**;=!*"-;]* ;" *"**;"?*=`=*_;$//*;*„="R" *\-*$;#]|‹ˆ-‹*Finsk Tidsrift *<=/!=$-"†

He has painted splendid things, always keeping to these deliberate harmonies of colour. He subdues the light and places his models far back in space, and because of the painting’s dusky tone it obtains an ancient look - - Therefore in this respect he does not resemble the "+ but [Whistler’s] brush has this subtlety and light, sweeping moment, his grey tones acquiring this tinge of pearly lustre, which we admire in Velázquez’s Infantas. Accomplishing such consistency and depth in thin paint is certainly astonishing.793

@*-/#"-"$$=/!;"("*$$;Œ-"#"**;; |‹ˆ-‹#>$(**="R;/"*<;"*"/**=" =""„=`%*`=_""*;/";=!*= /"*;*=#"!=]&-;?„**"?"*!"$-"" Œ-"#"*R/!"*$""*$=>"#$%<*=="=*;<;/; #**";*;/""|‹ˆ-‹*;+795[=$"*]$;="$=$ *$!]*/*];Q"`"%"=(**=@"$]*"]R $$*("q/!<"]*$=>"#$%$!;+)Portrait of Willem

792 Halonen, Winter Light at Lake Tuusula &<*$*?<<q<+""*;"R$$*< Pekka Halonen$?**;"<< Finsk Tidsrift _;< „**"?"< 795 ">Š"<Ž">Š"< [=!">$`";#$-=@"$]=;**=$`"%*$$*@]-* $-*"]*;;#-;`*$$*"=$$*#$/!"=*"]$$* Š%<<[™Ž+%%<

225 van Heythuysen *M*;"*|‹ˆ-‹)Pope Innocentius X*; *;+RMan wearing a wide-brimmed hat*=+"/797 [=$-"$$!!"$=`!"$$;<*;*$=!"<#]"""* ;Q"*;!$]!*="_*$%<%/*]="<=; ";/";;Q"*=-?"#-<=$*-"]*";*;<=#* ;*$=/"/="$$-"$/<"?*=/*$="/$]= =;-;*M<=`?"<*"*=="!!**; =/"-"*;"*$-"$$!#"`*`=$=$== !*=$=*"*=`=*_*$%R*=-/;=/"? !**="=q!"*$="!*=Ateneum ""?`* `="=$*;=";/"*"Œ-"#"*R!**O!"]* /*%PSaint Francis$&*=+"/Q--/*'"#-"*; ]===;`]#**";*!*=$--"798@*q/! ====="";"Q"="$=$-"*;=O"#-=*]*; $*$-"*=P-$=!*="Q"<Œ-"#"**;|‹ˆ-‹799

Of all [Zurbáran’s] his paintings, the one to affect me most is that of a praying monk, currently in the National Gallery, London. I can- not help but describe here the impression this painting made on me /{G/MŒ$ Velazquez – that affected the Parisian public, but its sensitivity and at the same time its symmetry – says Charles Blanc – It was certainly Zurbarán’s '"]*Q*%, one of those paintings that is impossible to forget even though one has seen it only once. (Enckell in Ateneum review 1901)800

"?*=_*$%/"`=\="*$R!"Œ-"#"* `=$=$-;/*=_*$%=;";*$R#%*$-"="]„ %*`=_*$%;;*!*";;-"*="!!*#-=/!$ ="!$*#$"]**<"q/!<=;"%*;!**Woman Weeping<'"?$$*&+"=$$$-"$*"=/*

797 ">Š"< 798 Några teckningar af Spansk arkitektur*;Brev från Spanien, /%$=!*="$=$-"< *;""/!*&Ateneum, "?`*#""](**;<+*%'-%%< <Ž`*< 799 "$%**"!*%"%%-"" *!**<Ateneum /‹**<'-%%< P@=*Œ-"#"*&/ **"";*#;>*;/-*%<*-/"*;**"]</ ?"%;>-!! /%*> #="$"*#%"**?";*"]$%;**\>";< ; ;*" ** '"MR/"%#"";;*!"%!-#%*< %*$=*; #";<;?"M"\="*$M>|ˆ-‹=!*;?$%*;!*M?"*?R;>*; Q-*%RŒ-"#"*<*;/ **"</;/>*//<=;/**;*#* *; *P_*$%*="$P"" *!**P< AteneumM/‹**†<<

23. Pekka Halonen Winter Light at Lake Tuusula (1905). Oil on canvas, 90,5 x 72 cm, Harri Silander’s collection. Photo: Harri Silander

227 /!$Ž=!**R/!<-#<;"%#"`*$-"**?!=`!* `/*%/-"**$% $"-$*==$*$!historicity*;past as a destination `"$]$**$;="*=!#`*-#>$*;$=*ˆ-<"/* "!"**[=#"%="-=`";=/;"*$*$!$=*= /;"!"**`$**$*$"*"=(**="/**; * = -;] [=] ;$=; =" " "/ = "* ";* //$ "!"***?-"/"/!;"/<$*$*"**$-"*; /**_$==/=";!"$-"*"*;?!**="="`* `"%!"*<ascetic or synthetist!("(**="<-$=/;<  **;+**<`*$*==new art `#="= --"<=Q";$‡**$R#-`=$==]`"*=-$]`"* *=""<`=/*"$*;-*;"**=;$"?/* *="!**[=/!=*/*`?#*=`"% _*$%<[=*;$=>"#$%<`=q!";=/!**#]"""* *$*/*$=*ˆ-</;-/*;$-"@$*ˆ-*$<#];!* O"$=$P$=*ˆ-%/!"*;$-""/#*"$!**<=" !";$"/=*"**;!"/**<""*$"-! @;#]/#"$=&<=$*$-*historicity`** *"]*`;*;$=`=(";"$=$="*=]O*? *;*/*'"]P!-#=;*<==%*;!!"$=/; $"*=!"*"/<*="`";<"/=awareness of choice „=/"*/!>-]"`=$=*Q*?R<#-;/"*" *""/*;[="/nostalgia<**"!"; **$*$[=!!"$=<;/*";*=$=!"<#"-=#- !"-*;$=**(**="*=`$***`="/$ $=*$$-"";;!$=!$Š?`";*;-*;*-*= ;$"?`"%synthetist colour*;]/#"*/*;*= ="=*;<=";-$*$-"colour ascetism<"""*=;Q"< "*!";(**=!****`"<*#*"$"*"* *-`=`=$=q!"=";!*"*-"*;!!<"=" ="]*;"*$*/]=][=-;"*-;<`=$=/*; *=/*-/**;;$"?`"%(**="<"; !"$-"q!"*$/;"*]<$="$"$=/;"*!";;*$ "/="!";[=$*$-*#*="$`#=;="-= *`-#>$`=$=/!=/*`=$=`$=?;#]-*=$-" *]"$-""\$*@=?"-;="<*/;"*!** ;!$$*/!""]-#>$#-="*=!#`*-#>$<$=*ˆ-*;

/#"$=<

228 /;-/<"/*"!"**`$**$*$"*"_-"!**; (**="*=***=*;"]`*=$*-"@`=? *="<(**="]/;"*"<"?#/"""/-*]<*%* /*;"\$*=!*=--"*;=--"*=!

3.2 SYNTHETIST COLOUR

I enjoy resting my eyes on deep, saturated, warm colours, for as I see it, they embody life and passion, the best defences of the will to live. #+|+ while it lives, while it burns! No, not until it has been extinguished, not until it has ceased to exist. (Axel Gallén to Johannes Öhquist 1896)802

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@q *R"=**=ˆ-=ˆ-< „%**<

229 16. Pekka Halonen Rowan Tree (1894). Oil on canvas, 92 x 46 cm, private collection. Photo: Tuusula Museum

230 /!"*/!==`*<$-"</!]=$-"<#- ="$/#**=$/!;***;!"?%;=/* $@*;/"!"$]`;$?/?`";"]/;"*!** *(**="<`="`q!$";-"#<"/%*;q*;q!"*$<"=" =*"$!-=!"$;]/"/*"*]<"/=-< =$*$"*'"‡!=/-$=<=!**!$-"Ž#-*$=*` `?"!*`";*=/;;=***=$*-"]=;?- $!;*;=`]`!*"-"="q***#]@„%** &<?"]!`"-]$;*;#";*;=!#=@" *;\"Q?/*<`=$=`=="=@=$Q?/*<*; !?;=`]"*`$*$!*"`=$=`"q!";*("*$=@"-?-< ]/#/*;]*=/ *$#"<`=*--*`!**=Self-Portrait (Les Misérables), =`$/!*"$*?=$*#"";;=!$"/* =]/#=$=#";'*@?*†=Vision of the Sermon@ /**;#"<=`=/***//$]*=$-" @""&$""$]/!=<="$=**"]*;=!!$* $-"*/""-*"/-*;"/%=!$-"]*= `"%Ž=q!"?**;="/*]**;$-"<=-"/]"]< =#;!]$*<=/*/#-$;/*-"=-"M= /-?*"]""*$%-;"***;];"/*= "R!"M*;--*R`*"<-"?]*;"]&#=#"?" *;!"$!*</%="-]]/#`"%

/++MXM my endeavour to achieve something other than what I know how to do. I believe it is a transformation that has not yet borne fruit but will do so G&. The design is absolutely special, a complete abstraction… The colour is rather distant from that of nature; a vague memory of M@+< radiating from the eyes where the thought of the painter’s struggles… the whole thing [Self-Portrait Q "#&] against a background of pure chrome yellow strewn with child-like posies – the room of a pure maiden.” (Paul Gauguin in 1888)807

„%**< ""< ("*$="*Q"= <<˜Ž("/=_*="**<""<

*"*=`<"/="]*=!**<--*-$-" ]/##"$/*-$=";"O!*"R"-P*;]`"O" !-"#*P(-"="/"<!"!="--*=/<=";#$%"-*; /*"]"<""$=";;==-varech<=`; ?"!";*=;;"]#"=]";;;"<"$= ";$ˆ-"#$%"-*;!*;$"?#>$[=**]="; "-*;*;=#-$==`""<`=="]‹**"‡/*ˆ- ;<*;=-#"**$=<*`==;/*-*<- /;?*;*;?=`=$*!"$-"]***-"$< *;;?*"]<$="$"Q"/!"*]<=!***";-$;*` !!"$=$-"`="-#>$*;"///`=M`="= ]*=!`"%!"=$**[=/=;--*;?!; -"="*=*q`"% @==#*?"]$"-]=-=-#]--**;=!**R$-" $=/$=\="+*"]R;*$-"[=$/="-=*" $=-*$%"*`=$=--*q!*=†

The colours are even more revealing, though less susceptible of mul- tiple effects than lines, because of their power over the eye. There are hues that are noble, others common; tranquil and consoling har- $/ graphology the features of men who are frank and those of others who are liars. Why should not lines and colours reveal to the art lover the more or less grandiose character of the artist? 810

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Ad Astra<`"q$-;Q"-"!"*]<"*<*";*!*"*= *-"/;<$";"*;$!&*#‹*synthetist coloursˆ-?;*=(**="<`=`"?"]/-$=`"= *`!#$-"<$=*`"/*;/;-/"="$-"$*$- "[=$-"!=*/***;-"$*(**="`#q/*;* =`*$=!"

3.2.1 PAUL GAUGUIN’S ACADEMIE VITI 1894 – VÄINÖ BLOMSTEDT AND PEKKA HALONEN

+${Š- stands so much but then he has travelled all over the world. China, Japan, Asia, Sweden, Norway. He knows what conditions are like everywhere. And he’s not biased, as the French usually are. (Pekka Halonen to Maija Mäkinen 1894)811

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'%%+**R"Q>Q%**<\@@ ?**;"< [= /* % !$ * !$$] -"#* $*q [= @$; / \" ` $; < "- ;"*;\=-/ "<*;!!<*-/#"<`**q!*?"-"*<"ˆ-*;#] "<*;$;$" /"?/""!$#"[=`*"<\="\"** (-"""<$/ "*]"/@$#-=;;*'""@$`**q;#]'"-@*-/#""*; *;"`-!"-*;=$" /"</%*!!"=!$*"!""*"$!$=-" -/*+*=?"=`"*;;"$*Q;/\=R$" /"*;="?* -/*+*=?"<<\"/#<=*<Chez Charlotte and Fin-de-siècle Montparnasse Š$%=`<'"Ž"]*<¡?"<PQ="$" /";Q;/\=")*"!* '"P<Jozef Mehoffer (1869-1946). Un peintre symboliste polonais_q=#*$-<Q- ;R"]<'" |*/;R"_""*<_@

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One entered by a porte-cochère in a large wall on the street, then crossed a spacious courtyard in which a large tree grew in front of a $ $$ }$+ one side; a glass door led into the studio which Gauguin had immedi- ately decorated with a painting in maori style: [("-"-. Here one loves. One side of the studio was bathed in thick shadow in marked contrast to the light that came through a high window on the opposite side. Gauguin had painted these windows chrome yellow. The fur- niture consisted solely of divans covered by Oriental rugs; the walls were covered with Polynesian arms, bought in Paris, and Gauguin’s

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paintings. A piano and a large camera were the sole objects to remind one of Paris or Europe. There were two pets, a monkey and a parrot. And as servant and friend, a pretty Javanese girl, Annah, a model well-known in the studios of Montparnasse.”821

$"==#"=$-";]*=[=!***="]`"/ *;--*R]`*;"*-;=/`"/=*=+***; /;=;*?"*#"822@*=?"`=?;--*R -;<=]/;**;#/!"**=(**="/;"*; ??;/!"*!$$]=]`=$?";=`†P_?"]=*= =?*--*=/;;!/!"**/*;;<==-$= !***=#-"**]`"=*=*#"=?"-$=;/P $"=--*R;=;#*//;]*;-*=*];!; #]=/!-?/;+**<*=="=*;<=;""?*" #-<=*;*-"]<=`"=*$ Q>*=-$]#-O= #$="*'"P`==;"?;=`";*"*=`=]` --*;"*"/=("*$=†

Here in the studio, though, the people are good and respectable. And if someone starts getting too rowdy we immediately shut him up. You see V[äinö] and I are more or less in charge here. Firstly because we are doing the best work and secondly because we are the most hard- working and the most serious. (Pekka Halonen to Maija Mäkinen in January 1894)824

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--*< 822 /;`"=]`"/--*R`"%*"|*/;R"_""* [=!****--*RAutoportrait avec chapeau <Q- ;R"]<'"&= ]`"/_""‡$=";"=;=="/`"`=<=*/!"* -;"< /; '%%+**R"Q>Q%**\@@[="`"*]-"-;**--*R;< *;;*=#?*-*%*`*'=-;**;=*@#"*;"<*-*%*`*(**=" "$//-*$*†Q">-!**-!**<Ž‡;";=*;$; =`;=+/"-*;-;;*@$;/\"`=„-/**;--*";< < 825 \/!""<

"/<=-*$$-/;]";‹‹;PP+=$-!;*`;< ;!$*=/*$;P827=`=="**=`;* $-!-" = --* =; q=#; -"*;‡- /* = `"% #"-=#$%"/[=-*;;=]-*(**828

He has travelled all over the world - - I imagine that it is just this that has enabled him to free himself from the concept of European art - - His teaching is such as I have never heard from anyone before. He opens our eyes so that each and everyone of us learns to know himself +$++@ ever talks of are [cor]respondences, harmonies which we had never been used to hearing about. (Väinö Blomstedt to Eero Järnefelt 1894)829

@*;=`"%<*;$"#;O#"#"$P<*;==*"!=$$$* *=";"/=)*$;"<$/!;#]#>$#-==\/"%< =!"*$!***;!"*#];*;/;"*/"/;/‹* [=]#"`*="/""*$*;%*=-;;$$"< `=?;;$-*=/`==]-*"`=\$%;"-*;=/[= /!"*$--*R$$*<`=$=="?=;*;!= **$;$-<$*#***"$*`=$=--*=/!"*; =`"%"/=$$**=-;<!$$]=`"%="*;< |*$*?*=Ž

/ against a yellow background; they bathe their feet in a yellow vase, on a yellow table. – In a corner of the painting, the artist’s signature: Vin- cent. And the yellow sun that shines through the yellow curtains of my $ when I wake up, I imagine how good it all smells. (Gauguin “Natures mortes” in 1893)831

[=/**_;"*"`"*#]/;"**= th*-"]"?=*=-$;$?"]="=`* q/!#]--*†

/; 827 |*/;R"_""*<_@ 828 -/*+*=?"< 829 |*/;R"_""*<_@ -/*+*=?"< --*<'-<O-"/"P<Essais d’art libre<'"<@--<

Š{|Œ'*$ genial painter in France, as Gauguin says. He doesn’t exhibit and never lets journalists visit him. I have only seen a couple of etchings at Gauguin’s and they were superb. (Blomstedt to Järnefelt in 1894)832

@-"-/*+*=?"&!*-<--*R!$-"$$* `;/;*;+**%*`="$?*";<$**# ;*;=?=-;$/`=*=$!="R"-"]< *"$=/"%`=*`-;("*$*$<""$*$ *;!-#$]<--**?;**$";#*-/#"!!?=/*= -;*;*";-$;"-"?*;]`=$=%*="!"/** $"*?;+***;/;=?*!!"-*]%!"*--*R " ”*=#*$`"*-"$<="*=*$*"/=+`?"< =/!!"ˆ-*;Q;/\="R$" /"$*#-*; "-|"$* "q<*;!</-$**;`""*;**"$*] $*;*?*"<*";-$;#]--*R*=#-"<=`;=$-!" ;_"$* Q" *"*]< `= ` %*` "/ +" [""**R -;] & * /;<--**;=`"*$"]/"$;/$% *;=*"?"]=**;#*\-*$;#]`==;#**]=-= `"**="**[=**$?/!"/**"`$"-$ *;*=Q**"?*R`=`=$="-"$-;$*?]=$*? *"*=--*`"+**=""$//*;*"= -;=/!"*(**;†

|*/;R"_""*<_@ @/**-/"-;$"!*=" <\="Q"$<†O‡-|"$* "q„= //"=*/?%"- --*R" </!*;$**<`="*]-=-$=;=; /!="</=*!*;"-";]`-;/`*"]=/"" "*/*@*;]=""*/`=$="-=/*;†=/-$*Q";<=$-!" ("*$$-""<@";Q<=!'-‡*";<-*$"$ˆ<=!*"@"/*;-*< R\**"<Œ-<*;Q*";<\=/";<Q-"*;"*;#"<`=#"?;--*`= *=/*<!"=<!""*;]@--*R*;*R="<*$===";]* ?"];]-#>$<*-="]†= =`]-*``" //`?*!];$=";[= Q""/[=;;*;;*!]!"*;`=;?*$-/*PQ"$<-/* +*=?"/!==!"*$Q<`=-;`=/;;"=-; `=$=+***;/;*;;--*R$-"-/*+*=?"<< [""**R/"R=`/;#]*"?`*|*/;[=$/`="-=*=q< ?*=-=*/**;"*;<`=$=`--*/"="$-; [""**< [=""$//*;*`-*;#]Q">-!***=*@"$=?*(**;*;$!] *$-;;*=""$*Burlington Magazine-!**<

Paris le 10 Mars 1894

Au Sénat Impérial de Finlande

I have followed attentively the conscientious work of Mr. Pekka Halonen. From every point of view he deserves to continue his artis- tic education and I am convinced that, with his temperament, he can become an artist.

I would be delighted if the Imperial Finnish Senate which is highly so- licitous of its artists would facilitate the studies of Mr. Pekka Halonen by granting him a travel scholarship.

Paul Gauguin, Painter, teacher at the Académie Viti (Paul Gauguin, Artiste Peintre. Professeur à l’Academie Viti)837

("+**`*"*'"`!";*`!"-*"!$*("/= ""`"%*$*";]==`%**`!!"$="=" @"R";$"#=`<*<=$/*'"`=$%`=;"* ;$"/†/]$/<=!=]*;$$-/#$//q;*= /q$"/*;$-"*/!=`!$;*=!"-!$ "--*R*\//"]!$=*;+**R**?-;]"$ =*%*#"-=#-";$$=**="R-;[=" +***;/;";@'*R`"%Esoteric Buddhism<*;$*;"; $=*O="*;!-""-=P("=/O!"-*;*;"* =`$**";/"=*$-!!**?***;=*``] ;$-=/Ž="``-;#/!#;=/P [=ˆ- $"]-"=#*-;*"`"--*/*#**; "$*;]/#-"$`*$=**" *"*=*R#%Esoteric Buddhism,`=$=;`="$ =!=]<$**+**R*;--*R=-=*O`="`$/ "/<`=`"*;`="`"*P`=$=$*#-*;*=!"$ =#%"**!"$"*;$--"="=;<"/=-<#*

O'"Q"@- */! ";(**;R-??$**"?-q$*$*$-q; Q*-"'%%+**@-!*;?-</ ";$**-"**"-$*"ˆ-<>- $*?*$-ˆ-R?$*/! "/*!-;?*"-*"?""?$"*;!" */!" (**;ˆ-!"-*"*;$-;"!-$" -;;Q*-"'%%+** *-$$";*-*-";?]'---*<@"'*"'"-"R@$;/|P["* |"|***<("*$=*-!**< See The Kantele player&*;Seated on a shore&|**;"<Ž#*< '%%+**Q>Q%**\@@@'**De invigdes lära"**/†_"$-;;=/

$/;R*;+**R="*;*`=;$?`=== !"-$*;*="$-*"];=!"$"*;/=** $//*#`*=";*;=!=$=-=[=`"**=$=* !!/";*="/*;`==!"-*;$--""?-*%*!$ *="`*$-*"]*$*;;-$"/+**R"==` *="-=*;$*;"-$"=/;=/%/"!"- $***="[=-**=;Self-portrait<&$"]=`=]-* "R*`-;`";=`"%@=-==-#>$<!$]=$< ";"$]<+**=!*;=/*=#$%"-*;* -*"*;$!`="-;<];/-**#?<=;`=$=== !*;=;;"+=!*;=/-*!"$<=*#"-="%<`=$= `"]!$="]`"%*=="=*;<=$*-"=/-** "!*;*]!$]--*ˆ-;"%='"-*#-[=$-"= *`]`"%!"=/*-<#-=="/*]*"*= +**=$=**`/;-/M/!"[="R*?$= /*=;!"=!""=-==]"/"#"`*==;`* =]$%„=];;+**?=!**-**=;”„!"=! ="`"%!*;*--*R-;""";#]/;”+"$* =`=*+**!*;="`"%="* =!"-"/< =$=";;;=$%#-"*$*-" O[=;?"-*;P`+**R "$//*$$";*/; @*="!**`=$==`"%;**=O@$;/|P`Nude Female Model<+*%@"Q--/&`=$=*;O'"MP*;=` *;$*"%*"==?`"`=*#;-;[=!** ˆ-/*/$$-**=!%*=%**]"`="]= #$%"-*;@*;!="!="/=[---Q--/"$=?=`= =!**=#*""<=`*="*„=*=!**`$- /"*%*`*-/*<!"##]+**R`Q><=`"* *=!!"`="=!="!=$=;=O[=!**`;** --*R-;*"-|"$* "q*;*\-*$;--*?;/"% *=-;P@=!**;*`="]#-=$=Self- Portait & [=" ` $" *% #`* = "* !* = ]*= " --**;=#*;!*"[=-*-"!"*=<"=

_|*/;=$-*™">/;™">/;R""$=?<]?%]!"?*$ "$=? [""**< Halonen, Nude Female Model&<*$*?<q<<+*%@"Q--/("="$-?"* ?**;"<Pekka Halonen<$ [---Q--/"$=?<[---

"!'"<+**#*$$`;$-$!*\-*$;#]--*< +**;!;>!*/**=!**[=!$$="$"$ #"#;"/!*"""\$;*+**R`"%*/*]`]†= ?"$*;*""`kakemono"/<===="‹*<=;`*;\-"$< "*/*]<;*!"!$?*;*"?`*-""=!** ?#?="*;/?`„*"/*!"$-"";/** !*$"+**=;""/!;!**`/#-` *]"==-*;=`*-*ˆ-`]!**`*"*;$! @@**[-?**&!*-<#;>!*$/"*+**R ]<="`/"]*-#>$[=$"%;!*<"**$<`=$= "ˆ-*]!!"*=`"%Ž`!!-"/*!*" @**"*/"]#`*+***;--*$*#-*;*= `*"[="--*R""`*"*;$!;"/=]"<= "`=$=<Paris in the SnowParis sous la neige)<|*=Q--/< @/";/&=!*;*'"[=!**=`?`="-|"$* "q "/=`*;`="R-;;-"*=/`*"=--*=; (**=!-![=`*"?`=*`$?";""=""$-#>$ `@"'"--*!*;`/"`*"=/*"*]<Village breton sous la neige&*;Nuit de Noël<!"?$$*&[= "*!"$-"`!*;*]*=]<$/!`=_]!*q* ™** '$=* $/!" --*R `*" !** `= +"=R Snow- covered Kambara at night. ---*R `*"=//]`=? #**\-*$;#]=$*$`==(**=!*"O`*"q$/P '%%+***;'---*=;="=**$//*[=]#= $*;";=/?-;"*;`";!]*";*;$?"*= Q!"/?R="-==""--*-==*[=*;=*;= -='$$+**<*=="=*;<-="??=Q!";R

+**;$?";;!*"*=+*%)*?"]#""]'%%+**Q>Q%**< --/*<\@@+=;";]!-"$=;`;$-$!*'"*;"/< !*/`=$$*;*#>$*;*"/?/*<`=$=`O/-P"?"]" %**`/!-[-?**< [-?**-="/O>!*/P[=$"%;!*]/#(**=*;-"*$]/# **;!$-"ˆ-/**!*"[-?**<@/*=*q/! +**RO>!*$P!**"=$""=Pine Tree in the Snow&*;The First Snow &!*/"$=;*`==*$/"*+**R"/*/*;/;?!** --*< Village Breton sous la neige&!**<q<'"<Q- ;R"]-;'-/& [=*;$!--*RVillage breton sous la neige$*#$"]**=#$%"-*;La nuit de Noël&?**;"< --*< Paris sous la neige & !**< q < |* = /--/< @/";/ Q--/R !="!=Village breton sous la neige&!**<q<'"<Q- ;R"]-;'-/& La nuit de Noël&!**q<!"?$$*'$=*< --*-=O=*$!="="P*[=*;`*;?%=*?+`*; *;!"/?!";*;#-;="*=#[=/*<

7. Axel Gallén The Great Black Woodpecker (1893). Gouache on paper, 145 x 90 cm, Art Museum, Finnish National Gallery. Photo: Pirje Mykkänen/Finnish National Gallery, CAA

of his people in the virgin forests and concept of sacred wilderness which is also described in the Kalevala.851 [= `"% = `* -//" $"] "\$ --*R *\-*$ * +**+"=--*=;?*=/=";/*;]"$/*; individualism. According to the French artist’s teaching, all greatness, all beauty was simple and clear.852 It should be noted that what Halonen inherited from Gauguin was not his bright synthetist palette but rather synthetist clear contour and unbroken colour surfaces, and decorative “abstract” elements which he instinctively adopted to his paintings. This issue will be discussed more closely in the next chapter.

3.2.2 PARADISE LOST AND SACRED NATURE – VÄINÖ BLOMSTEDT, AXEL GALLÉN, PEKKA HALONEN AND EERO JÄRNEFELT

$<<$ +/++/ $/ N+$G / + ‡@X ‰—š¤

In order to investigate Finnish landscape painting of the 1890s it is important also to examine the artists’ idea of the wilderness they depicted. Their enthusiasm for a pure, virginal, primordial place was quite unique even in the Nordic context. As this -;]=*;""<*$*=*;$!=;"*!* *(**="*;$"==*"*!"$-""\$=; many different artists. In these works the ideas and ideals of a “higher” world were all expressed through images of the earthly world. Traditionally, however, almost all Finnish art historians have tended to see these paintings as depictions of a patriotic ideology. However, as I hope to show, especially artists who were fascinated by $";*-"*;`==]$*;";Q-*-$=;R*;$!%*; against modern industrialisation. For example, this led artists such as Axel Gallén and Pekka Halonen spoke out on more concrete matters such as the extensive clear- felling by forestry companies and expressed their concern for what they saw as the

851 von Bonsdorff 2005, 157-166. 852 Halonen’s notes. Tuusula Museum archives, Tuusula. 853 Gallen-Kallela 1924, 176, 178.

242 ;"-$*="-`;"*?;*==`*q!"* =;]/;"*$!/`";/"!"--""-*;* =$*;"*"`"%Q;!$"*=!R/"<= *"*!"$-"$"]=`=;"*;="-==#-]*-" -#>$/"=`"\$=(**=!!"$=`=?"/*$ =O?-=/P*;O/*"/`"%P855";!$$"- ";**!$$]**$*q*;$?]q!";#](**= "`=-;=*;$!q!"="O=#=/*;P"?* ="O/*ˆ-!/*P@!$-#>$*(**="<=`;"*<`=$= /#"$;=$*$!=$";*;=!"/?<`-;#]"`=="; **"**;**``];!$!"-]*=$=!"!"! *]=$"*=!#`*$-"<*;$!!***;Q!"-]R *;=/**"*`=$=`!"*;#](**="*= Q"?"<;!$*=`;"*`"-;q!"!"?*; -#>$?/**`="`=/"*$"-*-"[= ;]$-/**=*="!/"!=$/=;<`=$=-!!;]$/"/ =Š?`="=;]$//**;`q!";*=;!$* *=/**/*/`"%=;]<`=$==?$=* $=Q=/*$!!"$=R<`q!";*;"*`]*=*=*;< "-;**/!""*=="<=];!$;="/* ="-=*;$!%`<*/"$*$"q/!<=-"#$ *-"*;##$""*!-"*;$";-""-*;*`#=*; =;]`=$=;"#-;=-*=`;*;#;%[= $/!;=";"/O;?;/""*$*;**-"P  *q!";*[=-</;/*"<?;*== Q„;"*R$*$!"/"$/!q-=*=#*!"?-]*; *;<!$/"];!$;*/*]!**`*=*/= !**&<`"\$=;?"]`=`=$="/#"$;=-#>$* =$=!"=-;]`q!"=*``]*`=$==Q`;"*$*$!R `q!";`==transfer to mediumM$-"*;*`/;-/@ =!#=<="*"*$$-"`*$*/**#"** =$***$";*;!"/?(**=*;$!" * = " /! q!" = -*ˆ- *="!/"!=$ `] $/#**-#>$?*;/*Q!""R="q!";** */`#] **[=*`!!"$=*$!-"*=*$`= "``;"*$*#** *RThe Great Black Woodpecker

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<&*"*]<"=*"-*`"% *$=*`/;-/< -$=]*==*`/*)]/#/*; !$]=;$"?$*-#>$<"/</;-/*;$/!*[= !**=#*;#="R=;;*!""< *=*< />$`;!$%"*=?`;"*857@*+**RWilderness < [-"%-@"Q--/&858="=%%/*"//!==<$"/* *;/*-/*$;=$/!*="=!*`=$=$- ;"/$]`";=%]*#=!****;`;/**]†* =""-*;=;*$-"?;%"`==#$%`;!$%"*; `!*("*=#$%"-*;!";=?!"/";*;$![= #"`*=#*;?"#-=*="*-$*-$=$""* !"]%$@=/*?=`"%]*=\"Ž=!*; ;$"?#*;`=]/#$*/<=!*$*/"-*;*; ="*!"*$-"**;]*=$"/$/#*/%*q/! =;$"?"=$";`;"*[=/*/!$/!=; /"#]="R!"*;!$*=`;!$%"<"*= !***="?@`]""<+**-=/Q=/*$ !!"$=R*Winter Day& *$**=="‹*;/!;"/=`"%<`= ="\<`;/**!"!$?<`"!"!"=*`;$"?" = *<"**$<"$="=`"%*Š?=/*$<= "q/!=*`]/#"=!"]%Great Black Woodpecker `=$= = !*; * -$= - * = `; * < *"*] * " #*$"$;"=Aino "!]$=O[=$"]**;?;-?*=**= *$=`;P< *=/;$"#;<=`=`/!"*"= /$;/***-"!];*=Š?`";[=*="!/"!=$ "*"/*=-/*#****/-"-"*/*]"* =!$[=;*$*(**="="-==!!"$=$*#* ]!$](**=[=!**R*`-#>$?$="$"M`==`;!$%" /#;]*="=/M*;$#"*=?"*<!"/?`;*% `==*`/]$"859@="*/*!*;"/`=$="/# `='-?;\=?**-;"/=`%`;!;*(**=" *(**=?"*$*#-*;* *RThe Great Black Woodpecker *"*]*-=<=`="]*=`"% *!*;*;

857 )***/]/#="=/?$//*(**=""*=;=" $";"#*;=" *!*;=`;!$%"*/*]=`"%#-;*;=/ `=`* 858 ?**;"<Pekka Halonen<$ 859 *Š<<

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17. Pekka Halonen Winter Day (1895).Oil on canvas, 55 x 38 cm, private collection. Photo: Tuusula Museum

[= ˆ-* ]*=/ * +**R -?" $/ = " * = ;!$**-"/!"**=<=-==#***= $""+**!$;=-/*-"$*"*=`"%<"=!"; --*R!-!*=#*!";-$/"*;/"!**] `=*-"/$"-$*==;;*"]#$/!*" ;$"?`*"*;$!-*<875`=*="/>"`"%=]! `"!";-$;*"?<*=*"="*!%;*Š"<*;* Š/"`="+***;=`Q>!*=`*""="/"" **-"]`="==`‹;#]!*"!**`*" $*"]-;"*-#‹"/!"-"`-;"-=+**R*" *;!$*`*"*;$!"`-=*`!!"$*Q!"/?*-"R *;*";"#==/**;?;-"=-*;=$* !*"`*""/--*R;]@"=#$/=!*" *`"===/-*(**=" ‡= "/ = " +**< * ";* !*" en plein air< $**-; `"%-;"-*=*;=+;!;=`=O!*;="-= =`*;`P$""/=*"?`*;"==*;;Q =*-"R`=$=-""-*;;=/Ž=*;*q!"*$`!"=!"$$ *`"="!*;/q/-/*;=$*#"/=?"]"`*" *;$!Ž*Winter Landscape<&*$*/=$"!"] "<+**$*$*";*$!-"*=?"-*=#"*#- %]*;=*`$*$;#-=;`*"`=;"[=** `"*=*$;#]="*#-$*";`==**`=*;]``=$= $"/"\$*="/*;„=q$!"$**"/= !**=*-"#-=#"=!*;=;;<"*]-!`"; ;*!"!$?`";=!*`]!*;=""-*%*;"$% =`/"**;?;-!!"$=@"--]!""";;!$!*"/$ `*"*;$!`=?`"/==!$_?*=-=Winter Landscape is ;***-"/**"=!**R-!`";$/!**;?"$" "\$$"*!*\" [=/`*"+**!*;=*/$Winter Day <&[= "=$=**-*---#>$"=!**Ž"/=#/$"*" ="$/!*-!$"=*`$?";!`="*#-=;` Q"*"*]<=?`"!$;#=*;*;*=/?==" [=-*--"*;*=$/!*?=*==" $-]?`*=$*"/>-#=*;=*/<"/"*=/*

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=$-;?;?*=/O/""*$*;**-"P Halonen $=/"!"$$!$"=#--;=/+**/<* %[---<`=*]"$=+*%<*;`*`;="#]_" "*`==`*-?"* *;=#"="*`*#-<`==- @*$%[---`"=/***=="R =/*`;";"#?**(**;-/"*"*]< ==]*;?;-$";=-<=]#*;;*`=="-""-*;**;`" -;$%"?*/-""-*;;#]`"*=$Š *;+**/<#=`=$=*;=?"]*;=;*;*!"* "=;*`-*;*"*$*-"=!*;*";**;%$--" -"]*-=<=!"??!`"*-"`!"**?"]; ="-==**-/"#`*;`*;%-!==-Š< for **$<=*"!$%`*;`=#"*=*"#]"*==- ";]`"%"<882*;+**R*-"$*!"*M"<"$% *;?``"M?#"/+**/R/*]`*;`--; ==/``";`=$==$;O="-"-?"P("=" `=?;*=/<==-*;="-""-*;*$;/$"$/`=* `=$==]$";=""<$*;";#O$";/*P

After all, we mortals are destined to suck at the many breasts of Mother Nature for as long as we remain on this earth (and perhaps even thereafter?) (Axel Gallén to Louis Sparre 1897)885

[==-=*sacred nature`"<"/=-<$**$;=Š? *;*=<`=*=!=]`-;;/*"<=`?` -*;$//*"-*;("*""*"*"%‡„_%/*<= Š?=;q!";=#*$*(**=*-"`"=!#-#]=*; ="**"`"**%!*`==$=*

@q *R"‡#"Š>*-@!"*_*=?< [="$-!/?[---`"=`""-=*@=*;="`|**];*";< `="*;?*%[---[=]*$-";=">*=/)%]"/;*;_" "*R"R=/-?"*$/!;&"**;=/]?;-?"*]""-*; -!<`=*=]/?;+*%[=""<=]*]!*/="*-//"*;*!$ $$*@* `==/$/!"*#-*;=`@**;$%[--- *;#]"$=$"*$%<`$/!;*#-;;@***;#-";* =";* 882 -/*+*=?"< -" P[>* % ;%* %=]%*P< Atelieri sanomat< *Š Q--/<_!-/*+*=?"< '%%+**R*"?`<Svenska Pressen<\@@ @q *R"'%%+***_*=?< 885 @q *R"-!""*_*=?<

252 =_*=*/* #-"="*"$";*=;;*"/-;"** `==!=$=*%*@‡%%`*&!*-<=/*-" |*/**$**-;#%*;"!=-""<#-="!=-` /"]**%<#*/!"**<*"Q$=**R[=!=]< %==""$!=!==<#?;="*<*;*;; %*`;<;"?;"/=/-"$‡*`"/!]?"* **;=/%*`;""**q*$"/<*///"$=* *;?;-*%@*;" *R*"*<|*/**`*/*/*] **;-$;*=$"%*`;[=Š?=;#$/=]#% `=$**`"!**]=$`

Every reader of the Kalevala has its images embedded in his soul and does not want to replace them. The Kalevala does not need our picto- rial help or written interpretations. – – I believe that its fruitful effect should take place through inner learning and digestion, especially as far as art is concerned. (Pekka Halonen 1910)887

[="`""<%'%%+**<`===Š?`-$==] #%=-#>$=-;*#;!$;*;"$/**"[=*]!** *$-Š?=/*+**R-?""=`"%$//*;" =/„-""/<`=$=*$-;=!"]%Väinämöinen Playing &*;Lemminkäinen Arriving at the Isle &("+**=Š? `**!"*=!";/"="-==**"?**;=$** /!=*=`"%*=$*$!$";*-"*;*-#>$%==] "(**=%"M="`*" |*/;R`"%$/#*-#>$"/=Š?<=;$"? ]$*/!""]]/#/*;=/*?]*=!/*"] *;/]=$=/"]!$/;R`"%("/*"]<= ;?!/*(**="*;$--"=;#*$=="*;=;$ ?`*=*#!"-$*==/*;;=!"$";$?" !*$*$*=!=$=*%**/;R/*/?"`

`*< 887 +**`"!]*"-!*ˆ-"]"/=/‹*Aika*+/**<*==" =*;<+**RMaidens of the Headland &<`=$=`*!";#]#-RVenematka ‡;&, *;Awaiting the Enemy &=`Š?*\-*$=="$`"%"/"%;#] !"$<*-"$!!"$==?"];"*"/=/!;"$%`"%-$=Pioneers in Karelia &*/]!**=$"-];!$;/*/]=?#**\-*$;*#] +**R$"*;_@!*+!%]<`==;"*]#*;";*\-*$=`"% *;=?-""$$";*]@!*+!%]=**"/*$`"%=-;# *-"$*;$"-]!*;%%"<

3. Väinö Blomstedt Sunset (1898). Oil on canvas, 40,5 x 60 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Aaltonen/ Finnish National Gallery, CAA

254 =$="--*<`=*!/#"=;>-"-"*;"/[=`=" ==;#**"$==`*!"/?!";P[=!";/* art”, /;;$"#--**"</;**";$#/!"* *(**="888/!"**==;$";*-"*; ="$="=!";=;";]#*q!";#](**="*= #***[=ˆ-*;*-*!;*-"*;!!"`"/ =*;*;=`";Š?*;!![=*="!/"!=$" =/*$!!"$==]-;/"""=""="!"**` q!";="-==/"]$";*-"[=]=-==!"- *;$--";?!/*"\$;*`!!"$=*;/"]=-;#$"; *-"*!"$-"/;*;+**`=!";/!"- "??*;$]$$"**889 ?;*=*=*;="-=-==";** !$*;/=;;*";-*`/!`"";"`**=" *<*`/!!*`*$;*?=/"!/*] [=*%$=*$;?*$=$-;?"$/?*=/!=]$*; #*"/"#-*;"-"#*!$<"$-;**"!* $!!-"]*-"!$#-$-;*];"/-$=*;[=-<*= /#?-$<--*<*"$="="-]O!"/?PM=<* */"$<**-"#*$--"M;"/"*]=-=*; $""!"*-"---*R="*"*?$--" *;"**/!$"="=*q!$$"$/„==;!;`== $*;";*?]*;!!"!";*-/"-O!"/?P?-"/< --*R"$/*"";*=`"*_-"!**`=$= =`"#*`"""$;;#"]-*?"<!=!=$`"%[= ;/**/"$<**-"#*$--"`=";#](**=" `=q!";="-==""*;=";?**=`;"** =-=]=/?=;;*;*;`="=]$-;$"Q!-""R *"*=`/;R"=--*;;***"!"/? !";"-;#]--*[=***;/]=$=/=]*= /!"!**Episode from the Kalevala, Kullervo Cutting into the Oak < &;!$;*--*ˆ-!"<`=;!]*=!`=""] $-"$/!/****="[=;"%'"-*#--*;/*= ;$"?-"$@*--*RVision of the Sermon&<=`"%R;]*/$ $/!*<`=$`<#;*"=]=/$$"$"!`"-;* *\-"$[=]*=!;"%=*;**†;-=-*!"/; #"`*$*?=$-""!"]#"#;`=$=$"=!"]%-"$

888 ""//;_""*<<_""*"$=? 889 _|*/;=$-*™">/;™">/;R"<]?%]!"?*$ "$=?

255 =/;/;"*;`=$=$=?;-*$/!/*"]$-"M /*]"*<"-";<*;=#"`*=$*?$*";`=#-<;"%"* *;-"ˆ-_q$!"--*R#"="$-"$=/</;R! /-$=/""/*$*Q-"$*RMuses &<`=$* "=]$-"<#-==**-"ˆ-$-"!"$-"]]!$= (**="[=$*;"?*"/Š?=`]-*<*%;Š-"? ;*-"-]`==%**%"R"-*%[=#]R"*<*#;] **"`";*="[=;"/$/;*;=*=**"/ #"*$=""/?;&!*=;*=";#]R--"";]†**$ -"-"?*Š-"?<`==-*%*`*];-$;=`*"<%= =/]*;*]=/+`?"<="`*;=Š? *"*!"/?"/*$="!]/;=-;*= !***"*<;!<`*#-"*$-"=?;$"?\" =!** @=-=(**="`"`"=""*=*=*;deposit !-#$ *; ** =" $ /*& * = =" ;!$; !"? /*=";]*;;%= The Great Black Woodpecker <&< *R$*$Lemminkäinen’s Mother<&#===] !"*/*=#*;*q/!=;$"?]/#/* `=$==!`"-"$=$<]*="/*;**/!"$-"-*;"* ="*/*$="[="$%`"%R/!=*Q*ˆ-]R=" `=/;?""*$/%"**"*$/#**!*Š? *; \="* ";*< ?;*$*  *R $*$-* historicity Q" !$$]<`*=!=$!"*$!< *-/*;"* /="?q!"-*?"/*=Š?*;<//*%** `"="*;`/*"`=;`=*="==/]$`* [-*="?";=&<#";#?#=*;;=Lemminkäinen’s mother-$$;*""*="*#]!!*=="!`"[= ;*#$""="$#$%*;*"]"/=*;=?*[= !**"%**/;"*!"/?*;*$*/!$][=;"%</-; $-"*=*$=*=-*;"`";*;=**?#;";/ *=**;=;;<!`=*=\`"*;//*%**R %*"$*";`===";$$*;$-"=# *;=#/"/=?*[=/]$`*`/*]*=;"%* =-*;"`";*;`*"/=/="#"=//*%**[ $=?="!#**]`=*=`!**=`"%< *-;

?**;"#< P;*;**%"*="/;$=/;**;/<;>-!*/%*$= %"# "</]$%* ;*/R@"%;*R"**;%"??"%*PHufvudstadsbladet

=`*/="=/;="-====]!"**!-=== $?]q!";=**$?$*"**#`**;;=<= -/-*?"=/`=$=-*;"*;`=/<]*="/[=- =!**;-$*==]!"*?*;$?/* /!$#-<*=="=*;<$"]$";*!$`"%"=!-#$ *;/"!$$]!**;!$*(**;R!$! [= !"*$ *; !`" *-" !] * /!"* !" * = Š? q!"*$@"-*;"*;=;$";*-"*;!"/?!* "$#]-*$"*-#>$=`"=?Š?$="$"* *R Lemminkäinen’s mother=/*$="$""=/*-`*[-*< //*%**<=/="*;//!"*=/;*#`=$= $""="$[=*"!]`=*-"*;=-/**$-[="" ="-#>$<=]/#$!*<=!*-$"`#""]\`"*;= #-*$=\q'*"*$-*/*]!**("**$<(**;R =]"<="`*!!"*=`"%/?"]"*!";#]= Š?$$-""!;]*=!$<!"?;*!"$*"/?!" *;"*`";!$;* *R*;/;RŠ-"?-#>$<#- #]*/*]+**R!**<=//!"*`=$== Rowan Tree+**<`==;>-"-"*;"/'""-;]*-*;" --*<`/*!";-$*"!$%=]/*!"/?*-"[= kakemono =!-*;"*=$"$="$"=`"%892‡`*" -"*/*]*;$!!**<*;=?-*;="`]*Š?] ;$"?"*;!$-"`? „==""?]/#/<(**=";$?";*`;/*** *;$!!**`="=/`"%*"/*"**-"$/;R Sunset<&;!$**;<!!-"]/#-#>$*-"* =$*-"]"</]$*;`"--];!$;="!"-!< --*R?`[=<""*"*!$=;;<@"*;$%*R /-The Isle of the Dead&*(**=!"\="*";*<*; `"*%;`==;;+`?"<Sunset=**;/;?* `=="]?**-*@/]$*;*;"%-*"\$;= $*"$/%?`[=*;*;=$-;<;;#]-*<"/"""; *=#"=-"ˆ-`"<=$-"]!$/;R]*=! =[=?`"/;#]=="*"$%*;!**=""-*; *;#];$"`*"<$*;";$";*(**;<;*`=#"" (" +** = `"% = `* -//" $"] "\$ --*R *\-*$+**"=--*=;?*=/=";/*;]"$/ *;*;?;-/@$$";*=("*$="R$=*<"*<#-]

892 ‡+**RRowan Tree ?**;"<

257 `/!*;$"„=+***=";"/--*`*=#"= ]*=!*Nave nave moe<+"/<'"#-"&`=$== `!**=/#-"="=$"$*-"*;$-"-"$` =;$"?$`=$==**$?];!;[=?;**=Rowan tree<&<`=$="+**`(**;R$";"[="`* ;!$;*="!="$%<!"-**;#*;*`-*;"=`= ";#""[=$";*;"**$*-"$*;+**="-=- =$""[=!**=`=`=/!==;$"?$`=$-"?] $*-"*;$-"#"="=*#"[=`"%"-;$*;"#*" /*+**R"$-*;*"*=`@q * *;$"#=!***="†

Rowan tree is a highly decorative endeavour and, surprisingly, con- veys a peaceful impression - that long moment of expectation when Nature holds its breath. I have never before seen the mood illustrated. (Axel Gallén to Pekka Halonen 1894)893

)*="]";$"#/;*;=-=`**`"/ q!"*[="=*$*@]"*!"=!*=`";R ;]/#[="%=Š?/]=-"$]/#‡-* $***?/*-"`="!"*;$==/**; /;=*"]/#$$="$"$=?`]#*$;`= "="<"$`=$=$*#**-"$$?$*$-* [=-;=`;"*=="-==!*</*$=]="-== !"-$[=#"$=#]*-"$"=;]=/*;"\$="< #"="/;[="`*"=;!$*$*$"+**† `==]"#!*;"*=!*`=$=***;;?[= "`*"`*=-#>$=+**!*;="-=-=895 +**R/!;!$="`*"(**;R$";"=`=` =;!;=]/#;*="[=/]$$"/*!$*-" `$=/[=$/#**=-*?"]!"$-#>$*;= #-]*-"`/-*;";#]?"=q=#*"< =/=(#"-"]Q*<+***-;=/"/ !!"$=ŽWilderness<[-"%-@"Q--/&;$"?*;]*= !**";*(**=*-"*;/<$"]"\$=/*

P'=>*=]?;%"?**]"]>*<%-//%]<"-=*?%--%*<//*!%* ?"?*=%*>*-*!;=*%*_*?%**=*]/%-?-*P @q *R"'%%+**ŠQ Š<. 895 ?**;"<

258 $#"*=]*-"*"!$[=!*$<%%/*"/= !**=/=-;"Rowan Tree#-="/*==/ /";"/$*;/"]*=*/!;<\$-";*;"* $*-"[=#-=;`*=="‹*"\$*=!!"$=*"/ $-;$"*/*-/;*=="`-**]*;$!+**= *$/!;=!**`="*<"=]=/$]?"$""-*%$*"; #];**%"`=$-"?*#"*$=<?*=!**/" ;$"?!`"[=$""/=`"%/!===]!"/?/; !"$]==-*;"*=$==!**/=*/"=* >-"*;/*;$!897 @|-%%"**&=;<="*`=$=+**!*;= `"%`*"-`;"*#-*;"/*"898[=-+**R$=$ * $#"* !"/?< -*-$=; *-" * -$= /**" *; * = */ ?*=`"%-*;"**-"R/ˆ-]*;$";#*?- *=/?"="=*;!$*!"$/*=-==` q!**;*$*$**="-@*/*]!**<(**=" "?$=?$/!q$***="-=;!$**-"[=;$"? `"%*+**R#%*`*`"%*;;-"*=/`?* !"$-*;"!***`==//`*=/]*= !**`-;"-<=`?"<="+**<`=;!"!$"*-" "$=;=;?*"*<="*;-"-"<$";<"*</ *$<`"=/=//!"*=/899[/!==<+** $=/"/"/ *"*=_""*<`==*";*]#**%; =]/#"/?/*<="`=$-;#;$"#;*;$! !*;`=**<**//$]*=$-"*=]*=*;$! "**";-$;?"]#"=]*=!*;/!;<$*-";"/ *`=;"*/;-/*$*?*;!!"[=`=]" `=*/;*;+**`"-;]*-*;"--*`=$=$-;=";]# $*$;*$@`%*`"/"="`"*$$*$*;/;R "<`=$=ˆ-*];$"#--*R"<;]*;/=;<` `"*"*[=`=]" *q!";=/]/#

+**-%%/*"/* 897 +**%*`*=?;";=;;"=!`="=`!***;|-%%"** =*;=$-!**`*]=*#-"-`;"*-%%"**< 898 -%%"**< 899 „==";#-[]/<*;*!"$-"=!=]<=!;=\="*;*;"* /=*/"*;!*;**;#"+-;*!=!=]$/#;!"!$"*-" *;=*?"*/*+**"/*;*";*=!=]=[=#""]+**/ $**?"=!=$`"%#]'%%_"?<="/=

259 24. Eero Järnefelt Self-Portrait, Storm from the East (1890s). Oil on canvas, 80 x 132 cm, private collection. Photo: Hagelstam

/*;*`/=;;!$=Q**"`";R=$"$*=Symposion "*;*Ad Astra [= " "*R *;$! = / **?? * "* --*ˆ-]*="/#‹*<-";$-"-$=#-<#"`*< "*< ? *; "* $*"* `= * *=" * = q"";*"] !**"*=-;-$=*;"/!"$-"*!!"@=" the transference to medium?;*[=#/;*\$%"*-*= *`""!*;`=;$-"<`=$=?=!**/`=$" *;;$"?*[=#;"*`=$=;/*=?**%]*;= $*"*#-*==;`=*;$**-*="*;$!*; *=-*ˆ-Self-Portrait, `=$=$;Storm from the East < &„=*"*<=`"%"/"%*--*=*= -;*R`"%=/-//"[=ˆ--"!"**$"*%*`* =?#*/;"]$--*="*;*;!*O"*P*\-*$ [="="$$/$"`*/*]-;/;*"*<"/="< „**"?"R*<=#]**;ˆ?&<`=;!$=/ *O";*"*;"*<`=*;;?;]/#*\-*$ =!";P =""/`=-"!"*=`*;*=/]*=$] $-";`"%##]"*„=%*`*=="$**-" *;$!*;<*/]!**<Self-Portrait, Storm from the East since its colours ""/=/!="Symbolist Lanscape*-$=*!!"[= `%*`**;$!<@**%„*"#"&=;/*";<* O"*;$!P#-$*"-$;"]*=%*;*;*;$! Š[="=*;"]-=***;$!(**;@/ (**="=/<`""<!*;$/!"-$=#-?; =?!";**;$!$**-**;*=%'**"* ?;=*`=`""-=*@=*;`*#$%/*]/* =„"*"#"R-;]=`="*$/!;=*;$! "/;"*!"=$**;/?;"*;*;=%**= /*]*;$!Š„"*"#"-;`==$O=]/#

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"/%*;!""#-=?/"$/!q<*/$$** *R ;;Self-Portrait in Fresco =`="R$**-*$O$"-/#* "$-"$P@*;<`="!"=?$"-/#;<%*;Š?=/*! #-=$-"$*>-#*[=#$%"-*; *$=*'/!*"; $-"<`-;"-</!==;**$*"$[=!** `;*#" *$-]`*]#-=`=`*!"*;!* =!"**$*"*;;!$=//"*$*/M *;//"_!$]=" *"\$=$*$-*/< "/*;$-" [=="-*ˆ-!""En Saga (Jean Sibelius and Fantasy Landscape) `=$=$*#*]*==`$-"$*$!]*=*; $$$-"*;/-$$/!*%/*]=""< *=;#$/ *";**`"/"*;<*%!*`==;]/#/<-= *"$*M$""!*;*$M#`*=;"*q!"*"*`=$= $/!"<!*;!*"$-;>*+`?"</-$]*!**` /=*=***=$*-"]"!$$]/;"*;<*$/-$ ` $*;"; immaterial< " *\-*$; #] ]/#/ *; *!*$ !=!=]$*;";/-$==="/"@=!"?-]#**;< =;*="/*-</-$"*;]*=#$/`;]%*`* ="-= -;"R `"* ;-"* = *; $-/*; * = [=-*$/!;"!]$=` *R*!-$*/!""];*`=$= =$/#*--*ˆ-]*=*;$!*;=$$!"" ?"%**#-`=!$*`=$===!;=$/!"`-; `"* *!";#]=/-$="*;< *$";=!$!""= $/!"`==;correspondance[=!**`/*=`= $/!"En Saga="-=!""-"<!""***;==] ]*=Q**"R*;$!%/*]$/!"<#-`!"$-"]*? $-"„%*`<"q/!<==!;]*=$#]+="; =$-""**(/>"*;]`*/>"*R!**`**;; $#"*`==$/!"#-`=*#-`=;;*`*= **";("=*]*$! *=;$=*surnaturelle?"/* ";*=#$%"-*;= Vision of the Sermon&<!*$"%; "#"*;*!!=;/*;"<`=$=*"$--*R`"% [=;;*;$!<*=""-*;`=$=/#$%""!**; `="`=;$"?*`\%"*<-*ˆ-[=/#$%*;

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3.3 COLOUR ASCETISM

What is called the art of the future reduces one to tears. It is a pity that Enckell has resorted to this; his drawings are excellent but his paint- ings strange. He has painted an old Breton woman using only two or three colours; he says nowadays that there are no colours in Nature! (Väinö Blomstedt 1891)911

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5. Magnus Enckell Awakening (1894). Oil on canvas, 113 x 85,5 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Jukka Romu/Finnish National Gallery, CAA

266 [=$-"$*$--"*`**!"=*`/?/*`=* =]/##*"<="=""/;<`==;";*; =*-=*;**-"/$""!*;*$"Oˆ-?*$P=/= #-;*-$=`]**-*$=="#>$`*"!$* =#>$**-"#-"="?=$"="$***;$*/!* ==""][=-=]/#$";`-;#$;-!*;!<*= */=dematerialisation of painting<*=-*;*!"$!= '"‡!=/?/*[=;/"*<`-;"-<`$=?; !$$]`==**//$!<=";-$*$-"M$-"$/ [=/=;!**"$";`==")?*"!";-$;<"q/!< /=*"/*-"-$=*;$![=;$"*#>$*;* #!"*;**$*$`]"="*"/*"/#>$"<"/ Q=*RQ?$*R@]!$/=;$-"$/`=/"]= estompe<"/!="$$*;*-$=/"!"/*"*<-;!$] **;$!<`=$=#-"";**;*?!;#>$*=‹=/;=/ /"</"?$?[=!-"-=/=;`attente<"""; /<=`*#]/*"‹*!<;`"*;"<"-**=#;!$< `=$=$-;"*"$=$*$*-"=$**?-`""] "/]=/*<`!#"="<`"=`""<-"* **]";*"/*$/*-"#-$*/!""]$Ž*] #>$<`=="$-*"]"-"#*<`=$==;=!*"?$*@+"= &!*-<*;*$*M=/#?-$$";#]#-"";" ?-*M$//**_-"!*]/#"/!];*= O*;$!P=!"?;*/#"$;#$%"-*;"Š=*!R$-" ascetic Memories &<`*=?`""=-*"]=/ `***=<"*$<=`/*/#!"!"*!] [=-`$-"<--]""$;#$%<#"`**;`=<"/" q$]<$*$*"**=$*";"%*;=$-"<#"**/*;= ;?*+/*=M#"-=!***="/=Q*]< '*/"""/*;"\$*R$"=;"%</-;$-""" /*$=]<`=$=`*=/*=/*]/#/[=/*!-; *;";-$;!`=$=/"-;$";/;?**; $*/!? /; `= =" !-"-< " q/!< """; ;"* `";**;!"-]@*="-*;"]*=//-$=$-"$$" `nostalgia_?*";"/;!/*;!$*`=$=`

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@=-*;< 922 _;`";-"** The Wheel of Fortune&<*$*?<q$/<Q- ;R"]<'" '">=*<< In The Art of the Pre-Raphaelites&_‹#='">=*=!*;-=/="*/;"* "!("*$$*"$";*="*`=Q**=/;***=$*-"]<*;!"$; $*$-];?!"/=!*[=*$="*$*$*=;]='"‡!= "="=;Q*=;*]#-*!**;="`*!$"*"='‡%"`= /=$*-Q/;"*R"'">=*< 925 +"=<

//;]**-*$*=O**"P!$=""`=]/#R /#"$***";**"[="-=;"`*<*-*/;$-" *;#-"";"*;*`=/"q-";*=<=]/#$-; #==/!"$?**#>$]/#=`="927 It is /!"**$==Q/R"#-"";?*`-;/]#]" `=$";="!**-*$-"$$! @\="‡]&*<=-"*=$*-"]"]`$*;"; "-!!$-"<O**$-"P928[=$-""]<`=$=*$`= $***#$%"""";"<929`!"=!=/"ˆ-*] -;!"/$-"*=**??*/#='-?;\=?***; „="=*R;**O=*"-"]*<=-!!"*$-"< `=/*$"="#-!;#]***=$*-"]!*"=`"% \=?"-O#];$"#=-"$$;`==$-"="/*] !=*?-;`";"]</!"**="] *;!`$*"$-"$$$=*ˆ--;#]="/**; "*;?=/#](**="[="/"]$-"$/-; *<"q/!<+**R/*-/*Washing on the Ice<&*; [=R!$Spring Night <@*-/@"Q--/&@=ˆ-* =#***=$=!";/*"<="(**=";!* $$!`Q*-_*$%<%*-;*]/#;/; ;$"#_*$%RQ*`"R†O+_*$%ž=!*;*;"*`/*-* *]`"="$-"Ž=]*`;]==""*$-"*-"P [=/]"_*$%=;!*;Self-Portrait&#;*""$; #"`*="]!*;$"]$*-";"/!=*=*`";* ="_*$%=`;=!***=--/*q=#**(**;*;

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=]$;/*](**="/`"=$%;#]=/!;! #-="<%+**<*`; „=/!"**=="`"="(**="-$= +*$=>"#$%`=`*!"=]-*"-!"= #-`=-;*$$!*="`"%"/*`";[=*\-*$ $=>"#$%"$?;"/-;]*="$("@*$*=*Q"$ /*"]=#*/**;""("*$/;"*/!$*="*; =-"*;`]"/*-"q!"*`";/"-#;-;!*; *`*"!$?"`=$=;="O=!=]*=$P[=ˆ-* ="*`$$!**;*"*=*<>-#" =""!]<$=>"#$%`"%;*-?R"'-?;\=?**=; ?;="$""$=-;*R!**/">Š"& *;**\-*$"/'-?;\=?**R$*$<#-;*#?= $=>"#$%R*=-/"=$"$*=-?"**;= $*$$*#*";?*=-=<"="""!]<="!;* $=*=/-$=*?"==`$=*"/"$*-"/; /""-"$*;-#>$?!!"$=@<Š***=!*;- =$=>"#$%="/**;=*="$="*'"`*$ '-?;\=?**=-*"*$/!"="Self-Portrait &" /"!"$]=#$%"-*;=Self-Portarit`=$=$"]"\$'-?; \=?**R!?;*="/*`";$/!]*`!"$ %*!$`";*$$*;/!="$=‹**;?!"-* =(*;$![=?*/"$$Going to Church M<& =`=/%*;""$;!?*=-==-#>$"?"];"* `-;"-=$=>"#$%<=-=//#"=;"*"*<` !"=$-"$*$-"-!(**="`=q!";=!# /*!-*=!=/*"]/;"*" @=#*=`*<=";?!$-"$/*]_- * \"" "-;*q"/"//*$="/$]`=$=`!** $=*ˆ-===/=;;?!;*\"" "R/*$="/$`"%* $**;#=*;$!*;=-/*-"<`="=!**$";-** $-"*;=#$*?=-;#*;==!**"*-; #-*=;`"%\"" "R/]"<fantômes synthétiques,`$"; #]$*"<#-`=?"];"*<`!*$=*ˆ---]`=`

+*$=>"#$%R"@;[= *<Ä@ *<">Š"< Š***< \"" ";?!;=$=*ˆ-*!"*<"q/!<\"" "$-< \="Q"$<Mercure de France<@!"<**<

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3.3.1 SUBJECTIVITY AND INTIMACY – MAGNUS ENCKELL, EERO JÄRNEFELT, HELENE SCHJERFBECK AND ELLEN THESLEFF

Do I like grey – this is what I have painted most, white, grey, black, recently now I have tried to add colour (Helene Schjerfbeck 1916)940

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272 33. Ellen Thesleff Portrait of the Artist’s Mother (1896). Oil on canvas, 59,5 x 44,5 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Kari Soinio, Finnish National Gallery, CAA

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_*$%R`;="*;?*@- ""*;`=--*<;;/;*;+**`=`" --*R!-!*<#-`;*%*`_*$%?"/--*`*<Ž("=" $"$--*-/*+*=?"< '-%%< _*$%%*`*=?";*<=<Q-<+-<'*;-;"-";(""-R -*!-#=;-;]*_*$%">Š"<("/=$=;=;==;`"*!"]'-%% < _*$%%*`*=?;/";=?**;„*"*!"$-"-";(""-R-*!-#=; -;]*_*$%">Š"<@$=;=;!];*"/-$+%!* ;?!;-$=*q*==$*;";$""/-$*'-%%< Self-portrait&ŽBreton Woman&<">Š"< ">Š"<Ž?**;"< ">Š"<

$*-"]`=*"/=?=/$/!]=#"=!= */!"*/?/* [="_*$%R$-"$$"`!*;;-"*-//"* ­-/!"<"*]`*-"$=$*$"*]=;#*!$? "/*]";$"*$=R*;*`$ˆ-";*//$ "!-*=#"=!$]*=*;]/#"[='*@?*$= =;#-*="*;?"-]?"]*=@$; /-*=;="; "-" *;#"[=#$**-;$*"*"*]$=-//"< ]*?"]*"`="_*$%`?**=-//""*]=; />"/!$*=]-*"`=`$*;#]="-*;/]$ /!="="*@=`"*"=/="<=**` ;"`**$**$"<$=-"$=<;$*"-$*]*;=*$* "-$-/=*=#**]=-//"!**<Breton Woman &<$-$$"Self-portrait. [=/*/!**;"] "/=""`"%==;!*;*(**;">Š"$*;"=` $$!**;#"#--*"**;-*-"*"/!";`"% `*=O_*$%R!**`;$"*$;/$$*?**]P *;=`*/!;#]/!"*/"-"/952 */]?`<=`?"<*;`=/!"**<=!**/"%= "**"]*`$-"$*$!*_*$%R`"%*$**;*=/ = *\-*$ = *` ]/# "† \ `;/**/< =$ /*/*<*";"/*-"$</!=-**;q!$] =-$$$-"=-;#*;=`=*@#"_;`= !**=$//*;*"*]*=*`-$-"†

I think that your new works display good draughtsmanship but they are slightly too monochrome. Self-portrait held the most appeal for me. As I said, you should be careful of being too monochromatic. In particular, you need to forget your reddish-violet general tone.953

_?;*]_;;;*%=!";;=#-=;à la Puvis de Chavannes `=$=/;="-==#$%<`=<"]*;#"`*$-"_;R$"$/ ` -*;"*;# = !** ;"; "/ *-" !** ";*

=-;#*;=*_*$%`*??;*"**=**;("*$=/!"* *;/!"*"q=#**+*%`==*@„(*$=?**;"<< "$<­-/!"Q*-_*$%R"<<+) '-%%<Ž">Š"< 952 `*< _;R"_*$%<<+)

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277 '-?;\=?**R*!<=!**;$*#]*;=!"" `"*!";/"#]=;*$-**;"*$*"Q*R#$% *;`=!_*$%R#;*;$$Awakening`=`= //!"?="=!**@]-*#]<`==>-"$=; =!-#"]<=`%*-!*;;*%;*=#;`=`= =<%*;`*`="?q!"*<*=-=[=#*!* =#;]$*?]/"=*=/!"*=;]=#*- #;Ž=/<"ˆ-*]-;#]]/#"</"$/!qŽ"`* notes,!-#"]*;q-`%**“**$*$"-#>$";#] /*]"_*$%R!**/]#*!"*-#-"/* [=!**="*=!`=_;?";Q-*$=RPuberty “&`=$= ;!$]-*"**=#;;%*$*-;=]-*#] *_*$%R$*?Q-*$=R!***=="=*;;*-*;"* $=*ˆ-*;$-"[=*q]*Puberty/!=;#]??;#"-="% *;/-!$-"<`=_*$%RAwakening =/#--*$ **;/]"]@PubertyR""*=?`"`=_*$%R ;$*#]?;*]$*$*;`"!!;*=`*`";=-= */]!**<=O#$%*;`=P$-"`";$"!`"-/*$=$ *;$=";/!="=]-=`%-!*!!"?`"; [=/!$Q*R]/!$*#$"]**="/*=/ `*=$$!*;/!=\**;"/@*]/!< =""*`;*$="=;`$"/=$="$-"*="/* =%*[=!**#-*"%$*"*#$%*;`=<;"%*; =$-"Ž=/!=*=!%*-""-*;;#]=`==*;= /*/`=#$%"-*;-"_*$%R%-$-"$=*ˆ-[="/ /!=;#]=;*$;"%-**;=-#=;*;-"/ =!-"$[=/*/*`$-"""%*[=$";* $/!*=!**/!=;#]=`"$*R="‹*#$% *;=?"$";;=#"`*"$-/*&*="= [=/!"*$=*`/;-/*;=**??-$-""= `"%/-#";]$"-]$**;/*!-*="/;*; #]$"*-#-*$-"*;*#="%*]/#?* *!$<"`"#/%"=`*#/*;@

`*< %="(**==;#$/";=;$;*/!="*'"*`*"O=*< *=*#-=`"$/<*;*=*/"P">Š"<@*=""*/]=?#* =$*/!*=`*=/q-]`*<<ŽŠ=< "**"!"*=?#*!"!;#]‡*;">Š"`==]-*#]`%* #"=--"*;!"-]`=#$%"-*;&">Š"<Ž‡< ("$=*$$";*Š""<</

278 +"=&!*-<`=*=/*`"!!;="?`"`" -!!;#"*!";*`"]<=*;<`=-?"* *=/%*;==]`"/!]#"?**/„=* ;;;=]/#-#>$M;#"]$;/*;#>$=* -"*`"**;;;=?`"-"="*="/;M" "/=$*/!""]`";`=<=$]`";&`/;!# /!"* *$< = "/ $-" $$ *;!*< = / /*$="/$Boy Resting<&*;Death’s Walking<&" %]`"%*_*$%R-"*=$*-"]!";-$**="$="/$#$%*; `=*=]"!"*=$-/**colour ascetism"*$*" =-;#/**;==`"$-""<*?"=<!**Ž* #=`"%="$-"<*$-;*#-<#"`**;]`<"-;!"*] *#=<=#"-="%"?#<;*$!*"]-$=_*$%` =*]-"*=$*-"]$-"$*`=`"%!-"/*$="/]/] #-*;ŽPortrait of Toini von Rehausen<[-"%-@"Q--/&#$] !*;**]*$-"_*$%=**-]-;"*!"*#$%`" $-"*;$="$$"/*/-#=;#$%<`=== #"`*$";#";#$*=O$*;$-"P@=-==!"" =*]"-]/*$="/$`"%<_*$%=/;!"-=/ O#$-"$=*ˆ-P*Seine Net Weaver&<*`=$==!;%* =/;R$<*$<=$-"=#!!"[="=<=`?"< !*;=#$%"-*;`"/#"`*<`=$="/*;/!==/;R $$]*-"*;--$*=`"%_*$%=$/#*; ;"`**;!*"]/*<-*`"$-"<-$=*;$="$*; **=-*`=""<"*!"*#"-="% @$**-]_*$%R**$-"$/$*#** Portrait of Madeleine Jouvray M&*;Seine Net Weaver&<#=`=$=`" !*;*'"*;=`!"*$*=q!"*=""$;! @"="!]*=-#>$/"$=**;_*$%" -#"="!<!$]*=/]=$=/<-$=The Fantasy

+"=< *_*$%RBoy Resting&*=-;*=="=*$#-*=#]R] *]*=]*;#"$===-;-$=`=!*<`=$=#?"$""$*?**;" < Enckell, Portrait of Madeleine Jouvray &< $="$< -$= *; `"$-" * !!"< q < @*-/@"Q--/<(**=*"]/†=!†““%%/*“`*;"“`”*œ $*œ*!œœ=!Ÿ@Ÿ(Ÿ(```/--*Ÿ([Ÿ(\\@(\ (/‹œ *">Š"R!**_*$%R]/#&"=;";]"$=;*/!">Š"< *;=/`=Q?-*"]R*=*=_*$%<*/]!**<-;=]/# =/*="]"

279 6. Magnus Enckell Death’s Walking (1896). Watercolour and pencil on paper, 50,5 x 67,5 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Antti Kuivalainen/Finnish National Gallery, CAA

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*!"*+"*?]"$*;$!`"$";="=/*Q-"< `=!$</]*;$!=!*;"!;] ("/=-<[=R!**"/==?#*$/!"; ==‹]!**\"" "[="="">$;=$/!"*<"* =/!"*$Q*/;"]-*"=*;=th$*-"] Q*`$*;";=?$";*/‹*?"!*"$"]*= "/*;!**`=/!;!977!="R`*$//*< \"" "R/]"/*;/=?$*;"#]/"*$//*`= [=R`"%=*Q*R"Q#;$*"R.*=="=*;<Q*` =;*/;*;-;=(**=OQ;"*P„=[=*;\"" " =";`*"=**#<#"*=/]<;"%*;==; "*$*"<"**$<*$/!"[=RPortrait of the Artist’s Mother<&`=\"" "RPortrait of Paul Verlaine&978 one cannot =!#-*$/"*=-$-"</*;/!="[=*] ;"*$*#"-="%$=*ˆ-†[=R`"%-"$="$"$] "*<//=$%q-";"`*`==*!*$*<`="\"" "R ";/"%#";<";<=*<!"]"*!"*-"$ *[=R`"%"/=`;*$$-"$=*ˆ-$*#*Ž* !#;/*]*#"`*<#$%*;`=<=="=O="/**P *!`=*;"][="$=*ˆ-!*\"" "<= $*;'-?;\=?**$*;"="/<O#$%$-"/P<-;#] ">Š""="$=*ˆ-/;*979[=;"%$-"-;#][= `]O*;P$-"<*!-"#$%#-*"]`"/#"`**]" -*;=$$*]-#$%\"" "-/*]`"/< "=#"`**[=R`"%<!*;-*=$*;$=*ˆ-<*$$ *!*;#]*$-"`=""]&<`=$=;"?;"/= /-""$=*ˆ-;?!;#]'-?;\=?** [="q/![=R*/Thyra Elisabeth<+*%@" Q--/&<!*;*]/#*;!""!=/;<*`=$=*#* =?"="/*]=$-"!<`="=$-"O"=;;P ="/*`=**="„="""";=O%]*P$=*ˆ-982

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282 [=;"/%/!="=!**<#-*=;";;=#"`**; ]`<$!?*Ž%/;?Q;**<=]-*`/*;"/*< =;*\`"*="=*;<="]$;<;**;*!"*_?"]=* !*=/!==**#†=$-"?=*<="*!"*$] =-"$<=/;R!"-q!"**!"$-"<=;$"]$-" =/;R;"*;=";;=#"`*="$*;="*?!=`"% *=‹]/!="-*%]=<`=-=!"/;;$-"!< =!**`-;$*?]-$=!"-**]`=$=-"="/!=; #]="/<=$-"?;<"%-!!"!"*;`=$="-;= $-"**=/]"[=!*;=-#]$-";Thyra Elisabeth `=$=";]"*]$-"$$`"%Old Woman Wearing a Headscarf <'"?$$*&!*;*"*;"%*;=$*"=`=< =-=[==*]>-!*;="O"]/#P`"%<$-"$/ `";]!`"-]!"**="`"%Old Woman Wearing a Headscarf, !*;*$$<!-"$-"<#;q$-*#]=]-*"[=*] !;*=="`;"%$-";!**"==**=; `/*R$<!"]-"*;`]"/=?`"<*;"/[=]!$ \"" "`=*$-O==P*="/ [=R *q "! #"; = #*** ` ]< = =/ _"]‡**$"*;$-*"]/-$=;/";#]=(**="* ("*$[=-*;$<=?="/*'"*;`=`"% ==;;/";*=-?"="?*$"*]`";"<!$*; -#/"[=!"-"("@*$*!";="$!]="$ * = * Q"$ /*"]985 *"* = Portrait of Ingeborg von Alfthan<@*-/@"Q--/&#"-="=*-*$[=R$-" $/-#<$*"*=!**@=Q"=-& !"$]=/!="("*$=#"**`"$-"="R !<987`=$=;""/=$-"$$"#-"]*;";#$% #"`*=!**-"!"*]<*$**;/!""]-*#]< `="==q!"/*;`=/!"*;="=$-""?*/" "`=*!!*%*;"]988*=="=*;<=O";;=*P<

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15. Pekka Halonen After the Music Lesson (1894). Oil on canvas, 75 x 52 cm, Signe and Ane Gyllenberg Foundation, Helsinki. Photo: Tuusula Museum

285 +**%`-;=Q/-$!$R*="[=;Š"*/* in The Kantele Player &=;!"*$**$*`=+**[= =/*$*"/*=-*%*`*"-**"`==/-$=%* "\$//*#*;#`*=/-$**;=!*"<`==/ "]?;<*;!];<=*"-/*

O@<$<<+- thing in the room seems to be in harmony. - - . And when the old fellow starts up a favourite tune, a strange expression comes over his whole face and his brightened eyes seem to be gazing back through the dec- ades to the times and dreams of his youth, and all the adventures that life had to offer. It is such a moving thing to see that you always have to turn away to hide the tears in your own eyes.”991

*=!**+**=#"*]$!-";=/-$*Rq!"*< ‹***="`";<*;=/]$*$=/-$[=`"%;?" "]"/=*-/"-="**"/*$;!$*"-**"#* !";-$;=/#]<"**$<_;*;"*992 The Kantele Player <@*-/@"Q--/&*+**R/**?-"!** [="$*$*"*=;/*!]*<*;==;`];"%*"" ="//!==*//;„=!"*-$=<=!** ;""/]!$=*"!=$;!$***"*/q=/]$ /;!""";#]]/#/*;"$!""]=!!+**R /"%;;*$*`==;/**="*$%*q!"* ]/!=]+`/?;#]=;/*<`="?;=//"=!]; =[=R*;+**R!**"q!"*/-$]`=$==] """;*-#>$*;"/#-/**$-"="/*]`=$=< -;"!;-*=$"ˆ-=*<=#*$;/-$]†

+**`-=!]#]=/="„=/*+**<`=`%-%*!]"+** ?*#-=/%**'" '%%+**Q>Q%**<\@@*;"/< 992 [=;/*!]*=%*;;*"!"*/=*q$<*=$"**;_; `==`*]"!";-$;="/-!**="-**""*'"%_" "*†Larin ParaskeŠ***<Larin Paraske Singing <Larin Paraske’s Lamentations I @#"_;<`"%< Halonen, The Kantele Player&<*$*?<q<@*-/@"Q--/<(**=**"] /†=!†““%%/*“`*;"“`”*œ*$*œ*!œ"œ/œ=!Ÿ@ Ÿ(Ÿ(```/--*Ÿ([Ÿ(_@\(_@@(/‹œ ?**;"<

The artist’s creation of harmonious as well as expressive effects by line and colour, comparable to what the composer creates with rhythm and notes and the poet with prosody. (Baudelaire in 1846)995

@‡$=";[=/*&</=//!"***?** _-"!*!**#`*=*;=("„";„"`"/-; *="`*//*-/`";**"!"**`"%`=$=;?!; ;-"*=*;$/$/q*=]">-#"[="`" ?"-"*"=Q*]"`*;%"/*/*;$=$ $="/$`=$=<#]$*"<?%;!"`=="</"$< "/q!"*-$==/-$*;=!"-[=/#?-q/! =;]`„="];"`**#`*=!**</-$ *;!"]<*;#]-*-$=Nocturne`=?$*\=!*R !*/-$"Harmony`=$";$!*"]"**$<„=";*$; =`"%"/;$"!?*-"/ Q-$ ""*$ `" ˆ- $//* * " = +`?"< -"!"*=`/*]="`=!"$$;"`=!"--;*; !$]`==]*=$;/-$]<`"%-!]"/-$ *"-/*+**!];=(**=***"-/*<=%*<*; %*`*==%;=`Q>!]=!*"*!"*`=*!** /;`*q$*?**;$*;";$""_*$%!]; =!**;=*=]-=$*;";#$/*!"*!**; /;""*$/-$997@`$*`*"/="!**<[= !];=!**;="/]=;/-$?**`=?**;!*[= "-""-*;;=/?`=/-$*;=$**#$*$;*$ [=]=;"*;="-==;]/#/*;=!=]=/-$` ==="/"*;=?#"*$-"$/;=/!"* =="? $*#;==]/#!!"$=%*#==!"*//**; *q!"*$=;?*("+**<=/]$//*=-#>$ /*]`"%?#"**$*After the Music Lesson &*;Sunday in a Crofter’s Cottage &<#=!*;*[=-#] *;/-$] "-*;"*;#]=""*;!<`=!`†=#"`*=* *;;"%=;=-*"*$/!="/*]*;q-;=$< **/"/;=`"%*="/"!**<=]-*`/*R]

995 -;"<O*;P<Oeuvres complètes<†""<!!< „="*]#*;;=!"!=$$;M-$=Q\=RM="""!$?=; =-!"]<*;**[=/*< 997 ">Š"<Ž(""*?"?`*$-"*;/-$<

287 "-*$-;<%**`";"*]*;//"]Ž"//*<=/; /*$=$[=/!;"/=`"%*;=$*";$$$-" ;"%$*-"*;!/-"$=//*"$***$ `=$=<*/]!**<$*?]=!"-**"*=+**;; *;!--*R"*<**]*=$$-""=!**<#-*; -;-#=;/"=*'-?;\=?**R`"%!"* attente[=]/#!!"$=/;-#/"#==!"*//**; *q!"*$=;?**=*After the Music Lesson &*;= =!=$O"!$PThree Holy Men in the Forest <&"?/" +**R`"*("*$=]/#/=*;=#<-$= =`"%Q-"$*

Do you know what the Wise Men from the East still around today say about our idea of the Bible? One day we read here in a French maga- zine what some Wise Man from the East thinks about us – for instance how ignorant and childish we are now, and will remain, about the Old Testament as long as we consider religion and science two different things. And as ‘Esoteric Buddhism’ also tells us, religion and science are the same, and can’t be separated in any way. That God is omni- present in the universe. (Pekka Halonen to Maija Mäkinen 1894)998

+**R**?-;]"$=!=]#"-=#-";$$=** =?`*+*;/;="-;;@'**R#%Esoteric Buddhism,`=$=*=]$*;";O=!-"<"!#"-=M !"-*;*;"*=`$**]";$-!!*=<=* ;$-=/<"``-;*R##;P999 *(**="`=;?!;=""/]*=/-;*;$$$-" $=/*;`=*="/`$/!";„="`+*$=>"#$% =!*/=*;-;]**;"?**'"<"*]*; ?*=$=>"#$%R"-*;"`*/>"$=*("/#** ";*!*"*=*-"/;<=-"*;"<//]"/*< *;";-$;="$-"#$%<"=**;`=*";"$"!"- "/]$$***@=#***==""/!;*" #"$*„=„="$=>"#$%=";";/"*"=!*=

998 '%%+**Q>Q%**<Q]<\@@ 999 '%%+**Q>Q%**<\@@Ž@'**De invigdes lära<$%=/ *!"**<$=>"#$%`*;"$-!]"*-*%*`*_*="<#- -*"-*];"];="*`=$==*/`/**;="/*/]"] -"*$=>"#$%R/=""`$*;";/;"**;==;"--"??<#- ;]=(**;R/$#";"

288 ;Q"<‡/#"*;*;+<`=`"%=$!;**$="]* _-"!@*;%„="<=$**-;""=;Q"="-=- ="*"*]<=`=$=>"#$%R*!"*"q!"*$-" $/;"?"/`;!$"-/-"$ $/;#]/*]$=>"#$%$=""/_*"‡-"*`";= "*="*=/`*+]?*%"/-*=-*;=" !$O/;"*]P<=-=="$*$#";$;=*@= Q"=-&*;@-;Š"*Š*#"+;"*&$$=>"#$% /#?**;=!";M&<`=$==*#*;*;*= -;$=>"#$%<=O/-*?**;"/*"]="$""P`-; "-< =`?"< =? ; "" * = -;]< = = !"-*; $=* ;?!*="*;?;-/;$-]"`=*"/*`";$=>"#$% #*q!"`=$-"*;/*!-="! -*;"*/;-/< -$=/!"`=$==$*;"Q;R*"*]<=";*$?] *;$**??"/-"/="-=-;]*"$<;Q"*; q!"***//$$-"*;=/!$]"-$=„="*; Q*/!"**=$=>"#$%-==#=" "*/]!**/`"%-$=Girl from St.Ives&"$\"" "R !""@Š***&<=-=$=>"#$%;;*"?/-$=< $"==*$"*]`;*"**!";$</*]("*$=< ";*`;]#-`=`****"**"*;$""!*;* `=="$- @*+"&!*-<*$**?;$/!"*=`"% "/="]`*=$*-"]`=„="R!-"*$]$$!"" =/="*;[=/\"][=!**$*?]=/ˆ-*Ž= /!$-</-";$-"-"$*%=`"*$=>"#$%R Seamstress (The Working Woman) “<&="=/]! *""<$/!**;$-"$$q!"**=`„="`"% *$<$*;"==Seamstress #"$""/#*$=!"" [=/\"]`=$=*$/!*!!"#/"/!;?"*= „;*%*`$=>"#$%`„="Rq=#***;*"=`"%

`"%-$=El Greco’s Self-portrait&*;My Earthly Madonna&=`#=;/"* _"$*;*$$!$=>#$%$-< Š*#"+;"*Ž@=Q"=-< [=*$;#]Š***< -;;=/!"*!$*/]/"R=?**;"<< Š***< +"""=`"%|=/+//"==<`=%`-;?"]!"!$=>"#$% %*`*=?*!$-"„="R!***=_*=/‹*The Studio*;=("*$= !-#$* L’art et les artistes#-==";*#**\-*$;#]=/+"< [=]"*=!**#-$=>#$%"]`!*;*<Š***<

289 *'"#-=="/**„="?"/@`=*`%=" /*]`"%<"q/!Seamstress&"=Schoolgirl<@*-/@" Q--/&?;*==`?"]/"`=„="RArrangements of Grey and Black, Mother&*;=Portrait of Carlyle\/!"*„="R Mother*;=Seamstress*$*=;"*/;*;!!"$= =/;[=$=>"#$%R!**"!";-$=`*=$*-"]*; ="**]/-/;!""$"*<`="„="R/;`" !"*;`="#-$=>"#$%R"-/;**$"*]/!; "/`=`!*$=!*<„="R?*"*"-/</" ˆ-;!*`==-"!!*-"/$/!]#$%=*/ $$=>"#$%R$=*ˆ-"/*;/"\"" "R=*„="R =-; # *; = $=>"#$% $=" $*;" = "R /? +]?*%*;="-#ˆ-*-;=-"**!**="/;"*" *="]]"=`*=$*-"]=!";-$;"!**#- *="/*]#$%*;"]*`=\<;$?"/[=$-"$$ `"%<"q/!= Seamstress*;"`"%Schoolgirl&"/* ="R**;#%*`*!**O[=!=]*=$P<=;;="< ?/!$**;$$/*<**$"*]***;/"$*$" ";-$*<`=$==`;=/*$="$"=""M=;$?"]=* +`?"<$"=$=>"#$%Rq!"*"/=`="$ "$-/***=`=!"-]</*<transfer to medium *;=/!=*$**=;#$/!#="-==/!$* "/*;$-"\-"$/<`=$==;";]#*!!"**==‹] *;"*!"*`"%=<=;*`<=#***=`*= $*-"]<-*;"-"/(-"="/"<*=*$<="/="*`";< $=>"#$%R;*$?]$=**;*==`*#$%= -/"/-;$-"<?*=-="="$-"*$*] #"="%`=""!"";;*$=*#-"`?*-"="`=* "!"""="!;/*]="""`"%<"q/! the Seamstress&*;/;/*]`"%#;*;Q"-$=_ "$*=*; „="`%*`*(**="=-"*=th century than for q/!=("*$=!*"<'-?;\=?***;Q*<#-`=*-;]* $-"$$`"%/!#?"%=*\-*$(**`"?;*] /"`==`"%="-==Q- ;--q/#-"<**;=!"

_">Š"<Ž+"<Ž@=Q"=-< +*$=>"#$%R"@;[= *<Ä#@$;/]#""]@"$=?<[-"%- $=>"#$%)"!=`/*]$-"*;*$$=-==-/q;$-"`= -#;-;*;/-;! @=Q"=-<Helene Schjerfbeck $<<<<<

'**#]$=>"#$%*;_""*=?#*$/!";#];"*" $="=„="<-$=;"=$=>"#$%`%;#- ="$**$*`==@/"$*"=;*;O?*%*=/P#- ;$-?;$/!"*="!**<!"$-"]=="]th century, `=„="*$=]$**/*]/""/=!*?`/< $/!**;!$$]$-"*=="=*;<Š***&!* -=`=*$="#$%`"_*"‡-"*=;=O„=" =;#"-=#$%="!"*$!!***"P * "*R $ = !"* "*=! `= „=" "/* -*$" =-=„**"?"&*;$=="O=;#*-*#">$= ?-=`"%P*;=;O-*`*]P$=*;=$=*ˆ-</?*`]* ="/-"/`";'-?;\=?***;„=""*R Portrait of Mathilda Wrede&;**-$=*!!"*=/ **?? !"" `"% [= $$ $-" "* *; = -# "*-$* -"$""\$*=-#>$R;$*;/-#/!=` %*`*#*$"*;=!"!"*;!!"*<*`=="` "<=-$$-]$/#*;=$***;"/*=`"%#= (**="`$**;**]*/#-*=*"*!** $=*ˆ-*;!$$]*=-$-"*$„="`$*;"#] O=;=/P<`;**\-*$*=?-"&*#"]/#/ =*$*$<*"="*`"*;/"!$$]*=#"= $-"$/"$*$"*;<=-;#%;!"$$-""*$"=" =*/=*";("*$=]/#/[=-/=$$! !"$$`*;!*;*]"/?/*#-`-;;-"**" !";=*]*=$-""/=-!"]

~+'*+‡G‰ stems only from himself(…). He stands security only for himself. He dies childless. He has been his own king, his own priest, his own God. (Baudelaire in 1855)1017

*"!$$=>"#$%=**<">Š"<+"*"!$"*„**"?" /"*=$=>"#$%;*;*]$**$*`=„="*$#=*_**;*;*'" ==;-*;-#;]$/*$*$`=="R`"%<`%*`**;%;#-=]`" =</"?"<%*`*=?*„="R`"%*=_*=/‹*The Studio*;=("*$= !-#$*L’Art et les Artistes. _The Artist’s Mother Reading&*; At Home, The Artist’s Mother Sewing&+"< +*$=>"#$%R"_*"‡-"‡-"\Ä#@%;/#""]<[-"%-Š*** < „**"?"<< ?**;"< -;"<Art in Paris<[=]!!"*'"*=]$"$;$-*= '"_q!*)*?""/*<

(*]<=!**#](**=""/*;-<=*;"***" *;=#]*"!"=$*/!""]q"*`";/"]/ *=$-;;=$*/!*=="q*$=/%= ]/#/;"*@"**;*O/%?#=*?#

3.3.2 THE SPIRITUAL AND MELANCHOLIC LANDSCAPE – MAGNUS ENCKELL, PEKKA HALONEN, EERO JÄRNEFELT, HELENE SCHJERFBECK AND ELLEN THESLEFF

You can capture so many human thoughts and emotions in a land- scape: seriousness, joy, despair, anger. Therein lies the task of the colourist, to delicately trace the form and thought. How clear is not only the sense of wistfulness just before the sunset but also how clear sometimes is the endless despair in a grey forest. (Eero Järnefelt in his diary 1895)1019

[=$//*"/_""*$\="*$*=Grammaire des arts du dessin M"!-#=;""$*=Gazette des Beaux-Arts "/M`="=";=*$]"="re$/!*-" $$";*=-#>$?]<="#]$/*/`=$'=!‡-*R ?`†

What is missing from the spectacle of nature is the essential quality of art, unity: not only does it [nature] change throughout the day, $X$ disorder, it contains and reveals to us aspects that respond to the most $+< is powerless to express them. Only man himself can make them clear,

+"=< _""*R;"]<_@

292 31. Ellen Thesleff Aspens (1893). Oil on canvas, 54 x 28 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Hannu Aaltonen/Finnish National Gallery, CAA

palpable and visible, by choosing those features that are scattered around, lost within reality, and by discarding those elements which are alien to his way of thinking and would contradict it.1020

*;$!!**=`]=;"*!**(**="@=! #=<`=*"<*`=!""<=$"]/"%;= -"**!**?-""]/;"*!"**"*==" !**q$-;-**$$!`"*""*#- "="";*-#>$[=*`!<=""<;;**$"]#"**` -#>$(**=!***=$=!"=-;]`=`=`=*$* #"%"/=*";*//$"!"**`=$==;$**-;-* =*;=***=$*-"]!"*;*$/!]*``]`= *$$$-"$=/@+"=&!*-=#"%$/*#* `=="*``]-*=!*]="RQ**"?*R @;;"*=**"#*<**=-;q"*<"$**;#>$ q!""=-*="#*;*+/**=R`/!-== ]/#"//;"*„=`"%**;?**$=/;# "##*=/="**"/#*<=]-=*"=$-;**]!% ="-<#-=!?=/„=-*;"*=/"-/$ "**=*`$=*$<!<*;$$=*="`*"< =]-*;$M#-*$!M**]*;;"/[=!"* /!=;<`=<-*;/*"*$/"]$*$";*`= ]/#"**!*/*(**="=immateriality`q!"; !$]**;$! @ * =" " = $-"$*$- -"* ` * * !" = *` /?/* `=* = ]/# #*< =" =" "/;< `= = ; " ; "< *; =* -= *; * *-" / correspondance or Oˆ-?*$P=/=#-;*-$=`]**-*$=="#>$ `*"!$*=#>$**-"#-"="?=$""$** *;$*/!*==""][=/"correspondance"*!"; #]-;"";$=?<=/"/"!";]*=$ ?q!"*$=*;$!*$?-#>$*"** ==Q*;$!R`=$="*=#*q!"*"-"*; -#/-$=/"$/!q-#>$"#=_-"!**;(**="@ =-""-*;*="<*]#]-*;"*;*=/!"?M*;" /*]!!"?M$*;*="R?$*`#*-*;"*;= -/!$*]/#"`=$=%*`*"*;!$**;$!

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295 -***//$$$!`<$-"<`;!";!=*/*** _-"!*"[=(**="#*-*"$*";$$$-" !$]**;$!!**[=R;$*;!$*;$!"!"* -*ˆ-$-"$/==;;?!;=*$-"$=*ˆ-*;;!; #"*]=!$-"`*"“"]!"*=!"$-"]$=*;=" !*;=/<!$*;$!%Aspens<&*;Winter& ";q/!=`=""*"";/"!***]< =";-$*=*;=;`;$"?-"$*;=*</;? /;[=R#"-=$=*ˆ-**;=*[=/Aspens!** /%%/*<*;*""`*=!<`=$-"`";`*;"* =;!"]<`=#-<?*;`=*[=`*"*;$!%* **#/""-*%<`"*;*`*?"$*;="‹*"/* ;"*=;`=[=$$*!`"$*;#]_;`=* Aspens`q=#;*--/*+`"_*$%=`O;*; *à la Puvis de Chavannes”!"-/#]!"$]#$-=*]`=$= "/#'-?;\=?**R!![==";;*!!"$= $//*?*=-=="$=*ˆ-#;*=*/q*/="* =("*$="RO$--"$"]-P*;=%*`*=?;/";'-? ;\=?**R"#**/-" [=R;$<!$*;$!`"!!"$;#";ŽSpring night <@*-/@"Q--/&`*=#"*‹/;=„";_q=#** '"*[=q"/""**="!**$";*//"< /-$%q!"*$[=;-*"/"Q/;"*R?!"-*?;* *="*;$!`=$=/?*`";="`*\*""]==" "<[=R!**`"-***;="/*]<`=$=/*]$"$ `#Q/**R"@*&=!*;-<=";$`"% $%;=/*$=]=?**;/;==`"="`]!$ ]/#/("/=-<[=R$*$!]/#/`*"* *`-;"-=?*=-==`*\-*$;#]=/?/**;-; =/`=$=$*#";#*]/#<[=;!;/*-$= /-$]<!"-]*;*"!$**="!""ˆ-"]*;*?" ?*/**O]/#/P*=""@<$"-$*-;"R -"/%Q\*q*$R*;-*`=$=O*?!*;% -%*/!="P]/#"=;*$?ˆ-]/;"*[=

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$**-*Q"qRCommunist Manifesto`=$=<O=;/* "P`-;"-==?!"-*/;"*`=$=/* !$]*=`"%Q*R`"%<„="*;\"" "!" (**="]/;"*"<"**$<*[=R$$`"% *[=R`"%"/=`;*$$-"$=*ˆ-$*#*Ž* !#;/*]*#"`*<#$%*;`=<=="=O="/**P *!`=*;"][="$=*ˆ-!*\"" "<=$*; '-?;\=?***[=R`"%!*;-*=$*;$=*ˆ-< *$$*!*;#]*$-"`=""]&<;"?;"/ =/-""$=*ˆ-;?!;#]'-?;\=?**[=`=*] (**="-!%`=*][=="/*]$=?;`=* =;*;`=`="="]`-*--*;!"** Aspens <&*;Murole&="=<`==*!<$"; =$-"$=*"`"%'"$-"]*=!*"]!**Murole = = $*$*"; ] * ;"* =; "] $" = /]$ /!="==//"*?**;-%+"="/=;"/#„="R $=*ˆ-#-==-;=$%"/!=*„="`=!*;`= -$;<"*!"*!*[=!**<Murole, `=$=#-**<!-"] /-$<//"<$-"$$"*`=$="/<=*;=;=?/ ?*=;<-""*;"*]$-"*;q-"*(**="[=R$-" $$`"%*;?;-*;*//"*-*ˆ-_?*=/< $-""/;="/"="!** +* $=>"#$% #" %*`* " =" -" !** #- =" * *"*"!**"/]"/*"*]<*$="#$%R !**`="/=;/*!-*=!*-$=`"%Boy Dressed in Armour<&<*;!$]*=*;$!Cypresses, Fiesole < &<=`=!=*/**="-=#-"";-*<=‹]?!"-* `"!=(*;$!*/]$/`=$=<#]";-$*=*;$! "/=`-;*;$!$*;/<*;$estompe*;#"$* [=!**suggest*;$!<#-;*;!$*;$!*Cypresses, Fiesole =*;$!!*;`=!"$$!;"%#"`**= $]!"`=$="=?"**?"]/<`=/;*=;$=" #*;**="]==;"*=#-=[=="/**;* `="]*/*;=-!*„="R-$-"@=-==!** $""/;"*=;$-"<=/]?!"-*`=$=;/* =!**""\"" "Cypresses-*ˆ-!***$=>"#$%R

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297 -?"#-/]#*=$-/**="$="*`q!"*< =**;=‹!**]/#**= /"]= estompe, /!=*=Q//"Rˆ-]=/]$*;$!

Nature is the skeleton of my paintings, but the mood is the content, the main body. Whether this mood comes from outside or from within myself I do not really know. (Pekka Halonen in Svenska Pressen 1932).

@%*;";!"*-#>$?*;;$"/*`*"*;$!`< $-"<'%%+**`=$*;";*-"/;?<!"-!$`=$= =;?-`*+**R"-";!$="*;"; ="-=-=`"%*@=-==!*;/*]-;"*=*-" !"<"";=`="<=-*ˆ-`]!!"$=*=-#>$;" "/==""=!";*;-#-===]!"* -;*-"\=;=;//"="$";"#]=/="*; =""!$"*-"R#-]-=`=#*"<"=#$/ /"`=[]/*;=!=]<="!$"*-"%*/ "- !"!"* +**R -*--] */$ -; *-" ` -*ˆ-/*(**="=;]+/*]=$=;=;-" `=`/!"*"*-"#-]!];*==$;-$**; =`/!"*=/`;!"!$"*-"=`q"/]-*-- =/ [=-!#"**=+**R/="?="$=;"*`""*$*/!""] "-"<`="*-"`*"/]/=*#‹;-!*<=!;*; "/;@*=$-;*-"`!"/"]=!"?$]%*;= -!!"$("+**<=-=<!"-*;*"*-"/**/"] "/;/"*"#--*;$!#-/=*/"/#"$* [==`="$;=]*=$//"]=$=;=;†

I will never forget it. I was very small, lying in the bows of a boat with blue sky and bird-cherry branches with huge clusters of white blossom curving above me. I remember their intoxicating scent, and only have to close my eyes to sense it all yet. Here I am again, lying in the bows of the boat. 1034

+/**<< +**R="*;#"="@**;+%%-!!";[=!=]*;"/< +/**<

298 *="<=%**"!""=(**=*;$!*/**=` /!"*`" =/$=*=-""-*;*=`*;*!"*† *-"#-]*;"*ˆ-]/;*-"`"=?!""ˆ-"=" +;#-Q$";*-"R/"]**;!";q$];-"*=]"* '"@/;=`*;*#$%""$!=;"*$#`*("*$= $--"*;*-"*]$*?*$;=]-*"-;*=-*ˆ-**; ?]=`*$-*"]+**R"`"*!*=**"="*?<*; =/="„=/*"*$-*"=*"-;=/*$**] !**-="*=*-"=-;#"!$;*;!"$;[=!$ *;*="`*"*+**R";"?;"/=/="@*=" *;-"$*!"*"="`=Š?<`=$=""= "`*=]"#-*;$#]?"]=/[=/=*+** **]*;="-"*;=-#>$*"?=<=?"* ;*"/=]"*`=$==!*;< *"*="+**"*";*`"$=;*" *;*%]"-!**!**;\=*"`*`*"=/+** =;";]q!"/*;""`=*`]*;$!#-*"*= `*]"==-*;=`*!!"$=;!$*`*"*;$! [=!*";$"?"/**`<]!$+**<"$=;!%* =!";"/Snow-covered Pine Saplings*;Frost ";q/! $-!;$"?*`]"!*;*$$$-"@@**[-?** &!*-<+**;!;==/`=]$-" !*/M"**$=`;!*"==-*`*q"/] !!-"-#>$*!*"[=]/#$`;!*<`=$="!"* (**=-=*<$*#-*;**-/"-`"%#]+** @=-=="=$""+**!-=-/*-"$*"* =`"%<=#*!";-$/"*;/"!**]*-" *"*==;;*"]#$/!*";$"?`*"*;$! -*<`=*="/>"`"%=]!`"!";-$;*"?< =*"="*!Š"R%;</;=*`]*;$!Š/" *@!"<=`"=""*;-!""†O@=//*!*; =#!"/];]%*$-="/$]#-->-*`G _?"]=*grey and monochrome_?*<R-$=-*%-/* all that endless ornamentationP[=`";;/*"+**R;"

Halonen, Snow-covered Pine Saplings&</!"*$*?<<q<$/<@*-/@"Q--/< (**=*"]/†=!†““%%/*“`*;"“`”*œ*$*œ*!œ œ=!Ÿ@Ÿ(Ÿ(```/--*Ÿ(_›#>$›;*"Ÿ(@›|›/‹œ [=*";*;`;!*"]/#(**=*;-"*$]/#*?]*; !$-"ˆ--"-;*!*"[-?**< *;"/<$;;;#]-="

299 21.Pekka Halonen Juniper Trees (1901). Oil on canvas, 48,5 x 52 cm, Private collection. Photo: Harri Silander

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The Symbolist viewpoint asks us to consider the work of art as an equivalent of sensation received; thus nature can be, for the artist, only a state of his own subjectivity. (Maurice Denis 1909)1043

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26. Eero Järnefelt Lake Shore with Reeds (1905). Oil on canvas, 95,5 x 75,5 cm, Ateneum Art Museum, Finnish National Gallery. Photo: Janne Mäkinen/Finnish National Gallery, CAA

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SOURCES AND BIBLIOGRAPHY

ABBREVIATIONS

\@@œ\*"@"@"$=?<(**=*"]<+*% _@œ_""*@"$=?<‡=/% ŠQœ*ŠQ--/<["?!<_! +)œ+*%)*?"]#""] ŠœŠ-*##%<\!=* Šœ-/*Š">--;*-" œ?*%"-"%! Ä@œÄ#@%;/#%<[-"%-“Ä#

ARCHIVES

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-;"<\="<Oeuvres complètes'" -;"<\="<Paris Spleen<"*|" <-&<`"$*< -;"<\="<Art in Paris: 1845–1862. Salons and other Exhibitions<_; "*&Q]*<*=*<'=;*<*;* q*;<Q$=<Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style<*;;`™"%<q";)*?"]'" ­-**<Ruskin*;**;;*<""*< "/*<Q"=< All That Is Solid Melts Into Air. The Experience of Modernity. /**;$=-"†`™"%&<|"†*;* *$<\="< Grammaire des arts du dessin, *";&< "#*<\"<'" *$<\="$<Grammaire des arts décoratifs: Decoration intérieure de la maison '"<-"* /;<|*<O'---*'"/-/P<Suomen taiteilijaseuran joulualbumi_;&<[*;<+%%<?<+*% ;*<Q"<Gauguin’s Ceramics(#"*;(#"<*;* /";<?;<O[=+"]\-"*@"P<Colour. Art & Science_;/#< ["?"-""-<**<\/#";)*?"]'"<)*;Š*;/& /";<?;<et al<Art in the Making: Impressionism`+?**;* ?* *;"< @**Q" < O"/ *;$!† ("/ (*] „"; =/"P<Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880–1910 _;&(`<("*$<q=#*$-<|*=Q--/$=* "]@*-/@"Q--/<Q"$"*;<"- ?**;"<@**Q"<O‡\$**='*;=(--"M(**=@" =[-"*=th\*-"]P<[`";$*$@"+"][%%***; @"+"$$="=!*_-"![;="-%/-%<Š*="% -;"<$]@"+"]<+*% ?**;"<@**Q"#<O*!"*"/=Š?P<The Kalevala in Images _;&<>*!"<‡<@*-/@"Q--/<(**=*"]<@*-/ '-#$*<+*% ?**;"<@**Q"<P[=`";'%%+**R"†="/*]#`*/* *;*-"P<Pekka Halonen_;&<?**;"<@**Q"<q=#*$-< @*-/@"Q--/M@*-/!-#$** ?**;"<@**Q"<O[*>-*****</] ] **//P<Satuja ja myyttejä. Kertomusten kultakausi Akseli Gallen-Kallelasta Martta Wendeliniin Š-?@"Q--/!-#$*?<Š-"-- ?* *;"< @**Q" < P+** *; --*P Four Seasons _;&< ?* *;"<@**Q"Š"-**<%%<‡"@"\*" ?**;"<@**Q"<P*%"*?"PPinx. Maalaustaide Suomessa. Maalta kaupunkiin_;&<;"=/<+*<„*¨<'"?

?**;"<@**Q"<Taide ja okkultismi[;="-%/-%*† <_;&-%%"**<|Q<Q"?<-;*"="]<$]@" +"]<+*% ?**;"<@**Q"<Helsinki – Pariisi – Firenze -suomalaisen taiteilijan tie+**/*/-*>-%-">*†[---*/-<[---Q--/< +]?*% ?**;"<@**Q"<Pyhä Veljeys – Akseli Gallen-Kallela, Pekka Halonen, Eero Järnefelt-//"]*_*=<+**/*/-*>-%-">*† [---*/-<[---/--/<+]?*% ?**;"@**Q"Š***<‡<Taiteilijasisaria]]-< q=#$<"?*! -$=="<"<Edvard Munch. Signs of Modern Art_;&<-$=="<"<q=# $<Š-*=„"=<(*;*]" -*<*'-<P_*"?**;%-"*P<P--$*MP< Maurice Denis. Earthly Paradise_;&<-*<*'-<
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\-<*<The Concise Encyclopedia of Symbolism`"]+*Š* \*"]<-@**<Salons 1857–1870<'" \= <\="<Le mouvement symboliste dans l’art du XIXe siècle'" \==/<Q"%@<The Rhetoric of Purity: Essentialist Theory and the Advent of Abstract Painting.\/#";Ž\/#";)*?"]'" \=?"-Q_<The Principles of Harmony and Contrasts of Colors`™"% \=!!<+"$=<Theories of Modern ArtA Source Book by Artists and Critics )*?"]\"*'"<"%]<@**;*;*& \"<*<O'";P<Lost Paradise. Symbolist Europe[=Q*"Q--/ (*@"<\*; \"%<[<The Painting of Modern Life: Paris in the Art of Manet and his Followers ‡?;&<'"*$*)*?"]'"<'"*$*<`"]& \"/#<=*<Chez Charlotte and Fin-de-siècle MontparnasseŠ$%=`<'" \?<-]<O[=„**\--"P<Lost Paradise. Symbolist Europe[=Q*" Q--/(*@"<\*; \!"<-<Paul Gauguin: 45 Lettres à Vincent, Theo et Jo van Gogh_;&< \!"<-<-?">-** ?]<‡#"<Symbolists and Symbolism*? /!]<@/]<Moderni taide[=/+-;**;? *<Q-"$<O **;-* ";**/P&<Théories 1890–1910. Du Symbolisme et de Gauguin vers un nouvel ordre classique#= ˆ-;R$$;*< '" *<Q-"$<Cézanne in Modern Art and Modernism._;&<("$*(+""* \<`™"% "]*<¡?"<PQ="$" /";Q;/\=")*"!* '"P<Jozef Mehoffer (1869-1946). Un peintre symboliste polonais_q=# $<Q- ;R"]<'" "/*<‡$=";<O/Q$„="MP<Whistler._;&<"/*< ‡$=";Q$*;<Q""(<["]'-#$*<*;* "/*<‡$=";<O„="*;"=@"P<Whistler._;&<"/*<‡$="; Q$*;<Q""(<["]'-#$*<*;* ""<+*"<Symbolist Art Theories. A Critical Anthology)*?"]\"* '"<"%]*;@*<\"**;* -;%`$‹<-<O@""!=P<Symbolist Art in Poland_;&</=<@*< q=#$<M<["*<*;* _;<@#"<Ur Albert Edelfelts brev: Middagshöjd.+*" _;< @#" < Hvad Albert Edelfelt skrivit. Minnesteckningar, uppsatser och konstbref+*"

_"?/<-%%<R.W. Ekmanin ja CE. Sjöstrandin Kalevala-aiheinen taide-/* /-*/-]=;]<+*% _*;"<\<Den Moderna konsten II+*" ($<Q$=<O_;-$**'"†Q-"'***[-"*=\*-" ] `;=$=P<Art, Culture, and National Identity in Fin-de-Siècle Europe<_;&< ($<Q$=+"=<="*<<\/#";)*?"]'"<)*;Š*;/ (="$%"<#"<Art Nouveau"/*] (="„-"/;<Seeing Red. On Non-objective Painting and Color Theory_;& (="<Q$=„-"/;<*";<*|"<\* (#?"<-$*<Le Problème de l’incroyance au XVIe siècle: La Religion de Rabelais, '"<-& ("<"*]<O„=/;"*”PModernity and Modernism. French Painting in the Nineteenth Century_;&<("$*<("*$<™)*?"]'"<`+?* *;* (`"<"%<Visions of Past Glory: Nationalism and the Construction of Early Finnish History(**="-"$]<[/!" (/<$%<Matisse on Art_;&<(/<$%`™"%<-* (/*<=*+*-"<+-=<A World History of Art*;*";;& (`<("*$<O*\P<Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880–1910_;&(`<("*$<q=#*$-<|*=Q--/ $=*"]@*-/@"Q--/<Q"$"*;<"- ("$*<("*$+""*<\="<O
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-/*<-"<P<@?*-;|"P<Edelfelt Pariisissa“Edelfelt i Paris[-"%- “Ä# -/*<-"<P-/>%;>/;"*-!P<L’Hori zon inconnu: L’art en Finlande 1870-1920._;&>*!"<‡'-#$*;R@*-/* +*% "*< @**# < PG*; R/ ";< * " "< !"-*; *; `*;"- =*P<+*$=>"#$%M_ˆ-**$P<Helene Schjerfbeck_;&<"*< @**#<q=#$<+/#-""Š-*=</*/--/*+<Q- ;R@"/;"*;|;'"<+/#-""Š-*=<"/*] "*<O+*$=>"#$%*;=""!=]*;$="*]P<Helene Schjerfbeck_;&"*<@**#<q=#*$-<+/#-""Š-*=< /*/--/*+<Q- ;R@"/;"*;|;'"<+/#-"" Š-*=<"/*] +""*<\="<O/!"*/<Q;"*/*;"*]P< Modernity and Modernism. French Painting in the Nineteenth Century.™)*?"]'"<` +?**;* +„(<Aesthetics: Lectures on Fine Art.q";<\"*;*'" ?*+/=‹<+"/**< R"#<(""<"* @%**<_&<*;* +"=<="*<Symbolism and Modern Urban Society\/#";)*?"] '"<)*;Š*;/ +*‹<"<Albert Edelfelt, I, 1854-1888+*% +##`*<_"$<The Invention of Tradition_;&<+##`*<_"$‡*"<["*$< \/#";)*?"]'"<\/#";*;`™"% ?*+/**=<+-<P#"R@**-*‹O<Gesammelte Werke<¨<Prosa <"/**($="<$%=/ |*;"+?*<@;"*<PŠ?@"*(**;MP<The Kalevala in Images_;&>*!"<‡<@*-/@"Q--/M(**=*"]< @*-/'-#$*<+*% |*;"+?*<@;"*<PŠ?-/*/-P<Pinx.: maalaustaide Suomessa 1. Suuria kertomuksia_! +"<*<P=*?*-";<*=**;P<Helene Schjerfbeck. _;&@= Q"=-<*<@*-/@"Q--/<(**=*"]<+*% +-]/*<"Š"<L’Art moderne / Certains<"!"*;'" +%%<*<O_*[=M=$"*P<Ellen Thesleff – Dance of Colour_;&<Š"-**<%%<‡"@"\*" +/**<-<Pekka Halonen'"? ?<-=<Sanan ja tunteen voimalla Akseli Gallen-Kallelan kirjeitäA Self-Portrait in Words – The Letters of Akseli Gallen-Kallela&<_;&<?<-=<"*&<Š-;< \*"@"@"$=?<(**=*"]<+*%

?<-=<Pekka Halonen sanoin ja kuvin_;&<?<-=<Š-"-- ?< -= < Värin iloa. Pekka Halosen taidetta 1909-1915. [---* /-* >-%-">*†<+*% *<=**<The Art of Color[=-#>$?q!"*$*;#>$?"* $"@-#-" $%*<?;<O„;+"†/*=(**='!P<Akseli Gallen-Kallela (1865–1931): The Spirit of Finland<_;&<$%*<?;„/*<']<q=# $<"**"Q--/<"*** /*<(";"$<A Singular Modernity. Essay on the Ontology of the Present, |"<*;* -< +*‡#" < ""$= [";* -*; *`" `-* ;" Q;"*R<*Literaturgeschichte als Provocation, ("*%-"<-="%/! "„-]*%<|>$=+["?"`*<Technique and Meaning in Gauguin \/#";)*?"]'" =**<=";<Helene Schjerfbeks konst$%=/ *<\"*$<The Life and Works of Turner""* The Julian Academy<'"M=!=";"]<`™"% Š=<+""<Tapaus Magnus EnckellŠ<|// Š=<+""<PQ*-_*$%*;=Q]"]=q-]P< Magnus Enckell 1870-1925+**%-!-**;/-*>-%->*†_;&>"%?<" [=**<-=+%%<+*% Š<‡%<Luonnon jäljillä, 1920-luvun maisemataide Suomessa_;[/< '?"<_! Š|!< *%% < Järnefeltin ’Raatajat rahanalaiset’ ja venäläinen tendenssirealismi.-/*[*|-%">+*% Š"?**Š**<Š"-<P@%*Š*-=)*%"*;/*P Finnmagyar-/*>)*%"*;-=_;&+-;"<Š"_q=# $<*ŠQ--/_!<_"*Q-‹-/<-;! Š"?**Š**<Š"-<P(**=;***//**--"/"<'"* //**]] P< Akseli Gallen-Kallela _;& ?< -= _q=# $< @*-/@"Q--/[-"%-@"Q--/<@*-/!-#$**<(**= *"]<+*% Š/!<Q"*<The Science of Art. Optical themes in western art from Brunelleschi to Seurat™)*?"]'"<`+?**;* Š***<‡<Oma tie. Helene Schjerfbeckin elämä? Š***<‡<Sammontakojat. Nuoren Suomen taiteilijat ja suomalaisuuden kuvatŠ-"-- Š * * * < ‡ ] ] %  * * < ' " > ` * < ‡ % % < Dekadenssi vuosisadanvaihteen taiteessa ja kirjallisuudessa_;&]]%**<'">[!<Š<+/***

Š***<‡<Boheemielämä|**];*";*>*Š-"-- Š***<‡<Suomalaisia naistaiteilijoita 1880-luvultaŠ-"-- Š!‹%<'"‹$‹"%<@*;"‹><O[=™-*'*;Q?/*†@"<*< Q;"*]P<Symbolist Art in Poland_;&</=<@*<q=#$<["*< *;* Š"**<@**<Albert Edelfeltin fantasmagoria: nainen, “Japani”, tavaratalo '=;"*&-/*Š">--;*-"*[/-%<|// Š""< Q= < Das Relief der Farbe. Pastose Malerei in der französishen Kunstkritik 1850–1890 Š-*`*$=$= -;* *; < -$=" Š-*?"Q*$=*"* Š--<[-><Taiteilijat kirjoja tekemässäŠ<(**="-"$] $/#" $/#"<*? ?<O$[*;]/#/P<Näkyjä ja haaveita. Ranskalainen symbolismi 1886–1908 _q=#* $- M< _;&< ?* +*< ‡*"<@*-/<(**=*"]<+*%<["#" $/#"# $/#"<*? ?<O„="*;("*$P<Whistler._;&<"/*<‡$="; Q$*;<Q""(<["]'-#$*<*;* **<Š<Realismista symbolismiinQ*--"/*%%--/*_;&< Š""-["?<*/**--<Š-! //< Q"* < Swedenborg. En studie öfver hans utveckling till mystiker och andeskådare$%=/ =*<‡* <P'*@?**%-->#P<Näkyjä ja haaveita. Ranskalainen symbolismi 1886–1908_q=#$<_;&<?*+*<‡*"<@*-/<(**= *"]<+*%<["#" =*<‡* <P[='*@?*$=*;R#R[=$/!**=! Q;"*/P< Näkyjä ja haaveita. Ranskalainen symbolismi 1886–1908_q=# $<@*-/<(**=*"]<+*% /*<"<From Puvis de Chavannes to Matisse and Picasso. Toward Modern Art. _;&</*<"</!* ?*< Q"> < Helene Schjerfbeckin ajatuksia taiteesta ja elämästä._;&< ?*<Q"><-? '$=*<™**<Paul Gauguin, Sur les traces de Gauguin("*$ *;ˆ?<*<Taiteilijan tiellä – Eero Järnefelt_;&*;ˆ?<*<?< +*% *;ˆ?<*<TaiteilijakotejaŠ-"-- *;"/<@-*<Pekka Halonen, elämä ja teokset'"?

#*</*ˆ-<O'%%+**=\"";-"/P<Pekka Halonen_;&?**;"<@**Q"<q=#$<@*-/!-#$** <@*-/@"Q--/<(**=*"]<+*% -$/=<_;`";<Dictionary of Art Terms*;* -%%"**|<Pekka Halonen – pyhä taide-/*Š">--;*-"* [/-%<+/*** -%%"**|<P/**?"/*!$]*;!-""[=*;$! of Pekka Halonen”, Pekka Halonen. Four Seasons_;&<?**;"<@**Q" Š"-**<%%<‡"@"\*"<+*% -%%"**< | „*"#"< @**% < Suomi-kuvasta mielenmaisemaan. Kansallismaisemat 1800-1900-luvun vaihteen maalaustaiteessa. Š<+/*** -%%"**<|<Alla PohjantähdenKolmen aikakauden luotokuvaajat[---* /-*>-%-">*†<|* -*;"/<Q"!=<Travelling in a Palimpsest. Finnish nineteenth-century painters’ encounters with Spanish art and culture -/** ;%/< +*% ]]%**<'"><Katsomuksen ihanuusŠ">-%?-;*?=* [/]]%**'">MŠ%%<]"%MŠ*%"!<Q"?[!< Š<[/!" Q$*;<Q""(<Whistler.["]'-#$*<*;* Q*-<Q-"$<La Vie prodigieuse de Gauguin<_;*-$=\=<'" Q=`<'"$[`*]<Aurier’s Symbolist Art Criticism and Theory-;* =(*@"†\"$/<<)Q‡"$='"<@**@"#"<Q$=*& Q-$"<\/<O_- *\"" "!]$=;-/] "P<Idées vivantes<'" Q*<
;-";<Manet by Himself<_;&„*"-<-<*;* Q"= <|$"<Correspondance de Paul Gauguin: Documents, témoignages. _;&< Q"= <|$"<(*;**"'*$<'" Q$=-;<-]<Message poétique du symbolisme‹<'" Q*";<Š!"<P**$@#*$P<Hammershøi and Europe*Q--/" Š-*<'"|"<Q-*$=*;*`™"% Q*";<Š!"<OQ**;*-"";$"=-"*=$*-"]P<The light of the North. Nordisk sekelskifte.*Q--/<$%=/<["#" Q"$<\="<Paul Gauguin<+(-"]_;-"<'" Q-"]<#"<P[=„"%_- *\"" "P<The Magazine of Fine Arts<?< *;* ";<‡;<The Mystic North. Symbolist landscape painting in Northern Europe and North America 1890–1940)*?"]["*'" ‹$=<(";"$=<Ecce Homo<_;&<\<Q**"<Q<'"

>*!"<‡<O„="Š?/#-"/”P<The Kalevala in Images _;&<>*!"<‡<@*-/'-#$*<@*-/@"Q--/<(**= *"]<+*% >*!"<‡<Surface and depth. Early Modernism in Finland 1890–1920_;&< +--%<[/<@*-/'-#$*<@*-/@"Q--/<(**=* "]<+*% %%**<**<A. Gallen-Kallela. Elämä ja taide+*%& -/*< \=" < O\"" " [= /*< = =*%"< = `""P< Eugène Carrière 1849–1906<Q"#"-=(*@""]<Q]M-*<q=#*$-< !-#$*<*;* '*%]<_"`*<Studies in Iconology`™"% '!*<?**<Passato remoto<("*$ '"]<]?<P--$*MP< Maurice Denis. Earthly Paradise_;&< -*<*'-<
;*;‡ -**;Q- *-q<'" ' ;*< !=*<L’art idéaliste et mystique / ;'" '**<_‹#='**<!=<The Life of James McNeill Whistler'=;!= ' "‹'"<?"<("*$$;Œ-"#"*<$<O*("*$*Q;* M&P< Manet/Velázquez. The French Taste for Spanish Painting _;&< [*""`<"]$/#"<*? ?[=Q"!*Q--/@"<`™"% ™)*?"]'"<`+?**;* '""< <P]/#/*("*$P<Näkyjä ja haaveita. Ranskalainen symbolismi 1886–1908_q=#$<@*-/@"Q--/<(**=*"]<+*% '*$-„*<‡#"< Eye to Eye. Twenty Years of Art Criticism<\*/!""] @/"$*@"\"$<*<_;&Š-!<*;<)*?"]`™"% *]"%<)Q‡"$='"<@**@"#"<Q$=* '$%<";<Vision and Difference, Femininity, Feminism, and the Histories of Art*;* '"%%<'"><Varjosta[-%/-/*?%-?*="[/Š-%%**< -%%M|-"*/<[-/-=*-/*?%-?*/-+ '">=*<_‹#=<O'"‡!=-]P<The Pre-Raphaelites<*/--/ $%=/q=#$*<($=+"<|"*/ '">=*<_#=<The Art of Pre-Raphaelites['-#=*<*;*< & '-%%<%%<Magnus Enckell. Ihminen ja taiteilija|%">'=[=ž< +**]! '-<_"><Seiniä, seiniä! Antakaa hänelle seiniä! Akseli Gallen-Kallelan Jusélius- mausoleumin freskojen esitöitä ja luonnoksia. Walls, walls! Give him walls! Akseli Gallen-Kallela’s sketches and preliminary works for the frescoes in the Jusélius mausoleum*ŠQ--/!-#$*<*ŠQ--/<+*%

'-<_"><O@%*Š*/*?=P<Akseli Gallen-Kallela _;&< Q"*<[/? *<-<-%? '-< )* < Väri - muoto - tila Q* *† [%** %"%%--* ]!!%-*<*/ ‡!<‡;!=<O*";-$*†*$!*;]/#P<Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880–1910 _;& (`< ("*$< q=#* $-<|*=Q--/$=*"]@*-/@"Q--/< Q"$"*;<"- ‡!<‡;!=<P("/--*' ;*†_/"*";*;="* =‡¨\"qP<Visions: Gauguin and his time_;&<`>%<\="<|*= -;<„*;"'-#="<Œ`|*=Q--/<@/";/ ‡!<‡;!=<Eugène Carrière 1849–1906, catalogue raisonné de l’oeuvre peint
;*/"; ‡!<‡;!=<Symbolism(//"*<'" ‡!<‡;!=<O*Š]/#/*"**†Rq/!;R@; @"P< L’Horizon inconnu: L’art en Finlande 1870-1920._;&>*!"<‡ '-#$*;R@*-/*@*-/<+*% ‡< @/ < Magnus Enckellin poikakuvien lähtökohdista ja sisällöstä [;="-%/-%<+*% ‡`;<=*<Post-Impressionism from van Gogh to Gauguin`™"% ‡]*;<"=-<The Literary Works<?<_;&$=]<+<*;* ‡"Q"q<\-;<P_- *\"" "P<Eugène Carrière 1849–1906<Q"#"-= (*@""]<Q]M-*<q=#$<!-#$*<*;* ‡%/%"<+‡< Synthetist Art Theories, Genesis and Nature of the Ideas of Gauguin and his Circle@/";/& ‡%<Q"%<Van Gogh, Gauguin and the Impressionist Circle"*`$=\[<` ™"% ‡$=";*<=*<Edouard Manet: Paintings and Drawings.*;*“`™"% ‡=/!!<Värioppi'*<+*% ‡]<";<O\-""='*"P<Colour. Art & Science_;&</#<["?" -""-<**<\/#";)*?"]'"<)*;Š*;/& ‡]<\="@< Color CodesQ;"*="$"*!=!=]<!***; "$=$-"<"-"</-$*;!=]$=])*?"]'"`_**; ‡-<*]<O!*-"/*$="/†-*";** PLes cahiers du musée national d’art moderne'" ‡*=<=**<PR+**+;*;RM=-;=/P<'%%+**_;&< ?**;"<@**Q"_q=#$<@*-/!-#$**<@*-/@" Q--/<(**=*"]<+*% ‡-#*</+<Manet’s Silence and the Poetics of Bouquets*;*

">Š"</<Ellen Thesleff@*-/*;/-*>-%->*†<+*% ">Š"</<Helene Schjerfbeck 1862-1946<@*-/+*% ">Š"</<PQ*-/*/-PARS, Suomen taide<Š-"-- ">Š"</<P@%*Š<]`=\"`P<Northern Light. Realism and Symbolism in Scandinavian Painting 1880–1910_;&|"*;<Š"%< [="%*Q--/<`™"% ">Š"</*<@=Q"=-<*<_;&<Taiteilijattaria @*-/<+*% ">Š"</Suomen varhaisymbolismi ja sen lähteet[-%/-/* |%"><+**]! $=*<Q*$<Målarpoeten Ellen Thesleff. Tecknik och konstnärlight uttryck $"=*"="]<Ä#%;/*"<Ä# %%"<+**<Kalleuksia isänmaalle, Eliel Aspelin-Haapkylä taiteen keräilijänä ja taidehistorioitsijana$"=*"="]<(**=@*ˆ-"*$] ]"#%<+*% "-"<'-<ABC de la peinture<";;<'" ==]<**<The Rediscovery of Ireland´s Past. The Celtic Revival 1830–1930 [=/+-;*<*;* =*<*";<Art and Physics: Parallel Visions in Space, Time, and Light„/ Q""`<`™"% ?"/*<#"<Van Gogh and Gauguin. The Search for Sacred Art.("""<"- *;"-q<)*;@/"$ *<<O*$-"*;-"/*/P<Les mondes intérieurs, le symbolisme Finlandais_;&?**;"<@**Q""*"<"-*_q=#$<Q- ;Rq<Q"<"-q[>;<*; *< < O*";-$* |] *; "/P< Surface and depth. Early Modernism in Finland 1890–1920_;&+--%<[/<@*-/'-#$* <@*-/@"Q--/<(**=*"]<+*% *< < O[= ™-* @q  *P<Akseli Gallen-Kallela _;& ?< -= _q=#*$-<@*-/@"Q--/[-"%-@"Q--/<@*-/ !-#$**<(**=*"]<+*% *<<P_*=";%"P<Taiteilijattaria – Målarinnor. Fanny Churberg, Maria Wiik, Helene Schjerbeck, Ellen Thesleff, Beda Stjernschantz, Ester Helenius, Sigrid Schauman_q=#$<@*-/@"Q--/[/!"@"Q--/ [-"%-@"Q--/<+*% **<@'<De invigdes lära<$%=/ *<!=<\<French Painting between the Past and the Present: Artists, Critics, and Traditions from 1848 to 1870<'"*$*)*?"]'"<'"*$*

/;<Š"*<Helsingfors – Paris, Finland på världutställningarna 1851–1900 +*" *<Q%<Art Theories of Charles Blanc@**@"#"<)*?"]Q$=*'" !*$"<‡#*<Whistler: A Retrospective`™"% ?*<Q"]@**<P+//"==*;_**;P<Hammershøi and Europe* Q--/"Š-*<'"|"<Q-*$=*;*`™"% `*<‡%%< Kalevalan kulttuurihistoria</'<)<Š*--<!!> %**<'%%Š<+*% `*<‡%%<PQ%"%/MQ%"%/PPinx. maalaustaide Suomessa. Maalta kaupunkiin_;&<;"=/<+*et al„™<'"? `*<‡%%<P‡%%-;*Š=†Q*-_*$%*/]PMagnus Enckell 1870-1925+**%-!-**;/-*>-%->*†_;&<>"%?<" [=**<-=+%%<+*% `*<‡%%<P!--;*%-?-?-*/-%">P<Taide ja okkultismi Kirjoituksia taidehistorian rajamailta [;=" -%/-% M Š*="%-;"_;&-%%"**<|Q<Q"?<+*% `>%< \=" < Van Gogh and the Colours of the Night_;&|*+-* '""`>%<|*=Q--/[=Q--/Q;"*@"<`™"%< Q"$"*; -*;<*<Eero Järnefelt (1863–1937) P_" "*† @"%" > -***]]"%%P‡"@"\*" -!**<Q">[-?**<@**Japanismi Suomen vuosisadan vaihteen taitteessa _q=#$[-"%-@"Q--/<[-"%- Taiteen pikkujättiläinen[/Š<‡%MŠ<|%%MŠ/"**<_>M=**< +%%MQ<[*M%"<Q">'"? [#"<Q""<Coloured Universe and the Russian Avant-Garde. Matiushin on Colour Vision in Stalin’s Russia $" [=< _;< *" < $%=/ -*?"<$%=/ ?*[#"=<-<The Potato Eaters by Vincent van Gogh<\="|*$*<|* =Q--/<@/";/<Œ`<„*;" [=/*<*;<P[=Q%*=|*="/*P<Gauguin’s Vision *"$*;<_;*#-"= [=/*<*;<Gauguin[=/*;+-;*<*;* [=/*<‡$=";<O*=Q]$P<Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880–1910_;&(`<("*$<q=#*$-<|*=Q--/ $=*"]@*-/@"Q--/<Q"$"*;<"- [-?**<@**<P'%%+**<=!*‹**;$!]"$PPekka Halonen =**?""]="R#"=<q=#*$-<!*=@"Q--/ [>*"<'-_"%<Munch in his own words"`]

|%%"<=**<Focus on Form. J.J. Tikkanen, Giotto and Art Research in the 19th century$"[=<)*?"]+*%<-/*/-*/-]=;]%* %%-%"><+*% |*=<|*$*<The complete letters of Vincent Van Gogh<|<[=/*; +-;*<*;* |*;„"*<_"*"`*<\="!="<Rembrandt: The Master & his Workshop `+?**;*;* |"%;</„#"";<Yesterdays of an Artist-Monk["*=*;;";< `™"%<'<Š*;]*'-#="<)@ |=*< ) < Nordiskt sekelskifte. The Light of the North _;&< ; *< Š"*< */--**%*"†<["#" |-"**<]"<Estetiikan klassikoita[!<Š<+*% „*"#"< @**% < Suomi-kuvasta mielenmaisemaan. Kansallismaisemat 1800-1900-luvun vaihteen maalaustaiteessa. _;&<-%%"**<|<Š< +/*** „*"#"<@**%<P[-*>=?**//*P<Taiteilijan tiellä – Eero Järnefelt_;&<*;ˆ?<*?<+*% „*"#"<@**%<P'%%+*]*>?*%-?P<'*qQ-; -/@"%>!]=!-?-_;&<;"=/<+*<„*¨<'"? „="<*(Q‹"<‡*"<Vincent van Gogh. The Complete Paintings|-/ <"/*] „%"<=*<James Abbot McNeill Whistler[=#""]@/"$*@"&+""] @#"/*$`™"% „%**<‡]/*;<Pre-Raphaelite Art and Design["'-#$*<*;;*< *;* „*#"<"#"<+<O@/"$*@"R["!*='**P<Manet/ Velázquez. The French Taste for Spanish Painting_;[*""`<"]$/#"< *? ?[=Q"!*Q--/@"<`™"%™)*?"]'"<` +?**;* „$=?$="?</<Q<Vincent van Gogh and the Birth of Cloisonism@" "]*"<["* „**"?"<-;?<Eero Järnefelt ja hänen aikansa 1863–1937+*% „="</Q$<Whistler on Art. Selected Letters and Writings_;&[="!< <(];%[=\/""„="-;<`)*?"]#""] & „*"-<-<Édouard Manet<OQ*%'"]"$M&P<Manet/ Velázquez. The French Taste for Spanish Painting_;&<[*""`<"]$/#"< *? ?[=Q"!*Q--/@"<`™"%™)*?"]'"<` +?**;*

„"<‡?<Rakennettu suomalaisuus, Nationalismi viime vuosisadan vaihteen arkkitehtuurissa ja sitä koskevissa kirjoituksissa< $" [=< (**= @*ˆ-"*$]]"#%<+*% ™-*<-*<Nietzsche’s Philosophy of Art. \/#";)*?"]'"<\/#";< ""* =ˆ-< =** < O@% *Š* %"> =** =ˆ-P< Kalevalaseuran vuosikirja 13+*%

UNPUBLISHED SOURCES

+%%<*<<“+~$Q"R[= Q"R[=<+"]@"<)*?"]+*% _""*R;"<_""*@"$=?<‡=/% '!%<Q">-<Syntetismistä dekoraatioon. Väinö Blomstedtin maalausten ja <<<<Q"R[=<+"]@"<)*?"] +*% '-<)*<Värit ja niiden vastakohdat[%**%"%%--*]!!%-*< +*% [""**<+"<Väinö BlomstedtQ"R[=<+"]@"<)*?"] +*%

INTERNET SOURCES

@*-/\$* =!†““```*-/“;-!”;$;œ ```!?=;*/-“!"/**q=#*=/ & Q- ;--?"<@#_q=#ª=!†““$"*-?""“$"*“ ?”"?œ$"›"/›"*-œ**\""œ"-« & Q- ;R"] =!†““```/-"]"“*“$$*“*;q`"%“=/=/

INDEX

-/#"*italics refer to illustrations Botticelli<*;"<<<< <<<<<<<< Albers<<< <<<<<<< Angelico<("<<<<< Braque<"<< <<<<<<<< Bremer-von Bonsdorff@**< Burne-Jones< _;`"; < < < Aurier<#"@#"<<<< <<< <<<<<<<< Böcklin<@"*;< <<<<<<<< Caravaggio Carrière<_- *<<<<<< Ballin<Q*<<< <<<<<<<<<< Bastien-Lepage<-<<<< <<<<<<<<< <<<<<<<< Baudelaire<\="<<<<< <<<<<<<< <<<<<<<<<< <<<< <<<<<<<< Cézanne<'-<<<<<< <<<<<<<< < <<<<<<<< Chagall<Q"$ <<<<<<<< Corot<-? <<<<<<<< <<< Degas<_;"<<<<< "*";<_/<<<<<< $"q<_- *<<<<<< <<<< <<<<<<< Blomstedt<|*<<<<<< Denis<Q-"$<<<<<<< <<<<<<<<<< <<<<<<<<< <<<<<<168<< <<<<<<<< <<<<<<<< <<<<<<<< <<<<<<<< <<<<< <<<<221<<<< <<<<<<<< Edelfelt<@#"<<<<<< <<<<<254<<< <<<<<<<<<< <<<<<<<< <<<<<<<< <<<< <<<<< Bonnard<'""<<<< Ekman<‡#"„=/

Enckell< Q*- < < < < < < Halonen<'%%<<<<<<< <<<<<<<<<< 28, 30<<<42, 54<<<<< <<<<145<<<< <<<<<<<<<< <<<<<<<< <120<<<<<<171, <<<<<<<< 182<<<<<<<< <<<266<<<<< <<<<<<<< <<<<280<<<< <<<<214<<<< << <<<<227, 228, 229, 230, Ericson<; <<<<<<<< <<<<<249<<< Gainsborough<[=/< <<<<<<<< Gallén<@q<<<<<<<< <<<<<285<<< <<67<<<76<<<<< 288, 295, 298, 299, 300< < < <<<90<<<<<<< << <<<<<<<< Hals<("*<<<<<<< <<<<203<<<< <<<<<<<< <<<<<<<< < <<241<<<<<< Hammershøi< |=/ < < < <<<<<<<< 289 <<<< Hodler<(";**;< Gauguin<'-<<<<<<< Hornel<_;?";@%** <<<<<<<<<< Hunt<„/+/*< <<<<<<<<< <<<<<<<< Ingres<*@--/*ˆ-< <<<<<<<< 72 <<<<<<<< <<<<<<<< Johns<!" <<<<<<<< Järnefelt<_"<<<<<<< <<<<<<<< <<<<<<<<<<< <<<<<<<< <<<157<<<<<< <<<<<<<< <<<<<<<< <<<<<<<< <<<<<<<< << 255, 259, 260<<<<<< Giotto < <<<<304<<< van Gogh<|*$*<<<<< <<<<<<<<<< Kandinsky<„]<<<<< <<<<<<<< <<<< <<<< Klein<™? Greco<_<<< Klimt<-?

Khnopff< ("**; < < < < <<<<<<<< < <<<<<<<< <<<<<<<< Larsson<\" <<<<<<<< Leonardo<;|*$<<<< <<<<<<<< < <<<<

Malczewski<$% Redon<;*< Malevich<Š‹/"<<<<< Rembrandt <<<<<<< <<<<<<<< Manet<
;-";<<<<<<< <<< <<<<<<<<<< Renoir'""@--< <<<<<<<< Reynolds<"=- <<<<<<<< Rodin<@--<<< <<<<<<<< Rossetti< * #" < < < <<<<<<< <<< Martini</* Rothko<Q"$< Masaccio <<< Roussel<Š"¡?"< Matisse<+*"<<<<<< Rubens<'"'-<<< < Runeberg<„" Matthiesen<$" Meissonier<*-_"* Schjerfbeck<+*<<<<< Michelangelo < <<<<<<<<<< Millais<=*_?"< 102<<<112<<<134<< Millet<*("*$ <<<<<<<< Mondrian<'<<< 190<<<<<<<< Monet<\-;<<<<< <<<<<<<< 297 <<<<<<<< Morisot<"=<<< << Mucha<@!=*< Schuffenecker< _/ < < < Munch<_;?";<<<<<< <<< <<< Sérusier<'-<<<<<<< <<<<<<<<< Newman<"*< <<<<<<<< << Picasso<'#<<<<<< Seurat<"<<<< Sparre<-<<<<< Puvis de Chavannes<'""<<< 299 <<<<<<<<<< Stella<("*% < < < < < < < < < Stjernschantz<;<<<

Thesleff<_*<<13<<<<< Vermeer<*< <<<<<<<<< Vuillard< _;-"; < < < < <<<<<<<< < <<<<<<<< <<<273<<<<< Whistler</@##Q$<< <<<<293<<<< <<<<<<<<<<< < <<<<<<<<<< Titian<<<<<< <<<<<<<< Toorop<*< <<<<<<<< Toulouse-Lautrec<+*" <<<<<<<< Turner<!=Q";„/< <<<<<<<< <<<<<<<< Vallgren<|< << Vallotton<( q Wikström<_/<<<< Velàzquez<‡;"-‹;?] <<<<<<<<< Zurbarán<("*$$;<<< <<<< < Verkade<*<<<<<<< <<<<<<<