Eva Cederström’s Career and Artist Identity 1927–39
Sandra Lindblom, MA student, University of Helsinki
This article is published as a result of a three-month research internship at the Finnish National Gallery 
And now, comes praise for the female painters! I’ll be damned if we men also in this regard are beaten by the fairer sex! […] Eva Cederström’s paintings in the southern hall sing out high. No. 39, June Morning in the Atelier, is a piece of true painting. She is no nervous man, Eva. She is not weighed down by complexes, she paints straight from the heart. The result is fresh, powerful and beautiful paintings.
It was in this manner that the art critic Hjalmar Hagelstam (1899–1941) praised the work that Eva Cederström (1909–95) had brought to the ‘Finnish Artists’ Exhibition’ in Helsinki Kunsthalle in the spring of 1939. Instead of simply giving recognition to Cederström’s work, he constantly refers to her gender and the competition between the sexes in the art field. In general, the 1930s texts on art have a tendency to emphasise the gender of female artists. Gender affected the expectations placed on artists, and there were certain prejudices among critics and art institutions against female artists. Women were artists and studied art, but they did not have the same starting point for their careers as their male colleagues. Only a few women had influential positions in Finland.
My original interest in Eva Cederström’s early career was caught by a desire to understand how it was to start a career as a female artist in a time like this. As I familiarised myself with earlier research and previously unstudied archive material, it became increasingly clear that it was hard to answer this question since the details on Cederström’s early career were so vague. Unlike the art critics, Cederström herself seemed to perceive gender as a minor part of her identity as an artist. Examining Cederström’s career development only from a gendered perspective seemed problematic, as it was affected by several factors. Conducting further biographical research therefore became the principal focus of this article. Then, based on this research, I also draw conclusions as to how gender played its part.
 Quotation in the title of the article: ‘Voisin antaa kaikki saadakseni yksin maalaukselle elää.’ Eva Cederström’s diary 29 March 1938. Eva Cederström Archive (ECA). Archive Collections, Finnish National Gallery (FNG), Helsinki.
 ‘Och nu, på ny kula fram för en hyllning av målarinnorna! är det inte som tusan, att vi karlar också i denna sak få på tafsen av det täcka könet! […] [H]ögt smälla nu Eva Cederströms målningar i södra salen. N:r 39 ‘Junimorgon i ateljén’ är ett stycke verkligt måleri. Hon är ingen rädder karl, hon Eva. Hon samlar ej på komplex av bundhet, hon målar på rätt ut ur hjärtat. Och resultaten äro friska starka och vackra målningar.’ Hjalmar Hagelstam, ‘Finska konstnärerernas XLVII årsutställning’, Svenska Pressen 13 April 1939. All translations in this article are by the author.
 There is an ongoing discussion on the use of terminology concerning female artists in the field of art history. Researchers such as Griselda Pollock advocate the use of the term ‘artist woman’ as the term ‘female artist’ also holds historical, negative connotations. Using the term ‘female artist’ also unfairly puts a focus on the gender of female artists, whereas gender is seldom emphasised in the case of male artists. The term ‘female artists’ also implicitly states that women are not included in the term ‘artist’. In my study I will use the term ‘female artist’ as an operative term, as my study also investigates the ways of perceiving what it means to be a female artist in the 1930s and 1940s.
 Rakel Kallio has written about the prejudice of the art historians Onni Okkonen and Edvard Richter towards young female artists. Rakel Kallio, ‘Taidekritiikki ja sukupuoli-ideologia’ in Riitta Nikula (ed.), Nainen, taide, historia, Taidehistorian esitutkimus 1985–1986 (Helsinki: Taidehistoriallisia tutkimuksia 10, 1987), 240.
 The percentages of female art students in 1923–35 was approximately 40.5 per cent. The Finnish Art Society’s annual reports 1923–35. Helsinki: Suomen Taideyhdistys 1924–36.
 There were some women holding influential positions in the art field, such as museum curator Aune Lindström and art critics Sigrid Schauman and Signe Tandefelt. Kristina Linnovaara, Makt, konst, elit – konstfältets positioner, relationer och resurser i 1940- och 1950-talens Helsingfors (Helsingfors: Statens konstmuseum, 2008), 120–24.
Featured image: Eva Cederström, Self-portrait, 1937, oil on canvas, 65.5cm x 51cm. Lappeenranta Art Museum
Photo: Lappeenranta Art Museum / Tuomas Nokelainen
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