Magnus Enckell, a page from a sketch book, 1912, probably showing the Variety Theatre Bal Tabar in Paris, pencil on paper, Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Jenni Nurminen

Editorial: Taking the Long View

 Riitta Ojanperä, PhD, Director of Collections Management, Finnish National Gallery

 

27 November 2020

 

This autumn all three museums of the Finnish National Gallery have been a hive of activity. New shows have been opened and our audiences have received their exhibition programmes with enthusiasm. This is most rewarding after the Covid-19 lockdown earlier this year. It underlines the relevance of long-term and focussed art-history based research, which is the steady cornerstone of our exhibition programmes. Our current programme opens new horizons in looking at both Finnish and Italian art.

In this issue of FNG Research magazine we publish four articles that first appeared earlier this autumn in the context of a monographic exhibition of the artist Magnus Enckell (1870–1925) at the Ateneum Art Museum. Enckell was one of the key figures during the period when Finnish artists were being influenced by Symbolist phenomena in Paris during the early 1890s. Some 20 years later, Enckell was considered to be one of the first to lead Finnish painters towards a notable strand of Neo-Impressionism.

Comprehensive exhibitions of Enckell’s work have been rare in recent decades, but both the man and his art have been a constant source of interest to Finnish critics and art historians since his death. Enckell has been considered an enigmatic and rather inaccessible person. In the late 1900s and early 2000s, one reason for this was revealed in the art-historical studies undertaken by Harri Kalha, as well as Juha-Heikki Tihinen. Kalha’s article in the current exhibition catalogue, based on his extensive monographic study from 2005, discusses the discursive strategies of veiling and unveiling Enckell’s covert homosexuality, which seemingly created a deliberately enigmatic and rather inaccessible aura around Enckell’s person. Marja Lahelma sheds light on Enckell’s work after the turn of the 20th century from the perspective of the philosophical and health-promoting aspects of vitalism. The theme of plein air and marine landscape in relation to Enckell’s art is discussed by Anne-Maria Pennonen. And a new approach towards the artist’s late career is outlined by Marja Sakari, one of the exhibition’s curators.

For the first time ever in Finland, the Sinebrychoff Art Museum brings together more than 20 oil paintings, in addition to drawings and etchings, by Giovanni Battista Tiepolo and his son Domenico. The exhibition includes a significant tranche of drawings by the Tiepolos from The State Hermitage Museum, St Petersburg, whose leading Tiepolo expert, Dr Irina Artemieva, is interviewed in this issue. According to Dr Artemieva, the very subject of the exhibition, Tiepolo’s art in Northern Europe, is already new and offers a fresh approach to the study of these great Venetian masters. The show, and the research associated with the exhibition that is published in an accompanying catalogue, is set to stimulate justified interest and surprises among Tiepolo specialists internationally.

FNG Research magazine, together with the Ateneum Art Museum, the Contemporary Art Museum Kiasma and the Sinebrychoff Art Museum, wishes readers and collaborators inspiring and thought-provoking discoveries in our latest issue.

Featured image: Magnus Enckell, a page from a sketch book, 1912, probably showing the Variety Theatre Bal Tabar in Paris, pencil on paper, Finnish National Gallery / Ateneum Art Museum
Photo: Finnish National Gallery / Jenni Nurminen
Public domain. This image of a work of art is released under a CC0 licence, and can be freely used because the copyright (70 full calendar years after the death of the artist) has expired.

Read more — Download FNG Research No. 6/2020 as a PDF

Download the articles as a PDF >>

 

Joseph Alanen, Lemminkäinen and the Cowherd, 1919–20, tempera on canvas, 50cm x 64cm. Collection Maine Wartiovaara née Alanen, Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Jenni Nurminen

Editorial: European Revivals Ten Years On

Riitta Ojanperä, PhD, Director of Collections Management, Finnish National Gallery, Helsinki

 

20 January 2020

 

Dear Readers,

As we enter a new decade, the FNG Research magazine is proud to launch a special collection of art-historical articles under the title European Revivals. From Dreams of a Nation to Places of Transnational Exchange. Released to coincide with an international conference this month, this publication marks the culmination of the ‘European Revivals’ research project and its accompanying series of six international conferences inaugurated in Helsinki in 2009 with subsequent conferences held also in Oslo, Krakow and Edinburgh.

On this occasion the Finnish National Gallery extends its warmest thanks to all those individuals and organisations who have taken part in and committed to realising the vision for the ‘European Revivals’ project and its research publication. Working together with our colleagues and international collaborators on both an intellectual and a practical level has been most interesting and inspiring.

The reason behind the project was to stimulate debate and reflect upon the phenomena surrounding European national revivals by bringing together and analysing the multifarious connections and correspondences that have helped to shape the identities of modern European nations. In 2009, the question of national revivalist discourses in art and art-historical research was a topical subject at the Finnish National Gallery, which had just opened a comprehensive exhibition of Finnish art based on motifs from The Kalevala past and present.

Towards the end of the 19th century, European artists began to express a new and profound interest in their unique local pasts and cultural inheritances. This growing sense of national identity prompted a major flowering of debate concerning the rapidly disappearing regional cultures throughout Europe. This was a debate that was largely shaped by the desire within several countries for cultural and artistic, and ultimately social and economic, independence. It resulted in creating new art that sought modern interpretations and links with local roots. It also resulted in art-historical and cultural historical narratives in which the uniqueness of the narratives of national or local histories were emphasised.

It was clear that art-historical scholarship on the subject had been broadly established, but the ‘European Revivals’ project aimed to examine parallel phenomena from a more wide-scale international perspective. Our key interest was to look at the similarities of these narratives, rather than their differences. In the course of the project, this approach turned out to raise lively interest among art historians in both museums and across academia.

From the outset, the project aimed to work towards producing a scientific publication which would cover the most interesting topics to have emerged over the ten years of its activities. We therefore invited several scholars who had participated in European Revivals conferences to submit articles for this publication. These peer-reviewed articles have been developed from the original papers given between 2009 and 2017.

As well as publishing research articles and other information concerning the Finnish National Gallery’s research activities, we are continuing to develop our research intern programme. Each year, we recruit for a period of three months up to three, master’s-level art history students to study a chosen topic arising from material in our research archives. The aim is to publish an article based on their research process, supported and tutored by our in-house professionals.

From the applications received last year, two research interns for 2020 have been selected. Karita Kivikoski, from the University of Helsinki, is studying the artist Leena Luostarinen and her artistic output during the 1980s–90s from the point of view of the reception of her works and discourse analysis. She will be researching press clippings, interviews and exhibition catalogues related to Luostarinen and her art works in the collection of the Finnish National Gallery. Olga Korka, from the Imperial Academy of Arts in St Petersburg, is studying Ilya Repin’s years in Finland and the Finnish-Russian cultural relations based on Repin-related archival material and Repin’s art works in the collections of the Finnish National Gallery.

The call for research interns for 2021 will be launched in autumn 2020. During this year, the FNG Research magazine will be published every second month, continuing its in-depth exploration of the research interests behind the Finnish National Gallery’s three museums’ exhibition programmes. We also invite scholars to submit articles that are linked with or relevant to our extensive collections.

Wishing you all a most inspiring new decade,

Dr Riitta Ojanperä

Featured image: Joseph Alanen, Lemminkäinen and the Cowherd, 1919–20, tempera on canvas, 50cm x 64cm. Collection Maine Wartiovaara née Alanen, Finnish National Gallery / Ateneum Art Museum
Photo: Finnish National Gallery / Jenni Nurminen

The Drawing School of the Finnish Art Society, painting class in 1899. In the front row from left Väinö Hämäläinen, Thyra Malmström, Maria Boehm, and Agnes Leidenius. In the middle from left: Hanna Hirn, Ester Hougberg, Lydia Bäckström, and Karin Nordensvahn. In the back row from left: Edit Petander, Bruno Hahl, teacher Albert Gebhard (1869–1937), nude model and Sigrid Lehrbäck. Photographer Jakob Ljungqvist, Helsinki 1899. The Väinö Hämäläinen Archive. Archive Collections, Finnish National Gallery

Editorial: Restructuring Art-historical Canons

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery, Helsinki

 

26 March 2019

 

All art historians most probably know Linda Nochlin’s ground breaking article with its challenging title ‘Why Have There Been No Great Women Artists?’ (ARTnews, January 1971). The feminist approach and growing interest in women artists who were left out of the canon of art history is echoed also in the Finnish art history scene and research on Finnish artist women has been published, especially from the 1980s onwards.

Reorganising art-historical canons seems not to be a quick and easy process but rather one that involves generations of researchers, curators and other actors of the art world. Let us take as an example the Swedish painter who has her first solo show in the United States at the Guggenheim, New York, up to the 23 April. Hilma af Klint (1862–1944) is among the artists who were presented in the exhibition ‘The Spiritual in Art’ and its comprehensive catalogue in 1986 and thus her name has been known at least by those art historians who have been interested in spiritual ideas connected with art. Now the time seems to be right for establishing her rightful status in the history of pioneering abstract artists. In this issue Anna-Maria von Bonsdorff is writing in the context of a current exhibition at the Ateneum, about František Kupka who, on the other hand, is among the recognized abstract painters from the early 1900s.

Interestingly, the Finnish painter Helene Schjerfbeck (1862–1946) was born the same year as Hilma af Klint. Schjerfbeck’s art is exceptionally well represented in the Finnish National Gallery’s collections and has so far been shown, for example, in Paris, Hamburg and in several venues in Japan. An exhibition arranged by the Royal Academy of Arts in London and co-curated by the RA and the FNG, is opening in July. Current trends of looking at modernity in art from angles other than solely the aspiration towards abstract expression, are apt to pave the way for deepening recognition of artists like Schjerfbeck in the context of European modern art. In an interview published in this issue of FNG Research Marja Sakari, who has recently taken up her new role as director of the oldest of our three museums, the Ateneum, discusses research prospects, such as those concerning women artists.

Art-historical canons have traditionally been based on the idea of individual artists implementing exceptional or even heroic human creativity in the anthropocentric modern world. In this issue of FNG Research Satu Oksanen, curator of the Museum of Contemporary Art Kiasma, discusses the work of Alma Heikkilä, a contemporary artist woman whose solo exhibition is shown in the museum. Heikkilä challenges both the anthropocentric world view and the traditional idea of unique and individual authorship in art. Her art practice is linked with environmental issues and human impacts on ecosystems. As Oksanen writes: ‘During this epoch of ecological threat, taking action means searching for new ways of existing, speculating, and recognising the agency of the non-human. (…) Heikkilä strives to broaden the scope of authorship beyond the individual, dismantling structural hierarchies and making space for more-than-human agencies. In doing so, she challenges not only anthropocentrism, but also museum conventions.’

Featured image: The Drawing School of the Finnish Art Society, painting class in 1899. In the front row from left Väinö Hämäläinen, Thyra Malmström, Maria Boehm, and Agnes Leidenius. In the middle from left: Hanna Hirn, Ester Hougberg, Lydia Bäckström, and Karin Nordensvahn. In the back row from left: Edit Petander, Bruno Hahl, teacher Albert Gebhard (1869–1937), nude model and Sigrid Lehrbäck. Photographer Jakob Ljungqvist, Helsinki 1899. The Väinö Hämäläinen Archive. Archive Collections, Finnish National Gallery

Gösta Diehl, Bombed Village, 1950, oil on canvas, 190cm x 260cm Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Janne Tuominen

Encounters between Art, Humanity and the Modern

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery, Helsinki

Also published in Anu Utriainen (ed.), Urban Encounters. Finnish Art in the Twentieth Century. Ateneum Publications Vol. 105. Helsinki: Finnish National Gallery / Ateneum Art Museum 2018, 10–30. Transl. Mike Garner

Without the concepts of modernity, modernism and modernisation, it would be hard to talk about the arts of the 20th century and about their relationship with the reality of their own time. Modernisation, as a societal and social phenomenon from the first decades of the 19th century onwards, meant rapid technological development, industrialisation and urbanisation. As the means of livelihood and the norms regulating communities changed, individual people’s lives and living environments changed, too. Art also changed and particularly rapidly in the early years of the 20th century, when the old societal structures of western countries with monarchies were creaking at the seams.[1]

From the 19th century onwards one of the major ideological and political shifts in European modernisation was the strengthening of the ideal of the nation and the founding of nation states. Technological development went hand in hand with innovations in the sciences and created the potential for unprecedented economic growth. The spiritual and practical ascendancy of ecclesiastical institutions was called into question and rational information offered itself as a basis for modern world views. Individuals appeared to have a new potential to shape their own lives and surroundings through education and new channels of social influence. The option of calling into question and breaking down trade, class and gender boundaries that predetermined people’s lives, if and when they were experienced as a threat to self-determination, has contributed to the modern conception of what it is to be human.

[1] See Hobsbawm, Eric. Äärimmäisyyksien aika. Lyhyt 1900-luku (19141991). Tampere: Osuuskunta Vastapaino 1999 [original English The Age of Extremes: The Short Twentieth Century, 1914–1991, 1994]. In his brief history of the 20th century Hobsbawm ties the modern and especially the history of avant-garde art into being a fixed part of the century’s historical development.

Featured image: Gösta Diehl, Bombed Village, 1950, oil on canvas, 190cm x 260cm Finnish National Gallery / Ateneum Art Museum
Photo: Finnish National Gallery / Janne Tuominen

Read more — Download ‘Encounters between Art, Humanity and the Modern’, by Riitta Ojanperä, as a PDF

Download the Full Article as a PDF >>

Otto Mäkilä, Summer Night, 1938, oil on canvas, 70cm x 90cm, Herman and Elisabeth Hallonblad Collection, Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Antti Kuivalainen

Editorial – Stimulating Research through Collections’ Metadata

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery, Helsinki

 

19 July 2018

 

Multiculturalism and opening up to the changes and challenges of today’s world are topics that are often discussed when museum professionals get together in meetings and conferences. It is about being relevant to the societies around us.

Collections are traditionally considered the core of museums and the kernel of museums’ role as providers of reliable knowledge about culture and its history. Therefore a significant interest in the histories of collections – that is for whom, in what historical period and for what reasons the collections were formed – has been shown within the museums themselves, as well as in the academic field.

Metadata is a key concept when talking about making collections and collections’ data relevant. Metadata creates patterns of knowledge that are connected with each single object in the collection. The data are gathered in museums’ databases and, ideally, shared via digital platforms, thus serving as an important primary source for academic research, as well as other interests.

The ways in which we organise, enrich and share the metadata that is formatting the knowledge do matter. This part of professional practice has the potential to reflect a museum’s and its collection’s relevance and also offers the possibility to participate in current discourses within academic research fields. Collections as sets of chosen objects are relatively static, but the metadata connected to them, and the procedures for constituting knowledge, need not be.

The Finnish National Gallery has very recently accomplished the task of migrating its collections’ data to a new database system and we are planning to share the data on a new website next year. We are also looking forward to experimenting with crowdsourcing keywords.

While doing this, we will be happy to hear about our colleagues’ experiences and to share with others what we are learning.

Wishing you all a nice summer!

Featured image: Otto Mäkilä, Summer Night, 1938, oil on canvas, 70cm x 90cm, Herman and Elisabeth Hallonblad Collection, Finnish National Gallery / Ateneum Art Museum

On the Finnish National Gallery’s website the basic information given about this painting is: Otto Mäkilä, Summer Night, 1938, Keywords: kesä, maisema, heinäpelto, figuuri, yö, nainen, allegoria. In future we wish to share the keywords with you also in English: summer, landscape, hayfield, figure, night, woman, allegory.

Information about the FNG collection is also available on these data platforms:

Photo: Finnish National Gallery / Antti Kuivalainen

Masterpieces of Finnish Art at the Europeana Collections

Editorial: Learning by Doing – the Value of Research Internships

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery, Helsinki

 

25 January 2018

 

Last year the Finnish National Gallery launched a research internship programme for master’s-level students in art history, cultural history and museology. The first round of applications resulted in employing three graduate students for a three-month period during the autumn of 2017.

As a museum organisation, the FNG feels deeply its responsibility to pass on to future museum professionals and researchers of art and cultural history the enthusiasm, commitment and practical skills to work with a variety of art-historical sources. The defined task of each intern was to engage in hands-on original research using a selected part of the Finnish National Gallery’s collections. The interns had two nominated mentors from the FNG senior curatorial staff with substantial research expertise to support their work.

The interns were expected to reflect their own research questions and interests in relation to the information and issues raised by working intensively and purposively in our research archives. They were also expected to produce a text related to their materials and working process.

In this issue of the FNG Research web magazine we are delighted to publish the results of the research carried out by two of our first three research interns. It turned out, that their readiness and assiduity in answering the challenge of writing a professional scientific article exceeded our expectations. The authors Aino Nurmesjärvi and Max Fritze are Finnish MA students, whose articles are based on the work carried out during their research internship periods.

FNG’s commitment, however, extends not only to future generations of researchers and museum professionals but also to the continuing development of its own staff, through its staff residency programme. While our first research interns were delving into our archives, one of the FNG’s senior professionals, Dr. Hanna-Leena Paloposki, was taking part in a work exchange programme at the Europeana Foundation office in The Hague, also during the autumn of 2017. Her target was to amplify FNG’s know-how regarding compiling and publishing digital collections’ data in a substantial international and pragmatic context. She explains how she got on in an interview in this issue.

Featured image: Screen capture of the front page of the image gallery ’Masterpieces of Finnish Art’ on the Europeana Collections website featuring art works from the Finnish National Gallery collections

Screen capture of the Finnish National Gallery Archive Collections webpage Lähteillä with material related to artist Hugo Simberg

Editorial: Linking Researchers and Museum Collections Data

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery, Helsinki

 

30 November 2017

 

One of the topics of this issue is Hugo Simberg (1873–1917), who is one of the most well-known artists in the Finnish art of the turn of the 19th century. Many national
art histories have their ‘golden ages’ and Finland’s relates to this particular period
when Hugo Simberg, together with artists such as Helene Schjerfbeck and Akseli
Gallen-Kallela, renewed Finnish visual art in the spirit of international early modernism. A fascinating aspect of Hugo Simberg’s work has always been the way in which he weaves myths and tales together with an animated feeling of nature.

Hugo Simberg is also one of the artists who is exceptionally richly represented in the Finnish National Gallery’s collections. Together with some 800 art works, the museum holds a significant number of documents such as the artist’s letters and photographs both taken by him or of him. All of the materials in the collections have been thoroughly catalogued at different times, according to varying methods and means.

Today, museums and other cultural heritage organisations are expected to emphasise their ability and willingness to share the cultural property that they possess as widely as possible. At the Finnish National Gallery digital technologies have enabled us to increase digital collections data in our databases and to deliver this information via cultural heritage platforms such as Europeana or the Finnish portal Finna.

Even so, there is still a whole lot of work to be done. Improving collections metadata together with choosing the right digital platforms will enable us to connect datasets that have not previously been linked. If we succeed in carrying out this current objective, this will also strengthen our role as a relevant research organisation and facilitator. All users of digital collections will profit from better data, researchers and research included.

Generating principles for creating relevant collections metadata that meet the needs of future research also requires research skills. We need clearly defined problems to be solved, relevant working methods shared by an active team and a focused plan for reaching the goal. A museum’s mission of being a source of high-quality knowledge is no longer fulfilled only by keeping the collections but also by finding ways to connect those collections to other sources of knowledge via digital metadata.

At the Finnish National Gallery we are looking forward to migrating all of the collections data to a new platform. In the future we wish to serve researchers all around the world with data that will foster the creation of new knowledge about artists such as Hugo Simberg in new and so far unimagined contexts.

To view Hugo Simberg’s works at the Finnish National Gallery’s current collections web page click here:

Featured image: Screen capture of the Finnish National Gallery Archive Collections webpage Lähteillä with material related to artist Hugo Simberg

 

Selections from the Finnish National Gallery archive collections are shown permanently in the collections exhibition The Stories of Finnish Art at the Ateneum Art Museum. A display case containing material related to Finnish artists in Italy at the end of the 19th century Photo: Finnish National Gallery / Hannu Aaltonen

Editorial: Looking for New Ways to Facilitate Research

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery

 

January 25, 2017

 

The year 2017 marks the centenary of Finland’s independence. The Finnish National Gallery, together with other Finnish cultural organisations, has designed its programmes underlining the historic span of Finnish cultural history. The FNG, with its three museums, extends to the still unseen future at the Museum of Contemporary Art Kiasma, to the highlights of its 19th- and 20th-century collections and collecting at the Ateneum Art Museum, and to European 17th-century painting that relates to the art shown at the Sinebrychoff Art Museum.

This momentous occasion creates an opportunity to reminisce about the important resources for art- historic and cultural-historic research that form a part of the national collections maintained at the Finnish National Gallery. The first acquisitions for the archival collections, made at the end of the 19th century, were artists’ letters. They were put forward by the Finnish Art Society founded in 1846, an organization that was vital in promoting Finnish art and laying the foundation for our collections.

From there on, the resources have increased significantly and keeping them available for the special interest group of researchers has been an important part of the Finnish National Gallery’s policy.

This year we are remodelling our ways of facilitating research. Our special focus is a new programme for collaborating with the future generation of art history scholars and art museum professionals.

Our wish is to raise new interest in research topics based on our resources. We also wish to be an active and innovative partner in collaborating with the academic scene with whom we deeply share the mission of reinforcing humanistic values and the importance of understanding the world and human culture by creating new, meaningful and relevant knowledge. For this purpose we will also be launching later this spring a call for master’s-level art history or cultural history students to work with us as research apprentices for a couple of months.

For more information on research topics and material please open at the top of the Home page a new section of this publication titled ‘FNG Resources’. The call for research apprentices will be added there later.

Featured image: Selections from the Finnish National Gallery archive collections are shown permanently in the collections exhibition The Stories of Finnish Art at the Ateneum Art Museum. A display case containing material related to Finnish artists in Italy at the end of the 19th century
Photo: Finnish National Gallery / Hannu Aaltonen

Wäinö Aaltonen, Jean Sibelius, 1935, marble, ht. 70 cm Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Hannu Pakarinen

From a Young Genius to a Monument

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery

First published in Hanna-Leena Paloposki (ed.), Sibelius and the World of Art. Ateneum Publications Vol. 70. Helsinki: Finnish National Gallery / Ateneum Art Museum, 2014, 13─61.

We all know what the composer Jean Sibelius looks like. He is elderly, with penetrating eyes, his mouth closed in a stern line. He is bald and – if we can see more than his face – he sits in an armchair and smokes a cigar. The image is very much a cliché. It is also quite possible that this is no longer the figure many Finns see in their minds – the prevalence of such images is very much bound to culture and generation. It is nevertheless quite likely that such an image of Sibelius is shared by those of us who were born before the 1970s, who received a school education founded on early 20th-century unified culture – our minds imprinted not only with the image of the stern national composer, but also with the Finlandia Hymn and the Song of the Athenians – and who in primary school groped for the notes of Andante Festivo in the ranks of the school orchestra.

The assumption of a widely held visual image requires at least that we know who Sibelius is. The composer has been on the list of the most famous Finns for decades, although the basis of his recognition is undoubtedly different in Finland than elsewhere. In Finland, Sibelius’s peers have comprised both the most prominent statesmen and the most prestigious representatives of art and culture. The Finnish adage ‘Sibelius, sauna and sisu’ carries the name of Sibelius everywhere that the deepest perceived values and everyday experiences of Finnishness are discussed.[1]

The popular recognition of Sibelius shows no sign of declining. In 2013, the Finnish Cultural Foundation conducted an extensive Gallup poll on the kind of art Finns find appealing.[2] The result shows that the appreciation of Sibelius is virtually unrivalled, insofar as age, education and domicile in Finland made hardly any difference in the overall positive result.[3] The survey suggests that while traditional cultural heavyweights remain strong, the top four – Jean Sibelius, Tove Jansson, Väinö Linna and Juice Leskinen – encompass a wide spectrum of artforms and artist’s ages.[4]

[1] ‘Sibelius, sauna and sisu’ is used as an idiomatic compound. Its reference is to the cultural determination of Finnish identity, sometimes used ironically. Examples: in popular culture, the chart hit of the Kivikasvot ensemble entitled Made in Finland (Tankeros love) 1975; in an academic context, the title of a seminar ‘Sibelius, sauna ja sisu! Suomen maakuvan historiaa’ (‘Sibelius, sauna and sisu! History of the Finnish national image’), University of Helsinki 16 April 2009, or the title of a thesis Sauna, sisu ja Sibelius. Jean Sibeliuksen konstruoidun säveltäjäkuvan muodostuminen musiikkikirjallisuudessa (‘Sauna, sisu and Sibelius. The formation of the constructed image of Jean Sibelius in music literature’), Lantto 2013.

[2] Study commissioned by the Finnish Cultural Foundation Suomalaisten näkemykset kulttuurista. Vaikuttuneisuus taiteilijoista ja tyylisuunnista (‘Finnish Views on and Engagement in Culture and the Arts’). The survey questions related to 32 pre-selected artists.

[3] Suomalaisten näkemykset kulttuurista. Vaikuttuneisuus taiteilijoista ja tyylisuunnista, 35.

[4] Press release of the Finnish Cultural Foundation 2013: ‘Tutkimus: Tunnetuimmat taiteilijamme ovat Jean Sibelius, Tove Jansson, Väinö Linna ja Juice Leskinen’ (‘Study shows our most famous artists are Jean Sibelius, Tove Jansson, Väinö Linna and Juice Leskinen’).

Featured image: Wäinö Aaltonen, Jean Sibelius, 1935, marble, ht. 70cm
Finnish National Gallery / Ateneum Art Museum
Photo: Finnish National Gallery / Hannu Pakarinen

Read more — Download ‘From a Young Genius to a Monument’ by Riitta Ojanperä as a PDF

Download the Full Article as a PDF >>

Editorial: For the Record

Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery

 

May 26, 2016

 

Since the coming of Foucault and his contemporary poststructuralist theorists, the epistemological conception of knowledge has not been the same. The cultural positions of categories and subjects of knowledge and the formation of historical narratives have made institutions like museums more aware of their historiographic status. A significant interest in archives both as physical entities and as metaphors of understanding or controlling the world has manifested in contemporary artworks, as well as providing a focus for art-historical research questions.

The Finnish National Gallery’s archival collections have offered research material for art and art history discourse since the late 19th century, when the collecting and preserving of artists’ letters, among other archival objects, first began.

In March 2016 the Ateneum Art Museum of the Finnish National Gallery opened a new collections display, ‘Stories of Finnish Art’, which, together with the artworks, showcases the richness of archival materials from the collections. The display reveals the archives’ multifaceted nature as sources for art history, as historical reminiscences and as aesthetic inspiration for exhibition design.

A praiseworthy amount of labour and confidence in providing future generations with the ingredients of knowledge has been invested in indexing press clippings since the early 1890s. We are now happy to share, in digital form, the information content and nostalgic beauty of hand-written index cards in our archives, containing data on press articles or news items on more than 24,000 artists.

Featured image: An index card of archival material relating to Akseli Gallén-Kallela now available in digital format.

To view the archival index cards, visit:

http://taiteilijaviitekortit.kansallisgalleria.fi/en/

You are welcome to read the current issue of FNG Research and to take part in narrating the stories of Finnish art and its international contexts.