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Relevant bibliographies by topics / Finnish Painting

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Academic literature on the topic 'Finnish Painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Finnish Painting"

1

Autio, Eero. "The snake and zig-zag motifs in Finnish rock paintings and Saami drums." Scripta Instituti Donneriani Aboensis 14 (January 1, 1991): 52–79. http://dx.doi.org/10.30674/scripta.67196.

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In articles about Finnish rock paintings particular attention has been paid to the significance of shamanism. The emphasis on shamanism leads in practice to the conclusion that a composition in which there is a man and a snake, or a snake like zig-zag figure, depicts a shaman and his helping animal. The explanation follows the traditional concept of arctic shamanism. However, the use of shamanism as the most significant basis for interpretation does not lead to plausible results in the study of pictographs (rock paintings) and petroglyphs (rock carvings). There are other possibilities besides shamanism for constructing an interpretation of the rock painting - ancient man did not resort only to the shaman but to magic and to the cults of fertility and ancestors.

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2

Idrobo, Carlos. "Countryside Borderscapes in Finland." Ennen ja nyt: Historian tietosanomat 21, no. 6 (December 17, 2021): 27–37. http://dx.doi.org/10.37449/ennenjanyt.111109.

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This article focuses on a particular kind of fence (riukuaita) that visually fragmented the nineteenth-century rural landscape in Finland and deeply affected everyday mobility in the countryside. Expanding on observations made in a previous article, the first section situates earlier depictions of the Finnish countryside within the broader confrontation between classic and romantic landscape painting and presents the idea of a countryside transformed into a borderscape of sorts. The second section examines the cultural practices within the Alderman institution that sustained and administrated these borders and divisions. The third and final section explores how artists of the so-called Golden Age of Finnish Art depicted these bordescapes, and how it might affect the way we read and experience landscape paintings, especially when considered from the phenomenological perspective of actual and imaginary walking into the depicted scene.

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3

Bolshakova, Svetlana Evgenievna. "Valaam Monastery School of Painting." Secreta Artis, no. 4 (January 21, 2021): 41–72. http://dx.doi.org/10.51236/2618-7140-2020-3-4-41-72.

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The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.

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4

Sky Hiltunen, Sirkku M. "Meditative Vail Painting: A Finnish Creative Arts Therapist's Transpersonal Journey." Art Therapy 23, no. 2 (January 2006): 73–80. http://dx.doi.org/10.1080/07421656.2006.10129641.

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5

Hautala-Hirvioja, Tuija. "Frontier Landscape – Lapland in the Tradition of Finnish Landscape Painting." Acta Borealia 28, no. 2 (December 2011): 183–202. http://dx.doi.org/10.1080/08003831.2011.626938.

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6

Doesburg, Charlotte. "Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics." Metal Music Studies 7, no. 2 (June 1, 2021): 317–33. http://dx.doi.org/10.1386/mms_00051_1.

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The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11‐13 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.

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7

Idrobo, Carlos. "Sensing Boundaries on Foot." Ennen ja nyt: Historian tietosanomat 21, no. 3 (June 17, 2021): 43–69. http://dx.doi.org/10.37449/ennenjanyt.109311.

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This article examines the material and socio-cultural mechanisms by which everyday urban and rural walking is controlled, regulated, limited, or affected, as seen through the lens of nineteenth century visual arts with support of literary and historical accounts. Inspired by the interdisciplinary research on walking, I discuss three cases of different cultural and historical backgrounds and examine therein the instances in which the experience of walking cannot fully take place, or its movements are shaped or controlled by real or imaginary forces, either external or internal, or even by other modes of transportation: 1) C. G. Carus’ socially constrained travelling in Italy in 1828, leading up to his painting Erinnerung an Neapel, 2) the history of the Pont Neuf and the use and regulation of Paris footways through lithographs and ‘impressionist’ paintings in the Third Republic, and 3) the motif of the ‘riukuaita’ (round-pole fence) in lithographs, landscape paintings and photographs during the Golden Age of Finnish Art. Thus, art objects are considered as both artworks and historical documents that illuminate the imaginary and actuality of historical events related to migration, bordering processes, and control of mobility.

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8

Konopka, Emiliana. "Cloudscapes over the Baltic Sea–Cloud Motifs in Finnish, Swedish, German, Russian, Polish, Lithuanian, and Latvian Symbolic Landscape Painting around 1900." Arts 12, no. 5 (September 7, 2023): 193. http://dx.doi.org/10.3390/arts12050193.

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The cloud motif, a significant one in the landscape painting of the 1890s and early 1900s, has been usually marginalized by scholars despite the fact that during this (Symbolist) period clouds became independent subjects of landscape painting in many European countries, especially in the Baltic Sea Region. Cloud imagery makes a robust appearance in Scandinavian, Russian, Polish, Lithuanian, and Latvian art during the decades around 1900. The variety of symbolic meanings and possible interpretations of cloudscapes was impacted by cultural and literary associations that emerged with European Symbolism. There is a surprising resemblance of cloudscapes executed within the Baltic Sea Region, an examination of which reveals the complexity of artistic influence and the presence and wandering of motifs among artists.

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9

Lagerspetz, Mikko. "Lay Perceptions of Two Modern Artworks." Art and Perception 4, no. 1-2 (December 8, 2016): 107–25. http://dx.doi.org/10.1163/22134913-00002047.

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The paper is based on 82 open-ended interviews conducted by as many students during 2006–2013. The respondents were presented with pictures of two artworks, The Persistence of Memory (1931) by Salvador Dalí and Which Link Fails First? (1992) by Teemu Mäki, a Finnish contemporary artist. They were asked to comment and compare the two pictures and tell which one they liked better. The respondents’ spontaneous comments show different aspects of how an artwork is perceived and evaluated. The interviews were analysed both qualitatively and quantitatively. As the result of in vivo coding, 40 variables were created for use in a content analysis. The respondents focused on different things when evaluating the two artworks. When commenting Dalí’s painting, they paid attention on its affective and sensory characteristics, while Mäki’s work was discussed primarily in terms of its message and perceived lack of professional quality. In parallel, a selection of interviews was analysed in order to reveal the temporal sequence of discussing and evaluating different aspects of the paintings. The analysis showed three ways of discussing, which were called naïve, scholarly, and deliberative. The temporally structured model of aesthetic appreciation and judgement suggested in 2004 by Leder and his co-workers was used as a heuristic device for an analysis of the shifts of attention that take place when a discourse is created and anchored in perception. Both cognitive psychology and phenomenological sociology emphasize the dependence of perception on context and intention; there is reason to take that theoretical starting point seriously.

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Krylov, Pavel Valentinovitch. "Review of studies of Anastassia Gennadievna Martynova “Hugo Simberg” and “Vyborg in Finnish and Russian painting arts and graphics at 20th - beginning of 21st centuries"." Петербургский исторический журнал, no. 4 (2020): 281–85. http://dx.doi.org/10.51255/2311-603x_2020_4_281.

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Books on the topic "Finnish Painting"

1

Vähäkangas, Pekka. Taide alttarilla: Alttaritaulutraditio Suomessa 1918-1945. Jyväskylä: Jyväskylän yliopisto, 1996.

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2

Saastamoinen, Maria Liisa. Északi dimenziók: 22.3-29.4.2001 Fővárosi Képtár/Kiscelli Múzeum, Templomtér : Susanne Gottberg, Radoslaw Gryta, Tero Laaksonen, Kuutti lavonen, Henrietta Lehtonen, Catarina Ryöppy, Risto Suomi. Edited by Kiscelli Múzeum and Schloss Reinbek (Reinbek Germany). [Finland]: Északi dimenziók kiállítóscsoport tagjai, 2001.

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3

Raekallio, Reijo. Maalauksia elävästä elämästä: Reijo Raekallion taide = Paintings of life : Reijo Raekallio and his art. Rovaniemi: Lapland University Press, 2010.

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4

Rantanen, Mari. Mari Rantanen: Kaipuun ja toivon kuvat = Längtans och hoppets bilder = Images of hope and longing. Helsinki: Parvs Publishing, 2021.

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5

Mägi, Konrad. Konrad Mägi: The enigma of painting. Espoo: Espoo Museum of Modern Art, 2021.

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6

Ateneum, Suomen taiteen museo, Musées de Strasbourg, and Lille (France). Musée des beaux-arts., eds. L' horizon inconnu: L'art en Finland 1870-1920 : Musées de Strasbourg, 18 juin-17 septembre 1999, Palais des beaux-arts de Lille, 8 octobre 1999-3 janvier 2000. [Helsinki]: Musée national des beaux-arts Ateneum, 1999.

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7

Kleineh, Oscar. Oscar Kleineh 1846-1919: Oscar Kleinehin matkassa. [Helsinki]: Amos Andersonin taidemuseo, 2003.

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8

Strasbourg, Musées de, Lille (France). Musée des beaux-arts., and Musée national des beaux-arts, Ateneum., eds. L' horizon inconnu: L'art en Finlande 1870-1920. Strasbourg: Musées de Strasbourg, 1999.

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9

Ateneum, Suomen taiteen museo. Pohjantähden alla: Suomalaista maalaustaidetta Ateneumin kokoelmista 1917-1940. [Helsinki]: Suomen taiteen museo Ateneum, 1993.

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10

editor, Gutman Laura, Curie Pierre author, André Alexandre translator, and Musée Jacquemart-André, eds. Gallen-Kallela: Mythes et nature : ouvrage publié à l'occasion de l'exposition au Musée Jacquemart-André du 11 mars au 25 juillet 2022. Bruxelles: Fonds Mercator, 2022.

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Book chapters on the topic "Finnish Painting"

1

"Representations of Brittany in Norwegian and Finnish Women’s Paintings: How French Realism and Naturalism Took Over Nordic Art and Contributed to Renew Finnish and Norwegian Painting at the End of the 19th Century." In Cultural Transfer Reconsidered, 88–101. BRILL, 2021. http://dx.doi.org/10.1163/9789004443693_006.

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Gardella, Peter (Petra), and Laurence Krute. "Birds in Creation, Evolution, and Creation Stories." In Wings of the Gods, 12–41. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197691878.003.0002.

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Abstract The first verses of Genesis describe God as a bird hovering over a nest. Most creation stories involve birds, laying eggs among Hindus and Finns and saving Sky Woman as she falls among Haudenosaunee (Iroquois). Ravens guided humans as they moved from Africa to the Americas, so that Tlingit and others call ravens creators. Birds appear in the cave paintings of Lascaux, at Paleolithic sites of Australia, and in the earliest cities. Vultures were depicted at the first sites of funerals, where they disposed of bodies. Because dinosaurs included theropods, the ancestors of birds who survived the meteor strike that killed off great lizards, birds actually did take part in making the world. Birds replanted forests after ice ages. Bird communication signaled the birth of self-consciousness millions of years before humans.

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