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

Front cover

 

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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
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8
LIST OF ILLUSTRATIONS

VÄINÖ BLOMSTEDT
 Francesca &
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 Episode from the Kalevala, Kullervo Cutting into the Oak &
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 Sunset&
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MAGNUS ENCKELL
 Boy Resting&
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 Awakening&
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 Death’s Walking&
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AXEL GALLÉN
 The Great Black Woodpecker &
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 En Saga (Jean Sibelius and Fantasy Landscape)&

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9
 Defence of the Sampo&
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 Lemminkäinen’s Mother&

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 Kullervo Sets Off for Battle&<!"/*"]` "%

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PEKKA HALONEN
 Self-Portrait&
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Three Holy Men in the Forest&

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 Sunday in a Crofter’s Cottage&

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 After the Music Lesson &

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 Rowan Tree&

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 Winter Day &

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Winter Landscape&
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 Washing on the Ice&

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 The Lynx Hunter&

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Juniper Trees&   
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 Mild Winter Day&

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 Winter Light at Lake Tuusula&

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EERO JÄRNEFELT
 Self-Portrait, Storm from the East  &
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 Symbolist Landscape&

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 Lake Shore with Reeds&

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HELENE SCHJERFBECK

 Cypresses, Fiesole &

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 Boy Dressed in Armour&

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Going to Church ^&

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 Seamstress “&

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ELLEN THESLEFF
 Aspens&
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 Violinist &

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 Portrait of the Artist’s Mother&

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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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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

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


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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)

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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

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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

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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,
  +  $
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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.

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 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)

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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

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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 '%%+ **`  *’-*$;#]'-? ;\=?** { $ * "!=]`=$=$*# ** -$=!** 
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
/= ;
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seen from "  %    (1862) to the last work "
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(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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484 Gage 2005, 210.

485 –?"!‘-q/# -"
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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

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2.2.4 MONOCHROMATIC – EUGÈNE CARRIÈRE

    

     

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Of all the artists who developed and used a   palette it was only Eugène
Carrière who used the extreme form of <`=$=/* z!**
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
*;
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for ever.513 Due to his extensive social contacts with so many of the important poets,
!]`"= <"  <$ $ " <*;
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=/<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 zQ * $=" /${  ]- ; /*!**; *`=
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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
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A mad man, a voyeur, a man impossible to categorise

(Camille Mauclair 1904)527

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527 ”Un halluciné, un voyant, un inclassable” Q-$"<\/<Eugène Carrière et la psychologie du mystère
<Ž‡!<
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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 
     
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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
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Above all, don’t perspire over a picture. A strong emotion can be trans-
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(Paul Gauguin in 1885)539

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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

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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
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EVERYTHING poetic and it is in the corners of my heart, which are
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(Gauguin to van Gogh in 1888)543

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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
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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

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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
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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
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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
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by the prisoner Jean Valjean dragging his chain, and the corruptive contact with
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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 ! , 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
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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

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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


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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.

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 “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
    
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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

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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

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

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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
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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

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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
     $  & @ $+  !
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
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was done in the world at every period.”
(Pekka Halonen to Maija Mäkinen in 1894)656

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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

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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
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(Väinö Blomstedt’s letter home, November 1891)670

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3.1.2 CONSCIOUSNESS OF TIME, FORM AND COLOUR

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it is greatly to be deplored. Blows like these do not fell trees and such methods
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theorising going on among our artists”.
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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.
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whole treatment of the theme. But I should not have thought that such a method
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 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

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He imitates nobody except himself and Velázquez

(Albert Edelfelt on Whistler in 1884)789

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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.” _*$%*= "$–"

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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

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792 Halonen, Winter Light at Lake Tuusula &<  *$*? <<q<+""*;"{ $ $ * <
Pekka Halonen$? * * ; "

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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
   /    {  /   &  Œ $ 

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

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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.
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while it lives, while it burns! No, not until it has been extinguished, not
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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 ©&. The design is absolutely special, a complete abstraction…
The colour is rather distant from that of nature; a vague memory of
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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

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The colours are even more revealing, though less susceptible of mul-
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     $ /    
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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3.2.1 PAUL GAUGUIN’S ACADEMIE VITI 1894 – VÄINÖ BLOMSTEDT AND

PEKKA HALONEN

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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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crossed a spacious courtyard in which a large tree grew in front of a
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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

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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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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

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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
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when I wake up, I imagine how good it all smells. (Gauguin “Natures
mortes” in 1893)831

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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.
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 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

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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
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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

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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
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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
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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.

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Photo: Jukka Romu/Finnish National Gallery, CAA

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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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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

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$     X   
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disorder, it contains and reveals to us aspects that respond to the most
 

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is powerless to express them. Only man himself can make them clear,

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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
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(Maurice Denis 1909)1043

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symbolismi 1886–1908_q=#$<_;&<? *+ *<‡*"<@*-/<(** =
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Q ;"* /–< 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' "? 


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/-  *>-% - ">*† <|*
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painters’ encounters with Spanish art and culture - /** ;%/<
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Q-$"<\/<•_-‚*\""‚"! ]$=  ;-/] ‚"–<Idées vivantes<'" 
Q*<ƒ; -";<Manet by Himself<_;&„ *"-<-< *; *
Q"=‚ <|$ "<Correspondance de Paul Gauguin: Documents, témoignages. _;&<
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+ **] !  
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mausoleumin freskojen esitöitä ja luonnoksia. Walls, walls! Give him walls! Akseli
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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<ƒ; -";<<<<<<< <<<
<<<<<<<<<< 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< _; -"; < < < <
<<<<<<<< <
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