Näytetään tekstit, joissa on tunniste ateneum. Näytä kaikki tekstit
Näytetään tekstit, joissa on tunniste ateneum. Näytä kaikki tekstit

09 elokuuta 2021

Ilya Repin at Ateneum


Ilya Repin (1844–1930) exhibition at the Ateneum Art Museum was extensive and magnificent. The exhibition is the first review of Repin's entire career in Finland in the 21st century and features more than 130 paintings and paper-based works from more than sixty years. Included are large-scale iconic paintings such as the Barge Haulers on the Volga and the Religious Procession in Kursk, although I admired more of Repin’s smaller sized works and especially the portraits in which he conjures up the model’s personality and masterfully depicts their expressions.

The Ateneum Repin pages are great. For this post, I gathered information for the photos I took (in italic). The first painting I admired was this small-scale painting below, where the interpretation of light and shadow is dazzling.

Preparing for the examination, 1864

Only 20-year-old Ilya Repin painted brothers Alexander and Alexei Shevtsov of almost his own age,
for whom reading to either does not seem to taste right now. They were the brothers of Repin’s 
future wife, Vera Shevtsova.

Repin’s wife Vera Shevtsova, 1869

Vera Shevtsova (1854–1918) was Repin’s wife from 1872–1884. They had four children: Vera (1872–1948), Nadezhda (1874–1931), Yuri (1877–1954), and Tatiana (1880–1957). Vera was 17 years old and had a good basic education, formally better than Repin himself. However, the marriage gradually became unhappy. In Moscow between 1877 and 1882, Repin became father of three different illegitimate children with family's servants. 

Repin's eldest daughter Vera Repina, 1884 - a charming work in nature!

A delicate painting of Repint's daughter Nadja, 1881.


Vera Repina, 1896



Self-portrait with Natalia Nordman, 1903

Repin entered into a relationship with Natalia Nordmann and built a studio home in Terijoki's Kuokkala, that then belonged to Finland.  The couple settled there permanently in 1903. Terijoki was a popular Finnish summer destination, where artists from various fields enjoyed themselves. Penaty's Wednesday receptions brought Russian emigrants and also Finnish artists familiar to Repin. Natalia died of tuberculosis in 1914, but Repin remained in Kuokkala.

The Bolshevik Revolution closed the Finnish-Russian border in April 1918. Repin remained as emigrant in the Finnish side and established relations with the Finnish art world. He donated works of art to the Ateneum, and in honor of this, a large celebration was held for Repin at the Helsinki Society Hall. In his art, he described his close circle, but also nostalgically sought out his youth in Ukraine as well as his religious experiences. Repin died in 1930, and his grave is in the courtyard of the studio home in Kuokkala (now Repino).

Fieldman (Author Leo Tolstoy plowing), 1887


Leo Tolstoy

Tolstoy was the closest of Russian writers to Repin. They first met in Moscow in 1880 and then, for example, on Tolstoy's estates in Jasnaya Poljana in 1887 and 1891. Repin appreciated Tolstoy's way of life, which emphasized love of neighbor and which should not be undermined by norms set by church, monarch or society. 


Author Leonid Andrejev, 1904

 M. P. Mussorgsky, 1881

Nikolai Murashko, 1882


Ucranian Woman, 1875

Self-portrait, 1887


What Freedom!, 1903

This large painting is a Public Domain image from the web. It amazed with its difference. 
 
Repin sketched the painting on the shores of the Gulf of Finland in Kuokkala. His contemporaries gave the work symbolic interpretations: the painting was like a praise to youth and students who were ready for great upheavals and changes like natural forces. Repin himself dismissed all the hidden meanings of his painting: “What a supposed metaphor! … That's just a student dancing masurka with a course girl, that's all! ” According to one interpretation, in the painting one could see Repin rejoicing at how Kuokkala's home had become his and Natalia Nordmann's permanent residence at the time.


Safe distances were maintained at the Ateneum and the number of visitors was limited.
Tickets had to be purchased in advance. A wonderful exhibition!

❤︎❤︎❤︎
#der natur donnerstag #garden affair #gartenglück #image-in-ing #makrotex 
#my corner of the world #tuesdays treasures #t in die neue woche #wednesday around the world

09 elokuuta 2019

Ateneum - Silent Beauty


Kyllikki Salmenhaara, vase 1959


Silent Beauty Exhibition at Ateneum was a wonderful, immersive experience. The works were skillfully grouped in different halls and the combination of paintings, kimonos and ceramics had been carefully considered. After seeing the ceramics on display at the exhibition, I have a better understanding of what Minna Eväsoja and Beth Kempton said about wabi-sabi. It is true that 20th century Nordic and East Asian artists had many common sources of inspiration. I'm currently reading a Japanese book Shinrin-Yoku, The Art and Science of Forest Bathing by Qing Li - thank you for the tip Diane! I have not previously realised that in Japan there are so many forests and they are 'forest people' as we Finns. Nordic art is characterized by its silent contemplation and connection to nature. The same can be found in Japanese art. Beautiful and enchanting exhibition, well worth a visit.



The artists featured in the exhibition include Heidi Blomstedt, Shoji Hamada, Erkki Heikkilä, Rune Jansson, Aimo Kanerva, Carl Kylberg, Maija and Ahti Lavonen, Bernard Leach, Ufan Lee, Ulla Rantanen, Kyllikki Salmenhaara, Key Sato, Helene Schjerfbeck, Jaakko Sievänen, Per Stenius, Zao Wou-Ki and Samiro Yunoki. 

"Nordic and East Asian art share the idea of everyday beauty and a connection with nature. The exhibition juxtaposes visual art, ceramics, textile art and architecture by Finnish, Swedish, Japanese, Korean and Chinese artists." - Ateneum



Yoshitaka Yanagi, kimono 1977



This is a treasure that I have not seen photographed anywhere!
Helene Schjerfbeck, Trees in Wind 1918, private collection
❤︎



Bowl, Takea-Karatsu -ceramics, late 1700 - 1900



Haori, 1800s



Kimmo Kaivanto



 Zao Wou-Ki, Painting 1959



Shōji Hamada, Bowl 1956



Anitra Lucander, Stilleben 1954





Einar Ilmoni, Island 1910-1911



Key Sato, Birth of Stones 1958



Red art grouped in one hall. The text on the wall told the Japanese see
almost 10 different shades of red. Red symbolizes courage, joy, energy and blessings,
but also madness, stress and danger. In many cultures the sun is described as yellow,
but in Japan and Korea it is depicted in red.






I do not have information of all art works, it is worth visiting for yourself
and exploring this charming exhibition - if you happen to come to Helsinki.
Beautiful presentation and great works soothe the mind.



// WILLY-NILLY  
// LITTLE THINGS THURSDAY
// ALL SEASONS 
// MOSAIC MONDAY
// IMAGE-IN-ING

30 toukokuuta 2019

My May in Collages


May was a wonderful month of awakening spring. Colourwise it was fresh green,
pale pink, white and blue. My month was active, with many posts, so I made three collages.
❤︎

 I visited the fabulous František Kupka exhibition at Ateneum Helsinki.


I wrote many posts about my spring garden... 
One was Fabulous green and another Vanishing beauty.


I posted about the ingenious double helix staircase of the central library Oodi,
visited the Helsinki Wintergarden,
saw a graffiti exposition Brats of the Concrete Jungle at Viherpaja Vantaa 
and my correspondent in Dublin sent me a few great photos.

May was a good month with many experiences! Welcome real summer & June.
❤︎❤︎❤︎

// WANDERING CAMERA // MONATSCOLLAGE BEI BIRGITT
// MAKROTEX
Monthly collages - Kuukausikollaasit

18 toukokuuta 2019

František Kupka at Ateneum




I wrote in March that in Helsinki at the Ateneum, part of the Finnish National Gallery there is a great retrospective exhibition of the Czech painter František Kupka (1871-1957). I visited the exhibition and found it absolutely fantastic! During his long career Kupka had so many different styles. I took plenty of photos, more can be found online of course. Before coming to the Ateneum, the exhibition was on display at the Grand Palais in Paris and the National Gallery in Prague.


Ateneum is a beautiful building from 1877 the style being neo-renessaince. 
On the facade there are reliefs, now covered by the Kupka poster. 
The staircase is beautiful with decorative iron railing.




There were big wall-high black and white photos of Kupka and his past exhibitions.









It was a wonderful art experience. If you have the possibility to see Kupka’s work 
in some art museum or exhibition, I am sure you’ll be impressed too.
I bought myself a book about Kupka so I can study his works and life.

❤︎❤︎❤︎