Akseli gallen-kallela biography definition
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An artist’s mark on the story of Finland
As Finland celebrated the 150th anniversary of Akseli Gallen-Kallela’s birth, we took a closer look at a great artist whose influence on Finnish society spans everything from pre-independence political paintings to modern-day tattoos.
One of the most renowned pieces of art to emerge from Finland is The Defence of the Sampo, by Akseli Gallen-Kallela (April 26, 1865–March 7, 1931). This vivid depiction of a pivotal scene from the Finnish national epic Kalevala is even more striking when you see it up close. Some people take this notion quite literally: One Finnish man has a replica of the painting tattooed across his back, a type of canvas that was considerably underutilised during Gallen-Kallela’s lifetime. “People now feel his art is so important that they want to put it on their skin forever,” says Tuija Wahlroos, director of the Gallen-Kallela Museum. “There is always a reason why they chose his work and what it means to them.”
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Akseli Gallen-Kallela
Finnish painter (1865–1931)
Akseli Gallen-Kallela (born Axel Waldemar Gallén; 26 April 1865 – 7 March 1931) was a Finnish painter who is best known for his illustrations of the Kalevala, the Finnish national epic. His work is considered a very important aspect of the Finnish national identity. He finnicized his name from Gallén to Gallen-Kallela in 1907.
Life and career
[edit]Early life
[edit]Gallen-Kallela was born on 26 April 1865, in Pori, to a Swedish-speaking family. His father Peter Gallén worked as police chief and lawyer. Gallen-Kallela was raised in Tyrvää. At age 11, he was sent to Helsinki to study at a grammar school, because his father opposed his ambition to become a painter. After his father's death in 1879, Gallen-Kallela attended drawing classes at the Finnish Art Society (1881–1884) and studied privately under Adolf von Becker.
Moonlit Landscape, 1881, his first oil painting
Boy and a Crow, 1884 (fi)
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The First Snow, Korpilahti, 1928, Akseli Gallen-Kallela
There was a time, up until about ten years ago, that inom was only interested in American art. Having taught some art history inom was, of course, aware of the big names in europeisk art from several different eras, but as has always been the case, what inom didn't know about art far outweighed that which I did know. inom have the feeling that's largely the case with most artists, and definitely applicable to virtually everyone else. Even when people go in search of art to cover their own walls, they choose only what they like without much regard for who they might like, or learning to like art with which they're not familiar. There's the old quotation from an art buyer: "I don't now much about art but inom know what I like." The retort to that is: "No, you don't know what you like, you only like what you know."
An important reason inom like Akseli Gallen-Kallela's work
Until about a week ago inom
Akseli Gallen-Kallela
Finnish painter (1865–1931)
Akseli Gallen-Kallela (born Axel Waldemar Gallén; 26 April 1865 – 7 March 1931) was a Finnish painter who is best known for his illustrations of the Kalevala, the Finnish national epic. His work is considered a very important aspect of the Finnish national identity. He finnicized his name from Gallén to Gallen-Kallela in 1907.
Life and career
[edit]Early life
[edit]Gallen-Kallela was born on 26 April 1865, in Pori, to a Swedish-speaking family. His father Peter Gallén worked as police chief and lawyer. Gallen-Kallela was raised in Tyrvää. At age 11, he was sent to Helsinki to study at a grammar school, because his father opposed his ambition to become a painter. After his father's death in 1879, Gallen-Kallela attended drawing classes at the Finnish Art Society (1881–1884) and studied privately under Adolf von Becker.
Moonlit Landscape, 1881, his first oil painting
Boy and a Crow, 1884 (fi)
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The First Snow, Korpilahti, 1928, Akseli Gallen-Kallela There was a time, up until about ten years ago, that inom was only interested in American art. Having taught some art history inom was, of course, aware of the big names in europeisk art from several different eras, but as has always been the case, what inom didn't know about art far outweighed that which I did know. inom have the feeling that's largely the case with most artists, and definitely applicable to virtually everyone else. Even when people go in search of art to cover their own walls, they choose only what they like without much regard for who they might like, or learning to like art with which they're not familiar. There's the old quotation from an art buyer: "I don't now much about art but inom know what I like." The retort to that is: "No, you don't know what you like, you only like what you know."
An important reason inom like Akseli Gallen-Kallela's work Until about a week ago inom