Self-Portrait (Ellen Thesleff)
| Self-Portrait | |
|---|---|
 | |
| Year | 1890s |
| Medium | pencil, paper, sepia |
| Subject | Ellen Thesleff  |
| Dimensions | 31.5 cm (12.4 in) × 23.5 cm (9.3 in) |
| Location | Ateneum |
| Collection | Finnish National Gallery |
| Accession No. | A III 1867 |
Self-Portrait (Finnish: Omakuva) is a pencil and sepia ink on paper drawing by Finnish artist Ellen Thesleff (1869–1954) created from 1894 to 1895. It is one of nine early works produced from 1890 to 1905, sometimes referred to as her "natural" period. The drawing is held by the Finnish National Gallery, Ateneum art museum in Helsinki.
Background
[edit]Ellen Thesleff (1869–1954) grew up in a Swedish-speaking family of artists and musicians, learning to sing and play piano while her father practiced painting in his leisure time.[1] As a child, her family moved to Kuopio, Finland, where her father found work as an engineer.[2] In Kuopio, she trained as an artist under Adolf von Becker as an adolescent in the 1880s. Later that decade, she studied drawing under Gunnar Berndtson in Helsinki.[1] Her study with Berndtson first exposed her to the Impressionists.[3] Thesleff was a true polyglot, writing and speaking Swedish, German, French, Italian, and English fluently. It is unclear as to how fluent she was in the Finnish language.[2]
In the early 1890s, Thesleff lived on Boulevard Raspail in Paris and began attending the Académie Colarossi in 1891 as an art student, where her teachers were Pascal Dagnan-Bouveret and Gustave-Claude-Etienne Courtois.[4] Unlike art schools in Finland, Thesleff was afforded more freedom as a woman artist in France, where she was able to study nude models.[4] She also spent time in the Louvre studying form and color in the Department of Egyptian Antiquities.[5] Thesleff was part of a larger group of Finnish artists, including Magnus Enckell and Väinö Blomstedt, who studied abroad and were influenced by the heady mixture of new ideas circulating in fin de siècle Paris.[6] She completed several notable works during this time, including the drawing, Girl with a Guitar (1891), and the paintings Echo (1891), Thyra Elisabeth (1892), Aspens (1893), and Spring Night (1893).[7]
Development
[edit]In January 1894, Thesleff graduated from the Académie Colarossi and headed to Italy,[4] spending the spring in Florence working with fellow artist Helene Schjerfbeck and studying Renaissance art. Schjerfbeck and Hesleff both studied the frescoes of Fra Angelico at San Marco.[8] Hesleff also traveled to Venice, Rome and Milan.[5] She had previously studied Leonardo da Vinci in Paris, but now she was particularly taken with The Last Supper (1495–1498) at the Santa Maria delle Grazie.[5] Some sources indicate that Thesleff may have begun work on the Self-Portrait during her time in Florence, perhaps in the autumn.[9] At the same time, she began working on several different self-portraits, with most remaining in the draft and study phase.[4] Self-Portrait may have begun as a similar sketch along these same lines.[4]
Leaving Italy, Thesleff spent the winter of 1894 with her family near the Bulevardi in Helsinki.[4] She shared a room with her sister Gerda with an expansive view of the neighborhood.[4] In one corner of the room, Thesleff made a space for herself, where a very large piece of furniture, a mirrored dressing table (also known as a chiffonier), was placed.[4] It is thought that she may have used this mirror to work on her self-portraits.[4] Art historians believe that the Symbolism of French artist Eugène Carrière had a considerable impact on the development of Self-Portrait.[6] Symbolism was a popular and fashionable art movement when Thesleff visited Paris, with its followers emphasizing "the unseen...imagination, spirituality, and dreams".[10] There are two signatures on the drawing, indicating that her work continued for approximately a year in two separate stages, even though it was publicly exhibited between that time frame. The first signature is dated November 1894; Thesleff was 25 years of age when she first completed the work. The second signature is dated October 1895.[4]
Description
[edit]A self-portrait of a colorless, but youthful, rounded oval face, in full-frontal view, emerges from a reddish-brown, textured, but indistinct background; the eyes of the face are open but the body belonging to the face is abstract, blurred by pencil strokes and the color of sepia ink;[4] the clothing worn by the subject is indistinguishable as it dissolves into the background with each pencil stroke. The gaze is softly penetrating and introspective. The palette is muted and subdued.[5]
Analysis
[edit]
Finnish art historian Monica Schalin classifies the drawing as part of Thesleff's "natural" early period (1890-1905), which includes nine major works, of which five are paintings, two are drawings, and two are copper engravings and etchings.[5] This natural technique makes use of a wide variety of styles, including elements of French realism, styles found in Nordic art such as stämningsmåleri or "mood painting", symbolism, ascetism, and synthetism.[5] Self-Portrait is composed in pencil and sepia ink made from the common cuttlefish on paper. It makes use of a minimal color aesthetic, sometimes referred to as colour asceticism, or more controversially "black colourism".[11] Art historian Marja Lahelma describes the work as esoteric or occult, proposing that Thesleff may have used early techniques of trance-like, automatic drawing before surrealist automatism was popularized several decades later.[12] Schalin compares this early self-portrait to Thesleff's later ones, noting that in this early drawing she tried to "portray her soul" in contrast to later self-portraits where she experiments with color (Self-Portrait, 1916) or paints herself more realistically (Self-Portrait with Hat, 1935) instead.[5]
Exhibitions
[edit]The work was first exhibited at the Finnish Art Society in the spring of 1895, where it was well received by critics.[13] Artists Albert Edelfelt and Akseli Gallen-Kallela (then known as Gallén) both expressed their admiration for the work.[5] Thesleff may have returned to work on the drawing once again after the first showing, with a second exhibition occurring in the fall at the Ateneum.[4] For over the last century, the work has been exhibited 28 times in Europe, primarily in Finland, Sweden, France, Germany, Belgium, England, and Norway.[13]
Provenance
[edit]The drawing was gifted to Ernst Nordström, exhibition organizer and secretary of the Artists' Association of Finland, with the requirement that it be donated to an art collection accessible to the public after his death.[9] Thesleff was reportedly unhappy with the decision to gift the drawing to Nordström, but was in general ambivalent about the social conventions of the art world.[4] Nordström passed away in 1933, and the work was subsequently donated to the Ateneum art museum, where it remains today.[13]
Related work
[edit]- Early period (1890–1905)
-
Girl with Guitar (1891) -
Echo (1891) -
Thyra Elisabeth (1892) -
Aspens (1893) -
Spring Night (1894)
References
[edit]- ^ a b Bolloch, Joëlle (2017). "Ellen Thesleff". Artist Biographies. In Laurence Madeline (Ed.) Women Artists in Paris, 1850-1900. Yale University Press. p. 257. ISBN 9780300223934. OCLC 982652244.
- ^ a b Lönnroth, Harry. (2016). "'Sie sagen skål und Herre gud und arrivederci': On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig". Journal of Finnish Studies 19 (1): 104–120.
- ^ Dunford, Penny (1990). A Biographical Dictionary of Women Artists in Europe and America Since 1850. New York: Harvester Wheatsheaf. pp. 298-299. ISBN 9780710811448. OCLC 1081012483.
- ^ a b c d e f g h i j k l m Schreck, Hanna-Reetta (2019)[2017]. Jag målar som en gud: Ellen Thesleffs liv och konst. Helsinki: Svenska litteratursällskapet i Finland. pp. 13-15, 71-84, 111-126, 126-131. ISBN 9789515834621. OCLC 1112681197.
- ^ a b c d e f g h Schalin, Monica (2004). Målarpoeten Ellen Thesleff: Teknik och konstnärligt uttryck. Åbo: Åbo Akademis Förlag. ISBN 9517651708. OCLC 56803102.
- ^ a b Smith, John Boulton (1976). The Golden Age of Finnish Art: Art Nouveau and the National Spirit. Helsinki: Otava. pp. 49-50. ISBN 9511022830. OCLC 3072029.
- ^ von Bonsdorf, Anna-Maria (2019). "Picturing the Immaterial – Ascetic Palette, Tonalist Musicality and Formal Indistinctness in Ellen Thesleff's Early and Late Works". Tahiti. 9 (3): 5–21.
- Thesleff, Ellen (1891). Girl with a Guitar. Ateneum. Finnish National Gallery.
- Thesleff, Ellen (1892). Thyra Elisabeth. Helsinki Art Museum, Katarina and Leonard Bäcksbacka Collection.
- ^ Crabbe, Gill (2019). "Beyond Borders". FNG Research. Finnish National Gallery. 6: 5.
- ^ a b Amberla, Terhi (2018). Stories of Finnish Art – Ellen Thesleff: Self-Portrait, 1894–95. Ateneum Art Museum. Retrieved 20 November 2024.
- ^ Rauscher, Janet S. (Spring 2017). "Independent Visions". Scandinavian Review. p. 30. Amercian-Scandinavian Foundation. ISSN 0098-857X.
- ^ von Bonsdorf, Anna-Maria (2024). "Musical Interaction with Finnish Visual Arts: The Composer Jean Sibelius and Artists Akseli Gallen-Kallela, Oscar Parviainen, and Ellen Thesleff". In Chong, Connie; Foot, Michelle (Ed.). Art, Music, and Mysticism at the Fin-de-Siècle: Seeing and Hearing the Beyond. pp. 99-116. Routledge. ISBN 9781003247661. OCLC 1427248836.
- von Bonsdorf, Anna-Maria (2012). Colour Ascetism and Synthetist Colour: Colour Concepts in Turn-of-the-20th-Century Finnish and European Art. (PhD thesis). University of Helsinki. ISBN 9789521080470. OCLC 854991624.
- ^ Crabbe, Gilee (2019). "Hidden Influences". FNG Research. 4. Finnish National Gallery. Retrieved 19 November 2024.
- Lahelma, Marja (2014). Ideal and Disintegration : Dynamics of the Self and Art at the Fin-de-Siècle. (PhD thesis). University of Helsinki. ISBN 9789521097287. OCLC 897998723.
- ^ a b c Thesleff, Ellen (1894-1895). Self-Portrait. Atenum. Finnish National Gallery. Retrieved 19 November 2024.