Astonishingly many parallels with the ideas of William Morris can be pointed out in the interests... more Astonishingly many parallels with the ideas of William Morris can be pointed out in the interests of Akseli Gallen-Kallela ( 1865 Björneborg - 1931 Stockholm) around the turn of the century 1800/1900. These influences appear into the production and life-style after a study trip to London. This fateful trip was made by Gallen-Kallela after having exhibited his most symbolist production together with Edvard Munch in Berlin in March 1895. The influences brought back from London definitely resulted as new democratic ideas about the arts as well as a great diversity of new techniques. At the time Gallen-Kallela was already building himself a studio in the wilderness of Ruovesi, Central Finland lake area. The painter himself acted architect for the immense log building with a large quantity of innovative decorative details in, to be later named national –romantic style. The developing of the idea of Gesamtkunstwerk, in the Kalela studio but even elsewhere, benefitted greatly during the following years both from the purchased Morris literature and the Magazine Studio the painter now subscribed to Finland. During the Kalela Studio Era (1895-1900) Akseli Gallen-Kallela became the pioneer of the Arts and Crafts in Finland, later with several apprentices of his own. The more democratic art-form, graphics, was begun at once along side with attempts in stained class and textile design techniques. Looking back to medieval buildings and the local cultural tradition on the whole served as the fount of inspiration. With great interest he illustrated the heroes and scenes of the national epic, in 1897 even as wall-paper application for a private dining room decoration. Interior designs by Gallen-Kallela were exhibited, along his other works of art, in Russia in the late 1890´s. His work was well noted and appreciated amongst the Russian artists of the time. Especially the Industrial Exhibition in Nizhny Novgorod in 1898 can be noted as the time and place when the Morris influence was intermediated from the Grand Duchy of Finland to the Mother Russia. The contacts Gallen-Kallela gained in Russia became active again before the revolution of 1905. Interior design, murals, textiles and especially furniture were shown in the first time ever Finnish pavilion in the World Fair in Paris in 1900, manufactured in a small Arts and Crafts Factory Iris, started by the Swedish artist Louis Sparre and the Belgian A.W. Finch. Like William Morris Gallen-Kallela involved in politics as a member in the Finnish Activist Party that strove to liberate the Great Duchy of Finland from the Russian rule. Activism against the common enemy resulted during the years of 1905 and 1906 in helping the Russian revolutionaries travelling in Finland to hide from the Cossacks and assisting the writer Maxim Gorky in fundraising in Helsinki.
Astonishingly many parallels with the ideas of William Morris can be pointed out in the interests... more Astonishingly many parallels with the ideas of William Morris can be pointed out in the interests of Akseli Gallen-Kallela ( 1865 Björneborg - 1931 Stockholm) around the turn of the century 1800/1900. These influences appear into the production and life-style after a study trip to London. This fateful trip was made by Gallen-Kallela after having exhibited his most symbolist production together with Edvard Munch in Berlin in March 1895. The influences brought back from London definitely resulted as new democratic ideas about the arts as well as a great diversity of new techniques. At the time Gallen-Kallela was already building himself a studio in the wilderness of Ruovesi, Central Finland lake area. The painter himself acted architect for the immense log building with a large quantity of innovative decorative details in, to be later named national –romantic style. The developing of the idea of Gesamtkunstwerk, in the Kalela studio but even elsewhere, benefitted greatly during the following years both from the purchased Morris literature and the Magazine Studio the painter now subscribed to Finland. During the Kalela Studio Era (1895-1900) Akseli Gallen-Kallela became the pioneer of the Arts and Crafts in Finland, later with several apprentices of his own. The more democratic art-form, graphics, was begun at once along side with attempts in stained class and textile design techniques. Looking back to medieval buildings and the local cultural tradition on the whole served as the fount of inspiration. With great interest he illustrated the heroes and scenes of the national epic, in 1897 even as wall-paper application for a private dining room decoration. Interior designs by Gallen-Kallela were exhibited, along his other works of art, in Russia in the late 1890´s. His work was well noted and appreciated amongst the Russian artists of the time. Especially the Industrial Exhibition in Nizhny Novgorod in 1898 can be noted as the time and place when the Morris influence was intermediated from the Grand Duchy of Finland to the Mother Russia. The contacts Gallen-Kallela gained in Russia became active again before the revolution of 1905. Interior design, murals, textiles and especially furniture were shown in the first time ever Finnish pavilion in the World Fair in Paris in 1900, manufactured in a small Arts and Crafts Factory Iris, started by the Swedish artist Louis Sparre and the Belgian A.W. Finch. Like William Morris Gallen-Kallela involved in politics as a member in the Finnish Activist Party that strove to liberate the Great Duchy of Finland from the Russian rule. Activism against the common enemy resulted during the years of 1905 and 1906 in helping the Russian revolutionaries travelling in Finland to hide from the Cossacks and assisting the writer Maxim Gorky in fundraising in Helsinki.
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Papers by Kirsi Kaisla Sundholm
At the time Gallen-Kallela was already building himself a studio in the wilderness of Ruovesi, Central Finland lake area. The painter himself acted architect for the immense log building with a large quantity of innovative decorative details in, to be later named national –romantic style. The developing of the idea of Gesamtkunstwerk, in the Kalela studio but even elsewhere, benefitted greatly during the following years both from the purchased Morris literature and the Magazine Studio the painter now subscribed to Finland.
During the Kalela Studio Era (1895-1900) Akseli Gallen-Kallela became the pioneer of the Arts and Crafts in Finland, later with several apprentices of his own. The more democratic art-form, graphics, was begun at once along side with attempts in stained class and textile design techniques. Looking back to medieval buildings and the local cultural tradition on the whole served as the fount of inspiration. With great interest he illustrated the heroes and scenes of the national epic, in 1897 even as wall-paper application for a private dining room decoration.
Interior designs by Gallen-Kallela were exhibited, along his other works of art, in Russia in the late 1890´s. His work was well noted and appreciated amongst the Russian artists of the time. Especially the Industrial Exhibition in Nizhny Novgorod in 1898 can be noted as the time and place when the Morris influence was intermediated from the Grand Duchy of Finland to the Mother Russia. The contacts Gallen-Kallela gained in Russia became active again before the revolution of 1905.
Interior design, murals, textiles and especially furniture were shown in the first time ever Finnish pavilion in the World Fair in Paris in 1900, manufactured in a small Arts and Crafts Factory Iris, started by the Swedish artist Louis Sparre and the Belgian A.W. Finch.
Like William Morris Gallen-Kallela involved in politics as a member in the Finnish Activist Party that strove to liberate the Great Duchy of Finland from the Russian rule. Activism against the common enemy resulted during the years of 1905 and 1906 in helping the Russian revolutionaries travelling in Finland to hide from the Cossacks and assisting the writer Maxim Gorky in fundraising in Helsinki.
At the time Gallen-Kallela was already building himself a studio in the wilderness of Ruovesi, Central Finland lake area. The painter himself acted architect for the immense log building with a large quantity of innovative decorative details in, to be later named national –romantic style. The developing of the idea of Gesamtkunstwerk, in the Kalela studio but even elsewhere, benefitted greatly during the following years both from the purchased Morris literature and the Magazine Studio the painter now subscribed to Finland.
During the Kalela Studio Era (1895-1900) Akseli Gallen-Kallela became the pioneer of the Arts and Crafts in Finland, later with several apprentices of his own. The more democratic art-form, graphics, was begun at once along side with attempts in stained class and textile design techniques. Looking back to medieval buildings and the local cultural tradition on the whole served as the fount of inspiration. With great interest he illustrated the heroes and scenes of the national epic, in 1897 even as wall-paper application for a private dining room decoration.
Interior designs by Gallen-Kallela were exhibited, along his other works of art, in Russia in the late 1890´s. His work was well noted and appreciated amongst the Russian artists of the time. Especially the Industrial Exhibition in Nizhny Novgorod in 1898 can be noted as the time and place when the Morris influence was intermediated from the Grand Duchy of Finland to the Mother Russia. The contacts Gallen-Kallela gained in Russia became active again before the revolution of 1905.
Interior design, murals, textiles and especially furniture were shown in the first time ever Finnish pavilion in the World Fair in Paris in 1900, manufactured in a small Arts and Crafts Factory Iris, started by the Swedish artist Louis Sparre and the Belgian A.W. Finch.
Like William Morris Gallen-Kallela involved in politics as a member in the Finnish Activist Party that strove to liberate the Great Duchy of Finland from the Russian rule. Activism against the common enemy resulted during the years of 1905 and 1906 in helping the Russian revolutionaries travelling in Finland to hide from the Cossacks and assisting the writer Maxim Gorky in fundraising in Helsinki.