Serlachius museot

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+358 (0)3 488 6800 | Gustaf, R. Erik. Serlachiuksen katu 2 | Gösta, Joenniementie 47 | Mänttä

Open wintertime 1 September–31 May Tue–Sun 11am–6pm.

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+358 (0)3 488 6800 | Gustaf, R. Erik. Serlachiuksen katu 2 | Gösta, Joenniementie 47 | Mänttä

Open
wintertime 1 September–31 May Tue–Sun 11am–6pm
summertime 1 June–31 August daily 10am–6pm
Closed 6 Dec, 24–25 Dec, 31 Dec, 25 Mar and 30 Apr

Feel free to
come farther

Pearl of the month

Akseli Gallen-Kallela’s Problem (Symposion), 1894

See the artwork in bigger size

  • Gallen-Kallela-Probleemi_2.jpg

March 2019

Akseli Gallen-Kallela’s Problem (Symposion), 1894

Eric O. W. Ehrström has described the motif of Akseli Gallen-Kallela’s work Probleemi (Problem) in this way: ”Three great souls and sublime spirits have gathered for a feast, to take a trip beyond everydayness, to the endless realms of space and the most secret recesses of the subconscious, where the unknown bottom currents of imagination and art flow, where the source of everything is, the problem of influence and counterinfluence…”

When the work was finished, the reception of it was ambivalent. Its symbolism wasn’t understood, or then it was understood in many different ways. At the table, in front of their punsch bottles, Jean Sibelius, Robert Kajanus and Oskar Merikanto are sitting, more or less drunk. The artist himself is standing on the left. On the table, a skinned female figure is sitting, of whom we can only see the outlines of her feet and her hands curved around her knees. With a knife, Gallen-Kallela had cut away one strip of the border of the painting, which had chocked the audience. The woman has been interpreted as representing matter, and in the background the silhouette of a spirit is outlined against a space landscape. There is also a Biblical interpretation of the painting, according to which a Christ figure is towering in the background.

The artists depicted in the painting, at the beginning of the 1890's formed the Symposion group, who during their evening sessions, which went on until late, inspired by drinks and cigars dealt with the struggle between spirit and matter. These were moments when the short dream of life encountered boundless eternity.

Gallen-Kallela made another, more finished and polished version of the painting, in which the female figure has been replaced with wings rising above the group. For both versions, Symposion as well Problem have been used as titles.

Gallen-Kallela showed the more finished version for the first time at the Autumn Exhibition of Suomen Taiteilijat (Finnish Artists) in 1894, under the title Probleemi (Problem). The work which is in Gösta Serlachius’ art collection was publicly shown for the first time at the Kalevala Centennial Exhibition in 1935 under the title Symposion.

In the Serlachius Museums’ archive there is Olga Ehrström’s statement about how Gallen-Kallela’s Symposion came to be owned by the couple. At the beginning of the 20th century, in the middle of winter, Gallen-Kallela, Eliel Saarinen and Eric O. W. Ehrström travelled to Kalela. Ehrström noticed that the phone at Kalela was wrapped in something that looked like a painting. In order to protect his phone, Gallen-Kallela had wrapped it in the painting Symposion, which was wrinkled and in bad condition. Gallen-Kallela gave it to Ehrström. When the painting had been put in a frame, it turned out that it had not undergone any severe damage. “From then on, the painting was hanging on our wall, until February 1935 when it was brought to the Memorial Exhibition of Gallén forming part of the Kalevala Centennial, at the recently finished Helsinki Fair Centre. From there, the painting was transferred directly to Gösta Serlachius, who now owns it”, Olga Ehrström wrote.

Gösta Serlachius and the Ehrströms made an agreement in 1927, according to which Serlachius through part payment received important works owned by the Ehrströms for his collection. One of these was the above mentioned Symposion by Gallen-Kallela. By and by, the works were transferred to Serlachius, the last ones after the death of Eric O. W. Ehrström. The agreement was made in order to secure the financial situation of the aging Ehrströms.

Helena Hänninen
Curator