Gösta Serlachius with Bror Serlachius’ children on the steps of the manor house in Mänttä in 1941 or 1942. Peter Michael is sitting on Gösta’s lap, Bror Olof is in the middle, and Ann‑Marie is next to him. Photo: K.-E. Lindblad Collection, Serlachius

Legacy left by Gösta Serlachius lives on in Fine Arts Foundation

Susanna Yläjärvi, Information OfficerSusanna Serlachius, Vice Chair of the Board of Directors of the Fine Arts Foundation, believes that Gösta Serlachius, born 150 years ago, would not be as well known today if he had not established the Fine Arts Foundation and left behind an extensive art collection. Susanna now wants to do her part in continuing the family traditions. She has worked on the Board of the Fine Arts Foundation for 30 years.

Susanna Serlachius was born in Mänttä and baptised in the upper salon of Joenniemi Manor. The legacy left by industrialist Gösta Serlachius (1876–1942) – the distinguished art collection and the manor, which has served as a museum – have been present in Susanna’s life since she was a child.

Her grandfather, Gösta Serlachius’ younger son Bror Serlachius (1907–1987), inherited the manor after Gösta’s death in 1942. However, Gösta’s widow Ruth Serlachius retained a lifetime right of residence in the manor, where she lived until the early 1960s.

In 1945, the brothers Bror and Ralph Erik Serlachius (1901–1980) decided, together with Ruth Serlachius, to open the lower floor of the manor to art and in this way realise Gösta Serlachius’ unfulfilled dream of his own museum. The Fine Arts Foundation rented the manor until it purchased the building in 1972.

Life around the art collection

“We moved to Tervakoski when I was two years old, but we visited Joenniemi quite often. The visits were always in some way exciting. The manor was simultaneously a place connected to home and a monument exuding history,” says Susanna Serlachius.

The upper floor of the manor remained in use as accommodation by the company G. A. Serlachius Ltd until the early 1980s, while the lower floor was used as a museum. During her visits, Susanna became accustomed to the fact that the walls were full of art.

“Of course, even as a teenager, I understood the uniqueness of the art collection, but its true significance only really became clear to me when Gustaf Serlachius asked me to join the Board of the Fine Arts Foundation in 1996,” she says.

Boys raised to be future leaders

Susanna naturally has no personal memories of her grandfather’s father, Gösta Serlachius. The family stories certainly portray him as strict and tough. This was also experienced by his own family, particularly the sons, who were raised with strict instructions to lead the family business.

In his time, Gösta had a visible impact in business circles, in forest industry interest organisations, and in the background of political decision-making. It left him with the image of an extremely tough businessman. On the other hand, there are far fewer details about private moments spent with loved ones.

The ageing industrialist’s relationship with his younger son Bror’s children was more relaxed than his relationship with Ralph Erik’s children. Gösta was particularly fond of Susanna’s father, Peter. The close relationship began at the time of the boy’s birth.

“My grandfather Bror was on a long business trip in South America at the time, and Gösta came to support my grandmother after the birth. Peter was such a lively little boy with blond curls. He did not fear nor bow to authority figures, apparently not even Gösta.”

On his deathbed, Gösta Serlachius, who was chronically ill and paralysed since autumn 1942, wanted to give his gold pocket watch to Peter, who was only four and a half years old at the time. This moment was permanently etched in the little boy’s memory.

Susanna considers that Gösta Serlachius’ name would be mentioned much less often if he had not loved art and established his art foundation. The industrialist, who was prominent in building the Finnish welfare society through the forest industry, would today be one of the many leaders mentioned in writings about the economic history of the early years of independence.

“Now he has the art foundation bearing his own name, which is closely connected to today’s society, as well as the museums, which are visited by nearly a hundred thousand people each year.”

Serlachius name spearheads the brand

Susanna Serlachius had just graduated as Master of Science (Agriculture and Forestry) and was in her first permanent job when the industrialist Gustaf Serlachius (1935–2009), Gösta’s grandson, asked her to join the Board of the Fine Arts Foundation. As a young professional, she was given a responsible position and saw the invitation as a show of trust that carried her far.

“He wanted to give me that opportunity, even though I was significantly younger than the other board members. I was a little surprised, but I appreciated the trust he had in me.”

Her long career in management positions at listed companies has given Susanna a strong foundation in, among other things, strategic thinking, long-term development, and financial responsibility. She started at Metsä-Serla, rising to the position of manager responsible for corporate image. Later, she worked at Fortum as Vice President, Corporate Branding.

She has been able to utilise her expertise at the Fine Arts Foundation, where she has served on the board for 30 years and as Vice Chair since 2014. The expertise gained in communications and marketing has also been helpful when the Serlachius brand has been renewed from time to time.

One of the latest changes was the decision to abandon the names of the Gösta and Gustaf museums. The museums’ identity is now built more clearly around the Serlachius name. “It is the name of the founder of the Fine Arts Foundation, and through this the family legacy lives on,” she says.

Responsibility for tradition and the future

The general duties of the Board of the Fine Arts Foundation include nurturing the Serlachius tradition and taking responsibility for the future of the foundation and the people it employs. Financial independence is important and this is pursued through prudent financial management and investment activities.

“Board work involves a lot of understanding and promotion of aspects related to finance, art and the foundation’s societal role. Dignity, respect for others and close collaboration are personally important matters to me in board work,” Susanna says.

She herself has completed studies that support her work in leading a cultural institution. A course at the Royal Academy in London combined culture and business. At the same time, it offered new perspectives and the opportunity to examine the activities of the Fine Arts Foundation in an international framework.

“There were a lot of people on my course who work in major London museums and other institutions. Through the course, a network was formed where it is easy to exchange experiences and ideas, for example about the renewal of museums.”

Goal to maintain achieved level

Susanna Serlachius has actively participated in developing the Fine Arts Foundation’s strategy. The current strategy period ends at the end of 2027, and planning for a new five-year strategy will begin well in advance of that.

Over the past fifteen years, the foundation’s activities have been raised to a whole new level in construction projects and in exhibition and collection activities. Where do we go from here? Have we done everything?

“Much has indeed been done during the latest strategy periods. Yet just as it is important to renew and develop operations, the level achieved must be maintained. Serlachius, for example, has very satisfied customers. It certainly takes work and deliberation to get them to come and visit in the future,” she says.

According to Susanna, balance will be a key element in the next phase: maintaining the achieved level and simultaneously enabling bold but considered renewal in the increasingly rapidly changing world around us.

“For me, this task is part of a long continuum – a narrative that began in 1868. My role is to fulfil my duty in the historical chain, and my goal is to do so with honour so that the legacy also remains alive and meaningful for future generations.”