Akseli Gallen-Kallela 'And The Defense Of The Sampo' By Ilya Repin
Perhaps no other time in history saw the sheer amount of technological innovation, political unrest, and social flux as the late 19th and early 20th century. Along with modernization and advancement, this period can be characterized by a growing sense of nationalism and cultural pride. In this essay I am going to compare and contrast how the works of Finnish painter, Akseli Gallen-Kallela, and Russian artist, Ilya Repin, attempted to capture a sense of national identity. I will begin with the work of Akseli Gallen-Kallela, but before I mention his specific paintings, I believe it would be best to introduce the main character of Kallela’s illustrations, Väinämöinen as well as the history and mythology behind him. Väinämöinen is first mentioned
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Painted in 1896, The Defense of the Sampo draws its inspiration the 43rd song of Elias Lönnrot’s Finnish epic, the Kalevala. In this scene, one sees the hero Väinämöinen, wielding a sword, the treasured Sampo in hand. Väinämöinen has just reclaimed the Sampo from the evil witch, Louhi, who has taken the form of a giant bird. Known in Finnish mythology as the mighty queen of the Pohjola, the Lapland north of Finland, Louhi has the power to change form and weave intoxicating spells. The Sampo was an enchanted relic, forged by the hands of the revered smith Ilmarinen, that supposedly brought good fortune to its keeper. Art historians have argued that the Sampo has a deeper connotation in Kallela’s art, as it represents the very soul of Finland. I find it quite interesting that Kallela titles this painting The Defense of the Sampo, because the term ‘defense’ implies that the Sampo was no one but Väinämöinen’s to begin with. Keeping that in mind, if the Sampo represents the soul of the Finland, then Väinämöinen must stand as a symbol for the Finnish people. Furthermore, Pohjola remains the enemy, and as the queen of the lands north and west of Finland, she serves as a symbol for those who opposed Finnish freedom and the creation of a Finnish state during the 19th …show more content…
Repin never concerned himself with the extravagant lifestyle of the aristocratic elite. Rather, Repin felt it best to illustrate the human effort and dignity seen in each one of the barge haulers, and although their situation looks bleak, the presence of light-haired, bright-eyed youth in the center of the scene and the steam ship off in the distance changes its entire mood. Yes, much of the Russian lives in poverty, but times are changing. Russia, as a nation in the late 19th century, finds itself caught up in this modern, industrial age, which Repin believes can and will change the fortune of the rural, Russian laborer for the
Painted in 1896, The Defense of the Sampo draws its inspiration the 43rd song of Elias Lönnrot’s Finnish epic, the Kalevala. In this scene, one sees the hero Väinämöinen, wielding a sword, the treasured Sampo in hand. Väinämöinen has just reclaimed the Sampo from the evil witch, Louhi, who has taken the form of a giant bird. Known in Finnish mythology as the mighty queen of the Pohjola, the Lapland north of Finland, Louhi has the power to change form and weave intoxicating spells. The Sampo was an enchanted relic, forged by the hands of the revered smith Ilmarinen, that supposedly brought good fortune to its keeper. Art historians have argued that the Sampo has a deeper connotation in Kallela’s art, as it represents the very soul of Finland. I find it quite interesting that Kallela titles this painting The Defense of the Sampo, because the term ‘defense’ implies that the Sampo was no one but Väinämöinen’s to begin with. Keeping that in mind, if the Sampo represents the soul of the Finland, then Väinämöinen must stand as a symbol for the Finnish people. Furthermore, Pohjola remains the enemy, and as the queen of the lands north and west of Finland, she serves as a symbol for those who opposed Finnish freedom and the creation of a Finnish state during the 19th …show more content…
Repin never concerned himself with the extravagant lifestyle of the aristocratic elite. Rather, Repin felt it best to illustrate the human effort and dignity seen in each one of the barge haulers, and although their situation looks bleak, the presence of light-haired, bright-eyed youth in the center of the scene and the steam ship off in the distance changes its entire mood. Yes, much of the Russian lives in poverty, but times are changing. Russia, as a nation in the late 19th century, finds itself caught up in this modern, industrial age, which Repin believes can and will change the fortune of the rural, Russian laborer for the