Beschreibung:

Self-portrait, oil, sign. 1937, 1937 Tove Jansson’s life was all of art, frineds and above all her love, friendship and student-teacher relationship with Sam Vanni Tove had completed her studies in Ateneum, after a short break, and became an artist. The young painter rented her first own studio at Vänrikki Stool’s street in Helsinki. She stood out quite well in relation to several of her artist friends, for she could support herself financially with her illustrative work. In March she recorded in her notebook of the first requisition for a studio painting, and a few weeks later of it being sold. The relationship with Sam Vanni symbolized also deep collaboration; so much so that Vanni dreaded Tove would be merging into him. The elder painter wished she would find more in herself; her uniqueness, even if they did paint colliding motifs like views from the windows, self-portraits and still-lives. Vanni’s interest in Henri Matisse’s art and coloristic approach was transmitted also to Tove. In her studio portrait Tove presents herself as a fairly distant figure, sitting on the table, as if waiting for the spectator to response in some manner. The strong color hues, angular forms and shades mirror also the composition of the highly respected French artist. The partly shaded facial features are as strong as in Matisse’s portrait of his wife. In her self-portrait Tove was able to transfer herself an identify in varying ways. She is a distant, thoughtful, working or stylish figure. However, sitting on the table, she is above all a painter; ready to create, even ready for personal sacrifices for her art. And ready to succeed due to her own abilities, not for being anyone’s muse or partner. Of the artist in her early years grows a maker, secure in her own expression. Text: Johanna Lindfors The Finnish National Gallery is interested to loan the painting for the Tove Jansson Exhibition when it moves to Japan for a museum tour., 65x54