Le Nord : revue internationale des Pays de Nord - 01.06.1941, Síða 93

WAINÖ AALTONEN
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quite independent of classical rules, while the women again over-
flow with feeling and sensual tenderness. It is remarkable that
in portraits demanding a clear sense of character Aaltonen can
show an unusual ability for objective analysis and a classically
pure apprehension of nature. In his art an element of Greek
sculpture, in his earlier work of archaic character, later of heroic-
classic character, is united with the Nordic and the Finnish. This
latter trend is most easily observed in the reliefs on the pedestal
of the Kivi monument and the newly completed relief in the
Hall of Helsinki University.
In the earliest productions of great artists there is often in
embryo much of what is later developed in symphonic form.
Aaltonen appeared to the general public about 1915 with some
portraits of women and children which have a mystical, mourn-
ful inner life, a calm lyricism, something of the dreaminess of
flower-life. The quiet play and calm rhythm of the figures,
attained by precise modelling as regards light and shade make
these works especially beautiful. “Light and shade” was indeed
the name which Aaltonen gave to his first relief which he car-
ried out in limestone and in which he tried to realize his artistic
programme. To his earlier productions also belong the first figure
compositions, “Kneeling Girl” in bronze and “The Runner”
(1916—1917) which was only done in plaster. In these works
we already see the seed of the Heroes’ Monument in Savon-
linna and the statue of Paavo Nurmi — an example of how
Aaltonen’s creative power goes “from form to form” towards
an ever firmer control of the motif.
Gradually the sculptor’s grasp of his task becomes more and
more certain and controlled and he begins a series of portraits
in which he presents figures from Finland’s intellectual life,
authors, artists, private people. He does it with realistic faith-
fulness or with lyrical freedom, according to his models. To this
group belong heads in bronze and marble, men and women, where
the execution has been adapted to the individual cases. The
portrait of Maria Jotuni in marble and the poet Hellaakoski in
bronze can be referred to the beginning of this series, the former
personifying deep reflection, the latter concentrated melancholy.
The series of portraits continues with the bronze of the poet Otto
Manninen (1920) and the soulful marble of the authoress Maila
Talvio (1930). If the latter of these two is compared with the
portrait of Maria Jotuni of 1919, we find an example of how