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페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933

by 트렌디한 일반 상식 2025. 3. 14.
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페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933

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페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933
페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933

 

페카 할로넨(Pekka Halonen), 핀란드, 화가, 1865-1933

핀란드 라플란드에서 농부의 아들로 자란 '페카 할로넨'은 사실주의 스타일로 풍경과 인물들을 그린 화가입니다. 아마추어 미술가이기도 했던 아버지가 이웃 마을 교회의 장식 벽화를 그릴 때마다 따라다니며 그림에 입문했답니다.

 

프랑스 유학을 다녀온 후에는 단순한 구성과 절제된 색상 스케일로 자신의 스타일을 구축했죠. 특히 눈 덮인 겨울 풍경이라든지 고요한 호숫가, 사우나 등 핀란드의 정서를 담은 작품들이 많습니다.

 

                                                                                                  About Him

 

Pekka Halonen (23 September 1865 in Lapinlahti – 1 December 1933 in Tuusula) was a painter of Finnish landscapes and people in the national romantic style. His favorite subjects were the Finnish landscape and its people which he depicted in his Realist style.

 

Pekka Halonen was born on 23 September 1865 in Linnasalmi, Lapinlahti, Finland, the son of Olli Halonen, a farmer, and Wilhelmina Halonen (née Uotinen). Halonen's father was himself an amateur artist who not only ran the farm, but also worked as a decorative painter on commissions from churches in neighbouring districts. Halonen often accompanied his father on these painting trips and was thus introduced into the craft of painting.

 

He studied in Helsinki at the Art Society's Drawing School for four years. He graduated with good grades and won a scholarship to study abroad. He went in 1890 to Paris, where he first studied at the Academie Julian and later under Paul Gauguin. He also studied at the Académie Vitti in Paris.

 

In 1895 Pekka Halonen married a young music student, Maija Mäkinen. In the beginning of their marriage, the couple lived in several places before settling down in a house with a studio on Lake Tuusula in Tuusula, Finland in 1895. Here the Halonen family lived in an imposing pinewood villa known as ‘Halosenniemi’. Halosenniemi was designed by Pekka Halonen himself and his brother Antti Halonen and was completed in 1902.

 

The building is now a museum that includes original furnishings and Halonen’s own art. On the shores of the lake where he resided an artists’ community flourished, helping to develop a sense of Finnish national identity. Halosenniemi was designed with the two-storey studios of Paris in mind, with high ceilings and tall windows in the studio, and second-floor living-quarters accessible by a set of stairs and a balcony that overlooked the studio.

 

Adjacent to the house Halonen built a sauna, which in typical Finnish tradition also served as a laundry. The landscape near Halosenniemi was an important source of inspiration for his art. In Tuusula Halonen had a wide circle of artist friends and relatives which provided him with a daily source of social and cultural stimulation.

 

Halonen and his wife had eight children, four sons and four daughters. Halonen died in Tuusula on 1 December 1933.

 

Halonen chronicled the Finnish landscape and its people. He had an early interest in Symbolism, but Gauguin’s decorative Synthetism, as well as Japanese woodcuts, had a deeper impression on his work.

 

Many of his paintings depict simple scenes from his everyday surroundings, such as Sauna in the Snow (1908), which vividly captures the stillness and subtle fragrance of freshly fallen snow. When at the beginning of the 20th century Finland’s existence was threatened, Halonen strove to foster a sense of national pride through symbolic interpretations of the Finnish landscape.

 

Halonen stated that he never painted for anyone but himself. He felt that “Art should not jar the nerves like sandpaper – it should produce a feeling of peace.”


 

 

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