Exhibition at the Helsinki House of Nobility 1909
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Mrs. Corby Fox Source: Kotitaide-lehti 08/1909, Jyväskylä University |
Hall continued to work during the exhibition, painting three portraits. It seems that he remained in Finland for quite some time after the exhibition, at least until August of the following year. At that time, he wrote a letter from his mother's home in Villa Rauhala with the aim of arranging a visit to Finland for the artist's daughter and her spouse.
A good selection of source material from the exhibition at the House of Nobility has been preserved. The National Gallery library has a catalog of the exhibition in Finnish and Swedish, and the Art Academy's newspaper clippings archive, which is part of the library's archives, has 17 newspaper clippings. These clippings report on the popularity of the exhibition and offer assessments of it. Many of the assessments were critical, which led Hall to ask Jac. Ahrenberg, who worked as an art critic, to write a positive review of the exhibition. The letter in question has been preserved in the archives of the Society of Swedish Literature in Finland.
Artist and man of the world
I have often referred in my blog posts to an interview in the newspaper Uusi Suometar on October 24, 1909, in which Hall recounts the stages of his life. The interview was conducted during the exhibition at the House of Nobility, and it begins with a description of the artist:A tall, slender man in a simple brown suit, with dark brown, upward-curling hair, a well-groomed beard of the same color, a straight nose, a small smiling mouth, and dark brown eyes that revealed the natural warmth of a man of the world, friendly politeness, and, as the interview progressed, even kindness. But he did not squint his eyes as painters often do.
In addition, Hall talks about his work in the interview: Is currently painting two portraits of young women at the same time. I work quickly, as is my habit. Frans Hals painted one of his best portraits in a couple of hours. Of course, I'm not that fast. I usually need six sessions. But sometimes I've finished in three.
Works in the exhibition
A total of 24 works were on display at the exhibition in the House of Nobility, only three of which were for sale. Most of the works were portraits that Hall had painted in Paris, Sweden, Finland, Switzerland, and New York. There was also one work painted in Brittany. This painting, Le Voeu, is probably the same one that was exhibited at the Paris Salon in 1888. According to a newspaper article, this painting of a nun in a church depicts his first wife, Julie Cornetz (Perregaux), wearing a Breton costume. The Spinning Trappist monk dates from the 1890s, when Hall painted monks at the Melleray monastery near Nantes. The portrait of Mrs. Corby Fox was exhibited at the Paris Salon in 1910.
The following is the complete list of works in the exhibition. However, according to newspaper reports, additional works were brought to the exhibition during its opening hours, including a recently completed portrait of Mrs. Bergroth. At that time, information about the works was very limited, and it was common practice not to disclose the year of completion or the technique used. This makes it difficult to identify the works.
Richard Hall's Exhibition
Portraits.
No. 1. Mrs. Corby Fox, painted in New York.
No. 2. Miss Carin Fock, painted in Stockholm.
" 3. Baroness Gyllenstierna, " "
" 4. Mrs. Jungstedt (As Carmen), " "
" 5. Madame Paquin, " in Paris.
" 6. Madame Petite, " "
" 7. Miss Rothenthal, " in New York.
" 8. Mrs. Henrik Standertskjöld, " in Finland.
" 9. Mrs. Axel Tollander, " "
" 10. " " ", " "
" 11. Miss Maj Tollander, " "
" 12. My wife, " in Paris.
" 13. " in New York.
" 14. My daughter, " "
" 15. " in Paris.
" 16. " in Switzerland.
" 17. Mr. Duffield Osborne, " in New York.
" 18. Mr. Henrik Standertskjöld, " in Finland.
Genre paintings.
" 19. "Jeune fille aux Lys," " New York.
" 20. Riippusaarnin alla (The Hanging Tree), " Öland.
" 21. *Veräjällä (At the gate), " Öland.
" 22. *Kristuksenpää (Christ's Head), " Paris.
" 23. "Le Voeu", " Brittany.
" 24. *Kehräävä trappistimunkki (Spinning Trappist monk), " France.
* Marked paintings are for sale.
Prices are available from the cashier.
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Mr Duffield Osborne Source: Kotitaide-lehti 08/1909, Jyväskylän University |
Reception
In an article published on November 6, 1909, the magazine Helsingin kaiku stated that “Richard Hall’s works of art differ considerably from Finnish art in terms of their treatment and technique, and have even caused a minor newspaper controversy.” Many exhibition reviews were critical of Hall’s art, considering it to be flattering salon art. The reception was quite different from that at Georges Petit’s private exhibition in 1901, where Hall’s skills as a portraitist, among other things, were praised.
A critic in Uusi Suometar observed on November 7, 1909: The period of transition that our art is undergoing in the 1880s is not reflected in his art. He also seems to have remained untouched by all the reforms that European art, and French art in particular, has undergone in recent decades. There are no unusual color combinations or other deliberate effects in his art.
L. Onerva, also known as a poet, wrote in the newspaper Päivä on November 6, 1909: But it is precisely this compromise, this constant servility toward the model, that causes art to remain entirely on the inferior side. These paintings completely lack the sanctity that the uncompromising creative urge rising from within always gives to a work of art, all the momentum of painterly charm and that inexplicable, captivating grace that distinguishes a work of art from a mere photograph. Everything is just for the client, the buyer. The viewer senses this and remains cold and disrespectful. And if a work of art fails to inspire respect and reverence, it ceases to be a work of art.
Request for help to Jac Ahrenberg
The archives of the Society of Swedish Literature in Finland contain a letter sent by Richard Hall to Jac Ahrenberg (Brev till Jac. Ahrenberg, SLSA 294.3). He was an architect who also worked as an art critic, among other things. Hall and Ahrenberg had apparently met while traveling abroad. In his letter, Hall appealed to Ahrenberg to write a positive review of the exhibition at the House of Nobility. In the letter, dated October 14, 1909, Hall asks:
Ainsi que vous le savez, peut-étre, on vient d’écrire deux critiques sur mon art qui me paraissent idiotes - pour dire le [???] - Des critiques pareilles ne m’influencent aucunement - vous pourrez bien le penser - mais ce qui m’ennuie, c’est que le public les lit - me rappelant combien facilement vous maniez la plume - j’ai pensé que vous voudriez, peut-étre aussi écrire quelque chose pour remettre l’opinion publique sur la bonne voie et [???] ce que vous pensez de ma peinture.
Freely translated: As you may know, two reviews of my art have just been written, which I find idiotic – let's say [???] – Such reviews don't affect me at all – you may well think so – but it bothers me that the public reads them – reminding me of how easily you wield your pen – I thought you might want to write something to put public opinion back on track and [???] what you think of my paintings.
Ahrenberg's response
Ahrenberg reacted quickly, and on October 19, 1909, the newspaper Hufvudstadsbladet published his open letter, titled "Konstären herr Richard Hall" (The Artist Mr. Richard Hall). In the letter, Ahrenberg states that his pen does not wield enough power to influence public opinion. He discusses Finnish art criticism and notes that the general public rarely agrees with it. He concludes by stating, freely translated:
As for the strict psychological requirement emphasized by the judges, it must be said that when our best portrait painters receive commissions, they are for statesmen, learned philosophers (J. P. Palmén, R. Wrede, J. R. Danielson, C. G. Estlander) or women who have devoted their entire lives to serving ideals (M. Wrede, T. Hultin, A. Ackté). How often does a traveling artist find models in the big wide world whose facial features bear the deep and dignified imprint of their life story? The faces of rich, independent, happy, and young people have nothing to offer but youth, beauty, smiles, and dreams of hope. Nothing else! Is it forbidden to paint them, or should one wait until the heavy story of life has dimmed the brilliance of colors and the reflection of beauty?
Oh, don't mind the arguments and criticism—they are now part of our heritage on this side of the Baltic Sea. Give us the best your art can offer; we need a lot of light and color in these times [---].
In conclusion
Newspaper articles suggest that the general public was interested in an artist who was unusual on the Finnish scale in terms of his international profile. At a time when printed photographs were rare and black and white, it must have been interesting to see portraits of prominent foreign figures. In addition, Hall wanted to present a few of his earlier works in this exhibition, which he had created while living in Brittany.
On the other hand, art critics were critical of the way Hall depicted his models. The style of flattering models did not fit with the Finnish conception of art. The local tradition of portrait painting, pioneered by Albert Edelfelt, relied on psychological insight and realistic expression. Jac Ahrenberg's diplomatic article in Hufvudstadsbladet recognized this difference and encouraged Hall's style.
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Le voeu, Bretagne Source: https://gallica.bnf.fr/ark:/12148/bpt6k110428c/f294.item |
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