Beda Maria Stjernschantz is one of the foremost Symbolist artists in Finland, but poor health and financial hardship had dire consequences for her artistic output, which remained small and fragmented. Through a broad survey of her art and newly discovered letters and notes, we are now able to gain deeper insight into the work of one of the most underrated artists in Finnish art history. The exhibition highlights lesser-known aspects of Stjernschantz’s work such as her landscape paintings and botanical drawings, not forgetting key pieces such as Glassblowers (1894), Everywhere A Voice Invites Us… (1895), Aphorism(1895), Irma (1895-96) and Pastorale (Primavera, 1897). Comprising some 60 paintings and 20 or so drawings, the exhibition covers nearly all aspects of her work: early drawings of torsos and plaster casts from the Art Society’s Drawing School, figurative and tonal paintings from when she studied at Gunnar Berndtson’s private academy, the Synthetist painting she adopted in France, as well as her lifelong interest in mythological subjects, timelessness and spirituality. [http://amosanderson.fi/en/exhibitions/beda-stjernschantz/] Beda Maria Stjernschantz (Dec. 10, 1867, Porvoo - May 28, 1910, Helsinki); Finnish painter, whose production, which was mainly found in the 1890s, represents symbolism. Her production was limited and her career ended prematurely due to economic and health problems. ...one of the key symbols of Finland, including Akseli Gallen-Kallela, Magnus Enckell, Ellen Thesleff, Väinö Blomstedt and Hugo Simberg. She was the least appreciated for this time, but interest in her art has increased in the 21st century. [Google translation of https://fi.wikipedia.org/wiki/Beda_Stjernschantz] Stjernschantz was an important member of the generation of Finnish Symbolist artists that emerged in the 1890s but art historical research on her work is insufficient, in part due to her limited oeuvre.... [https://birchandstar.org/2012/08/28/call-for-papers... undefined

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