File:Liljelund Klockbyte.jpg
Original file (2,873 × 3,410 pixels, file size: 2.32 MB, MIME type: image/jpeg)
Captions
Summary
editAuthor |
creator QS:P170,Q5951743 |
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Object type |
painting object_type QS:P31,Q3305213 |
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Description |
English: Exchange of clocks. Oil on canvas, on board 74x62 cm.
Exchange of Watches is one of Arvid Liljelund’s most important paintings on an Ostrobothnian theme. The artist made numerous summer painting excursions to the Ostrobothnian coast, which was still a cultural region unknown to the general public at that time. As his painting location in the summer of 1880, Liljelund chose to work about 30 miles south of the city of Vaasa in the settlement of Korsnäs, where the people were still known to wear colourful festive folk costumes. This summer turned out to be one of his finest creative periods, as the exotic attire of the archipelago folk captivated his attention and he began committing these images to canvas. Liljelund sought to portray these visions amidst the kind of events in which they could be encountered in real life, and Exchange of Watches depicts a popular festive pastime in which men showed one another their pocket watches and sought to bargain favourable exchanges. The scene obviously has something to do with a wedding reception, as one of the men is wearing the rosette of a pageboy or even of the bridegroom on his cap. While studying at the Düsseldorf Art Academy, Liljelund had adopted a habit of embedding his ethnographic discoveries within some narrative. Even though elsewhere the winds of realism had already begun blowing narrative and abundance of detail out of fine art, Liljelund insisted on minutiae with a pedantry so thoroughgoing that, when subsequently completing Exchange of Watches in Düsseldorf, he even asked his brother in Vaasa to send him a genuine Korsnäs shirt in order to verify that he had depicted it correctly. Using this resource, he reproduced the tiny crochet patterns in the red portions of the shirt with such precision that it was later possible to use the painting in the work of restoring the shirt. Besides the shirt, Exchange of Watches faithfully records the entire handsome festive costume of the Korsnäs man, complete with red-trimmed shoulder straps, watch string and tobacco pouch. The encounter between various people making a deal is woven into the narrative of the painting, with the artist observing them as personality types and seeking to reveal their characteristic attitudes in a transaction. We are presented with a head-on collision between polar opposites: the suspicious, laconic inlander and the roguish seagoing trader. Exchange of Watches was warmly praised by the critics in Finland, marking a point at which Liljelund had successfully lightened his palette and broken away from the previously dark and variegated colours of his indoor works, even though some material alluding to this unfashionable approach was still present.- Marianne Koskimies-Envall Svenska: Klockbyte. Olja på duk, uppfodrad på pannå 74x62 cm.
"Klockbyte" är en av Liljelunds mest centrala målningar från Österbotten. Konstnären gjorde under flera somrar resor till den österbottniska kusten för att måla; den var ännu då ett obekant kulturområde för den stora publiken. Som ort för sitt målande sommaren 1880 hade Liljelund valt det söder om Vasa belägna Korsnäs, eftersom det var bekant att man där fortfarande använde färggranna folkliga festdräkter. Den sommaren var en av Liljelunds bästa skaparperioder. Hans blick följde förtjust skärgårdsbornas exotiska ekiperingsartiklar och han började nedteckna dem på duk. Han ville placera dessa ögonfägnader mitt bland händelser vid vilka de också i verkligheten kunde ses. "Klockbyte" beskriver den bland folket populära förströelsen under festliga tider, då männen demonstrerade sina fickur för varandra och försökte byta dem till bättre. Här är man uppenbarligen i närheten av en bröllopsfest, eftersom den ena av männen i sin hatt har en rosett som var typisk för en brudsven eller rent av för en brudgum. När Liljelund studerade vid Konstakademin i Düsseldorf hade han lärt sig sättet att plöja ner sina etnografiska upptäckter i någon sort av berättelse. På andra håll hade realismens vindar redan börjat skölja bort narrativitet och detaljrikedom från målningar, men Liljelund höll så pedantiskt fast vid detaljernas noggrannhet att han då han lade sista handen vid målningen "Klockbyte” bad sin bror att från Vasa skicka en äkta korsnäströja för att säkerställa detaljerna. Med hjälp av den kunde han gestalta de små mönstren i de virkade röda delarna på tröjan så exakt, att man har kunnat använda målningen som hjälp då man rekonstruerade tröjan. Förutom tröjan visade målningen "Klockbyte" korsnäsmannens hela praktfulla festhögtidsskrud med axelband, klocksnöre och tobakspåse med röda tofsar. Olikartade människors sammanträffande i köpslagan har hopspunnits till målningens berättelse. Konstnären observerar dem som personlighetstyper och strävar efter att framställa deras karakteristiska attityder vid köpslagan. Här har tydliga motsatser hamnat öga mot öga: en trög misstänksam inlandsbo och en spjuveraktig kofferdikapten från kusten. Målningen "Klockbyte" fick rikligt med beröm av inhemska kritiker. Liljelund hade faktiskt lyckats göra sin palett ljusare och bryta sig loss från den tidigare färgläggningen i sina mörka, brokiga interiörbilder – om också det narrativa elementet som kommit ur modet fortfarande var närvarande. Då målningen visades på Parissalongen våren 1881 såg Eliel Aspelin den och blev förtjust i den. Efter att tavlan kommit till Finland köpte eller förmedlade han den vidare till sina släktingar. Målningen är nu för första gången till salu efter att den köpts av konstnären. - Marianne Koskimies-Envall |
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Date |
1880 date QS:P571,+1880-00-00T00:00:00Z/9 |
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Source/Photographer | Bukowskis |
Licensing
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 17:16, 2 August 2021 | 2,873 × 3,410 (2.32 MB) | Remitamine (talk | contribs) | Higher resolution version | |
18:09, 14 May 2017 | 2,528 × 3,000 (2.82 MB) | Jonund (talk | contribs) | User created page with UploadWizard |
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Metadata
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Camera manufacturer | NIKON CORPORATION |
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Camera model | NIKON D800E |
Exposure time | 1/160 sec (0.00625) |
F-number | f/11 |
ISO speed rating | 100 |
Date and time of data generation | 12:33, 17 February 2017 |
Lens focal length | 52 mm |
Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Software used | Adobe Photoshop Camera Raw 9.8 (Macintosh) |
File change date and time | 16:35, 17 February 2017 |
Exposure Program | Manual |
Exif version | 2.3 |
Date and time of digitizing | 12:33, 17 February 2017 |
APEX shutter speed | 7.321928 |
APEX aperture | 6.918863 |
APEX exposure bias | 0 |
Maximum land aperture | 4 APEX (f/4) |
Metering mode | Pattern |
Light source | Unknown |
Flash | Flash did not fire, compulsory flash suppression |
DateTimeOriginal subseconds | 20 |
DateTimeDigitized subseconds | 20 |
Color space | sRGB |
Focal plane X resolution | 2,048.4022216797 |
Focal plane Y resolution | 2,048.4022216797 |
Focal plane resolution unit | 3 |
Sensing method | One-chip color area sensor |
File source | Digital still camera |
Scene type | A directly photographed image |
Custom image processing | Normal process |
Exposure mode | Manual exposure |
White balance | Manual white balance |
Digital zoom ratio | 1 |
Focal length in 35 mm film | 52 mm |
Scene capture type | Standard |
Scene control | None |
Contrast | Normal |
Saturation | Normal |
Sharpness | Normal |
Subject distance range | Unknown |
Serial number of camera | 6012838 |
Lens used | 24.0-120.0 mm f/4.0 |
Date metadata was last modified | 18:35, 17 February 2017 |
Unique ID of original document | D3E166CC513B649E8C275C35CEE19990 |
IIM version | 4 |