Tuija Wahlroos, Director, Gallen-Kallela Museum

Lemminkäinen at the River of Fire

The Great Kalevala – a fully illustrated edition of the Finnish national epic poem – was one of the longest projects in the artistic career of Akseli Gallen-Kallela (1865-1931). It originated in the pages of the cultural magazine Valvoja in 1909, with illustration work then continuing at the level of ideas and sketches until the artist’s death in 1931. The Great Kalevala was also a factor in the early 20th century debate on a new edition of the epic that would include material originally left out by Elias Lönnrot and a reorganisation of the songs.[1] Would it now be possible to publish a fresh version using the art of Gallen-Kallela for illustration?[2]

The origins of the painting Lemminkäinen at the River of Fire (1920) reflect one sub-plot of this debate. Kalevala Society secretary A. O. Väisänen notes that Gallen-Kallela had asked the folklorist Väinö Salminen to edit a new version of the epic work. Though favourably disposed to this idea, Salminen nevertheless complained about a shortage of funds, and so Gallen-Kallela had turned to Eduard Polón, Director of Suomen Gummitehdas (the company that later evolved into Nokia Corporation), seeking a subsidy for work on the new edition. As security for this support, the artist had promised to create the Kalevala-themed painting for Polón that later became Lemminkäinen at the River of Fire. He forwarded the proceeds of this painting to Salminen to cover the costs of writing.[3]

Further details of these arrangements are described in the letters of Polón preserved in the correspondence archive of the Gallen-Kallela Museum. The first of these letters, dated 22 May 1920, indicates that Polón originally approached Gallen-Kallela when seeking a gift for the company’s long-serving Chief Engineer.[4] The next letter of 11 June 1920 already refers to a postal order for forwarding to Salminen, and adds that Polón was expecting the painting that had been agreed.[5] In a letter sent to Gallen-Kallela at this time Väinö Salminen discusses the new Kalevala edition, which he expected to take about one year to complete. The writer would secure artistic assistance in trimming the material from the distinguished poets Eino Leino and Otto Manninen.[6]

On 25 October 1920 Polón sent a payment instalment to be forwarded to Salminen for his new edition of the Kalevala. A response from Gallen-Kallela noted on the back of the letter states: “The work intended for you concerning Kalevala song 26 verses 443-448 is not yet ready, but I would certainly like to get it to you by Christmas.” In a letter dated 2 December 1920 Polón reports that in accordance with the painter’s suggestion, he had ordered a frame for the painting “of which I shall soon be the fortunate owner”.[7] These complex arrangements conclude with a letter from Salminen dated 10 February 1921 in which he estimates that he will complete the commissioned writing work during the said year.[8]

Väisänen notes that this story came to an embarrassing conclusion when the new version was not finished in time despite the efforts of Gallen-Kallela to expedite completion. An abridged edition called The Kalevala Epic Poetry Anthology finally appeared in 1940, but this was already too late for the artist to see a return on the funds that he had invested. Polón had also died in autumn 1930.[9]

Came upon the fiery river, mayest the steed advance not thither

The subject material of Lemminkäinen at the River of Fire arises in Song XXVI of the Kalevala after Lemminkäinen’s mother has warned her son on his departure as an uninvited guest at the wedding of Pohjola. Lemminkäinen encounters many hazardous obstacles on the way, one of which is a fiery eagle patrolling the River of Fire.[10] Sketches made on this subject [11] highlight the fiery glow of the river enlivened by the winding traces of pastel chalk as the stylised firebird sits on a rock in its midst. In the final painting Gallen-Kallela nevertheless abandoned the dark, infernal mood of the sketches in favour of a fantasy landscape setting of bright complementary colours. The blazing torrent has given way to a river of the dead, and the eagle is larger and more menacing. Lemminkäinen is portrayed in a white outfit resembling the traditional hooded costume of a Karelian man complete with the instruments of war in the form of a sword and spaulders.

As in previous Kalevala themes, the mythical narrative is again related here with the emphasis on a struggle between opposing forces. The power of the mythical subject lies in its susceptibility to interpretation. Lemminkäinen at the River of Fire also inspires us to reflect on developments in global and national politics, and on the horrors of war. In the Kalevala narrative Lemminkäinen uses some feathers to conjure up a flock of grouse, sending them into the mouth of the angry bird to clear his path.

Sources and literature consulted:

Unpublished sources:
Correspondence archive of the Gallen-Kallela Museum
Gallen-Kallela collection of the Finnish National Archive

Knuuttila, Seppo: Muita Kalevaloita, kuvitelmia ja kilpailijoita [Other Kalevalas, imaginations and contestants]. Kalevala cultural history. Finnish Literature Society. Ed. Piela, Knuuttila, Laaksonen. Helsinki 2008.
Kuusela, Tuija: Taiteilijat kirjaimia piirtämässä [Artists drawing letters]. Finnish Literature Society, Helsinki 2004.
Valvoja magazine. Kalevala volume. 1909.

[1] Knuuttila 2008, pp. 392-393.
[2] Letters of Akseli Gallen-Kallela to E. N. Setälä, 1914-1915. National Archive of Finland.
[3] A. O. Väisänen 13 March 1968. Archives of the Kalevala Society. Knuuttila 2008, pp. 393-394.
[4] Eduard Polón – Akseli Gallen-Kallela 22 May 1920. Gallen-Kallela Museum.
[5] Eduard Polón – Akseli Gallen-Kallela 11 June 1920. Gallen-Kallela Museum.
[6] Väinö Salminen – Akseli Gallen-Kallela 28 May 1920. Gallen-Kallela Museum.
[7] Eduard Polón – Akseli Gallen-Kallela 2 December 1920. Gallen-Kallela Museum.
[8] Väinö Salminen – Akseli Gallen-Kallela 10 February 1921. Gallen-Kallela Museum.
[9] A. O. Väisänen 13 March 1968. Archives of the Kalevala Society. Knuuttila 2008, pp. 393-394.
[10] Kuusela 2004, p. 70.
[11] Sketches from the Gallen-Kallela Museum collection and elsewhere.