Imagining a New Society: Public Painting as Politics in Postwar Finland

The thesis is the first comprehensive study on Finnish public painting, public artworks generally referred to as murals or monumental paintings. It focuses on the processes of production of public paintings during the post-WWII decades in Finland and the complex relationships between the political sphere and the production of art. The research studies the networks of agents involved in the production of public paintings. Besides the human agents—artists, assistants, commissioners and viewers—also public paintings were and are agents in the processes of production and in their environments. The research questions can be grouped into three overlapping series of questions: First, the research investigates the production public paintings: What kinds of public paintings were realised in postwar Finland—how, where, by whom and for what purposes? Second, it discusses the publicness of these paintings: How were public paintings defined, and what aspects characterised them as “public”? What was their relation to public space, public authorities, and audience? And third, it explores the politics of public paintings: the relationship between Finnish public painting, nationalism, and the memory of war. To answer these questions, extensive archival work has been performed, and over 200 public paintings have been documented around Finland. The research material has been studied in a sociological framework and in the context of the political and economic history of Finland, employing critical theories on public space and public art as well as theories on the building of nationalism, commemoration, memory, and forgetting. An important aim of this research was to open up a new field of study and position public painting within Finnish art history, from which it has been conspicuous by its absence. The research indicates that public painting was a significant genre of art in postwar Finland. The process of creating a national genre of public painting participated in the defining of municipal and state art politics in the country, and paintings functioned as vehicles of carrying out the agenda of the commissioning bodies. In the formation of municipal art policies in Finland in the 1950s, public painting connected to the same tendency of democratising art as the founding of public art museums. Public painting commissions also functioned as an arena of competition and a means of support for the artists. Public paintings were judged and commissioned within the realm of political decision-making, and they suggested the values of the decision-making groups, generally conveyed as the values of the society. The participation of official agents in the production allocated a position of official art to the genre. Through the material of this research, postwar public painting is seen as an agent in a society searching for a new identity. The postwar public painting production participated in the creation of the Finnish welfare society as indications of a humane society. It continued a tradition of public art production that had been built on nationalist and art educational ideologies in the late 19th and early 20th century. Postwar public paintings promoted the new national narrative of unification by creating an image of a homogeneous society with a harmonious communal life. The paintings laid out an image of Finnishness that was modern but rooted in the agrarian past, of a society that was based on hard work and provided for its members a good life. Postwar public painting was art with a mission, and it created an image of a society with a mission.

The Janus-faced City: A Sensory History of the London Blitz 1940–1941

The city of London was, during the years of 1940–1941, a city under fire. The metropolis seemed to have two faces, like the Roman deity Janus: the face of the daylight hours, so normal, and yet so deceiving in its false quietness – and at nightfall, the city turned, and the face of it was the face of the devil himself, transforming London into a living inferno. This thesis examines the sensescapes of the Blitz, through the diaries and memoirs written of that time. The primary sources consist of seven different diaries, two autobiographies, and four research volumes that contain multiple diary- and memoire entries, mostly from the Mass Observation Archives and from the Imperial War Museum. The sensory approach is a new orientation in the field of history – it studies the five senses in their cultural contexts, interpreting the often subtle ways in which the senses affect into society, politics, culture, and class hierarchies, to name only but few. The subject of the sensory history of war is a theme widely unexamined: this thesis contributes to this frontier field by unveiling the sensorium of the London bombings, comparing the differences between the halves of nychtemeron, and examining how the Blitz was communicated by the writers as a lived, bodily experience. This study reveals the very different sensory worlds in which the Londoners lived, during a time that is often described with the mythical solidarity that was thought to exist between the people. The reality of the homeless, working class, and poor were in the foul smelling tubes, poor law -dated rations, and in the smoking ruins of East End – the contrast was massive reflecting it to the luxury hotels and restaurants of the upper classes, opportunities for evacuation, sheltering possibilities, and overall comforts of life.