Iris, Op. 85 no. 3

Soitinnus: Piano.

Kiivasta taistoa Iris Uurron tuotannossa

Kirjallisuusarvostelu

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.

Efecto del pH y de la adición de fosfatos de sodio sobre las propiedades de gelificación y emulsión de surimi de trucha arco-iris (Oncorhynchus mykiss)

Para la elaboración de surimi se han empleado distintas técnicas, sin embargo, es indispensable mantener la funcionalidad de las proteínas musculares durante su extracción, ya que son afectadas principalmente por el pH. La incorporación de fosfatos en productos cárnicos afecta el pH, teniendo como consecuencia una mejora en la capacidad de retención de agua de las proteínas musculares, alterando la funcionalidad de estos productos. Se utilizó la metodología de superficie de respuesta para determinar el efecto de cinco niveles de pH y cinco concentraciones de una mezcla de fosfatos de sodio comercial sobre la funcionalidad de surimi de trucha arco-iris, evaluada por su capacidad de emulsión y trabajo de emulsión, fuerza de gel y trabajo de penetración de geles de surimi. Los resultados obtenidos indican que el incremento en la concentración de fosfatos de sodio mejoró la funcionalidad del surimi y a pH alcalino las propiedades de emulsión mejoraron, pero se afectaron negativamente las propiedades de gelificación.

Patterns in space : a regional study of motif in Minoan wall painting

This thesis consists of a quantitative analysis of the regional prevalence of certain artistic motifs as they appear in Minoan wall painting of the Neopalatial period. This will help to establish the relative degree of artistic autonomy exercised by each of the sites included in this study. The results show that the argument for itinerant artists during this time period is a strong one, but the assumption that these travelling artists were being controlled by any one palace-centre is erroneous. Rather, the similarities and differences seen suggest that the choices were predicated either by the specific patrons, or by the function of the associated building or room. Thus, the motifs found within this study should be understood as constituting a cultural identity, with greater or lesser degrees of regional homogeneity, which act as one facet of a number of cultural indicators that can be used to better understand the role of artists and regional dynamics on the island during the Bronze Age.

Painting signage on old Student Union, Chapman College, Orange, California

Painting signage on old Student Union, Chapman College, Orange, California, as part of a campus renewal project in 1973. Originally the manual arts building and bus repair garage for Orange Union High School. Building annex additions through 1975 increased the size to 19,680 sq. ft. Used as a student union by Chapman College. In 1996 the building became the Cecil B. DeMille Hall, housing the Film and TV department.

Photograph of Richard, Iris and Albert Sloman [n.d.]

An undated photograph of Richard, Iris and Albert Sloman taken outside what is believed to be a holiday cabin in Parry Sound, Ontario. This photograph was in the possession of the Rick Bell family, of St. Catharines.

Richard Nelson Bell - Iris Sloman Wedding Day Photo, 1939

A black and white photograph taken in 1939 on the occasion of the marriage of Richard Nelson Bell to Iris Sloman. Pictured in the photograph, from left to right, are: Bert Sloman; Richard Nelson Bell; Iris Sloman Bell; and Helen Beatty Sloman. This photograph was in the possession of Rick Bell, the son of Richard Nelson and Iris Bell. The Bell - Sloman family descends from former Black slaves from the United States.Bert Sloman (Albert Edward Sloman) passed away in 1986 at Kitchener-Waterloo, Ontario. His wife Vera Matilda Sloman passed away January 4, 2011 at Cambridge Memorial Hospital. They had a son, Ron Sloman.

Albert, Josie and Iris Sloman in the Vegetable Garden [ n.d.]

This undated black and white family snapshot shows Albert and Josie Sloman (at left) with their daughter, Iris Sloman Bell (third from left) and an unidentified woman in the vegetable garden. The location of the garden is not clear, although it could be St. Catharines or London, Ontario. This photograph was in the possession of Rick Bell, of St. Catharines, whose mother was Iris Sloman Bell. The Sloman - Bell family ancestry includes former Black slaves from the United States who settled in Canada.

Iris Sloman with unidentified woman and sister Helen Sloman [n.d.]

Iris Sloman, at left, with her sister, Helen, far right, and an unidentified woman on the beach in this undated photo. The location could possibly be Port Dalhousie or Parry Sound. This photo was among the family memorabilia retrieved by Rick Bell from his mother's attic in St. Catharines in the 1980s. The Bell - Sloman family descends from former African American slaves who settled in the London and St. Catharines areas.

Richard and Iris Bell Wedding Day, 1939

Richard and Iris (Sloman) Bell are pictured on the grounds of unknown gardens, possibly in Niagara Falls, on their wedding day in 1939. This photo was among the family memorabilia in the possession of their son, Rick Bell, of St. Catharines.

Iris Sloman [n.d.]

A young Iris Sloman is pictured in this portrait, date and location unknown. Iris Sloman married Richard Bell in 1939 and the couple resided in St. Catharines, Ontario. Her son, Rick Bell, retrieve this and other family photos from his mother's attic in the 1980s. Branches of the Bell -Sloman family are descended from African American slaves.

Vera Sloman, Richard Bell, Iris Sloman Bell and Bert Sloman [n.d.]

This black and white family photo is undated yet believed to be in 1939 on the wedding day of Richard and Iris Bell. Pictured in this photo are, from right, Vera, Richard Bell, Iris Sloman Bell, and Bert Sloman. This photo was in the possession of Rick Bell, of St. Catharines, son of Richard and Iris. The Bell - Sloman families have descendants who are former African American slaves.Bert Sloman (Albert Edward Sloman) passed away in 1986 at Kitchener - Waterloo, Ontario. His wife, Vera Matilda Sloman, passed away January 4, 2011 at Cambridge Memorial Hospital. They had a son, Ron Sloman.

Watercolour painting, Trees

A watercolour painting of trees, 15cm x 10com, signed by Margaret Woodruff.