Between 1954 and 1959, Tove Jansson drew 21 comics, some in collaboration along with her brother Lars Jansson, who continued to attract the caricature till 1975.
Maybe due to this private battle, the comics usually discover themes such because the wrestle of creative creation, the position of the artist and the worth of artwork. Jansson had beforehand created humorous and satirical commentaries on the artwork world in numerous artists’ magazines in Finland, however right here she locations the Moomin on the coronary heart of the inventive course of.
In contrast to the novels and film books, the Moomin comedian strips had been created for adults and could be described as satire. Jansson makes use of the compact format to touch upon society, together with the artwork world. The rising battle in her personal life, between the Moomintrolls and her art work, is introduced into focus within the comedian strips.
That is a part of a collection of articles celebrating the eightieth anniversary of the Moomins. Wish to have fun their birthday with us? Be a part of The Dialog and a bunch of specialists on Might 23 in Bradford for a screening of Moomins on the Riviera and a dialogue of the refugee expertise in Tove Jansson’s work. Click on right here for extra data and tickets.
The theme of the aim of artwork and creative creation is playfully launched in one of many first comedian strips, Moomin and the Brigands. Right here Moomin and his good friend Sniff embark on a quest for fortune. They have interaction in a number of schemes, together with capturing uncommon creatures and promoting them to the zoo, advertising magic rejuvenation potions and creating trendy artwork.
Whereas visiting a Hemulen (a very uptight counterpart to the Moomintrolls who love guidelines), Moomin and Sniff unintentionally break a number of treasured objects in her residence. Among the many damaged objects is a big statue of Rebecca on the Nicely, which falls from its pedestal and shatters. Rebecca on the Nicely is a basic biblical motif, which regularly portrays a mannequin of female advantage, symbolising divine steering and exemplifying beliefs of hospitality and ethical character.
The buddies awkwardly try and reassemble the statue by gluing it collectively. The result’s a surprisingly angular and expressive piece of artwork, referencing fragmented cubist portraits. Cubism, which emerged round 1907 to 1908, aimed to characterize actuality in a radically new manner by bringing collectively topics and figures, leading to objects that seem fragmented and abstracted.
Sniff instantly sees the potential of the brand new Rebecca. “She’s more modern now,” he exclaims joyfully. The buddies carry the statue to an enthusiastic artwork vendor who sells it for £500 in his gallery.
The episode with the deconstructed Rebecca is, in fact, a humorous caricature of the trend-sensitive artwork market. However the shattered statue with its intricate shapes was additionally a commentary on the debates concerning the “incomprehensible” and “obscure” nature of modernist artwork in Nordic international locations through the time.
The destruction of the Rebecca may also be seen as an act of iconoclasm – the breaking of icons or monuments – or moderately, a parody of it. Whereas normally related to vandalism, right here, the iconoclastic act results in the creation of one thing new. This expresses a need for renewal and a liberation from restrictive conventions. It’s, nonetheless, price noting that Rebecca retains her image of advantage – the water jug – even after this pivotal encounter.
Tove Marika Jansson with Moomintroll dolls in 1956.
IanDagnall Computing / Alamy
Drawing on the work of French thinker and anthropologist Bruno Latour, iconoclasm could be understood as each harmful and constructive – an ambiguity that additionally applies to Jansson’s interpretation of the motif.
Later within the story, the cash supplied by the modernist Rebecca lures Moomin to the sphere of the humanities. For a short second, he assumes the position of a painter and wholeheartedly embodies the romanticised supreme of the poor, misunderstood artist.
Moomin dons a Rembrandtian black velvet beret, however regardless of this, seems misplaced and bewildered in his new position, muttering: “I only want to live in peace and plant potatoes and dream!”
In a scene of self-parodying metafiction, he’s blinded by his outsized beret and finally ends up tumbling down a cliff, abruptly ending his creative profession.
By means of Moomintroll’s and Sniff’s pursuit of fame and fortune through the unintentional modernist deconstruction of Rebecca, Jansson satirises romantic notions of the artist, the commercialisation of artwork and the professions surrounding creative manufacturing. These themes are deeply linked to Jansson’s personal experiences as an artist and creator, always balancing between numerous skilled and creative calls for, between kids’s books, public obligations and portray.
