In 1890, Schjerfbeck settled in Finland. Teaching exhausted her, she did not like the work of other local painters, and she was further isolated when she took on the care of her mother . If I allow myself the freedom to live a secluded life, she wrote, then it is because it has to be that way. In 1902, Schjerfbeck and her mother settled in the small, industrial town of Hyvinkaa, 50 kilometres north of Helsinki. Isolation had one desired effect for it was there that Schjerfbeck became a modern painter. She produced still lives and landscapes but above all moody yet incisive portraits of her mother, local school girls, women workers in town . And of course she painted herself. Comparisons have been made with James McNeill Whistler and Edvard Munch. But from 1905, her pictures became pure Schjerfbeck.
I have always searched for the dense depths of the soul, that have not yet discovered themselves, she wrote, where everything is still unconscious-there one can make the greatest discoveries. She experimented with different kinds of underpainting, scraped and rubbed, made bright rosy red spots; doing whatever had to be done to capture the subconscious-her own and that of her models. In 1913, Schjerfbeck was rediscovered by an art dealer and journalist, Gosta Stenman. Once again she was a success. Retrospectives, touring exhibitions and a biography followed, yet Schjerfbeck remained little known outside Scandinavia. That may have had something to do with her indifference to her renown. I am nothing, absolutely nothing, she wrote. All I want to do is paint. Schjerfbeck was possessed of a unique vision, and it is time the world recognised that.
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