Serlachius museot

Feel free to
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+358 (0)3 488 6800 | Gustaf, R. Erik. Serlachiuksen katu 2 | Gösta, Joenniementie 47 | Mänttä

Open wintertime 1 September–31 May Tue–Sun 11am–6pm.


+358 (0)3 488 6800 | Gustaf, R. Erik. Serlachiuksen katu 2 | Gösta, Joenniementie 47 | Mänttä

wintertime 1 September–31 May Tue–Sun 11am–6pm
summertime 1 June–31 August daily 10am–6pm
Closed 6 Dec, 24–25 Dec, 31 Dec, 25 Mar and 30 Apr

Feel free to
come farther

Friday 27. March 2015

A work of art from the Serlachius Museums’ collections has been authenticated as a genuine Claude Monet

The painting Haystack in the Evening Sun, acquired in 1957 by the Gösta Serlachius Fine Arts Foundation, which maintains the Serlachius Museums in Finland, has been authenticated as a genuine Claude Monet, following thorough examination.

Ever since its acquisition, the painting has been assumed to be a Monet. As the artist’s signature is not visible and the painting is largely unknown, its authenticity has at times been questioned. The painting has, however, been on display at the Art museum Gösta located in Mänttä, in Central Finland.

The Foundation originally acquired the painting through a London art broker. It is believed to have been displayed at a sales exhibition for impressionist art organised by Parisian art gallerist Paul Durand-Ruel at the Grafton Gallery in London in 1905.

The piece is part of a group of ten paintings analysed in Mänttä by the Recenart research team from the University of Jyväskylä. Recenart applies cutting-edge expertise and technology from the fields of art history, chemistry, physics and information technology into the scientific study of art.

In the autumn, the painting is due to be displayed at the Monet and the French Impressionists exhibition in Aarhus, Denmark. Prior to the international exhibition, the Foundation wanted to submit the painting for further analysis with new methods developed in the Recenart project over the past two years.

The researchers quickly made an interesting discovery about the painting in Mänttä. Underneath the paint layers they uncovered the artist’s signature along with the date, 1891. An analysis of the pigments and canvas fibres also confirmed the painting is by Monet.

Further information: Direktor of the Serlachius Museums Pauli Sivonen, +358 (0)50 5661355,

Read more about the research:

Friday 23. January 2015

Neo-Rococo and Nordic Masters at Serlachius Museum Gösta

The exuberance of Rococo style comes alive at Art Museum Gösta’s exhibition The Marquise and the Baron – Neo-Rococo and the North. This international exhibition showcases a wide selection of paintings by Nordic masters of 18th-century Rococo, Neo-Rococo and its interpretation in contemporary artists’ works. The exhibition will be on display 24 January–26 April 2015.

The exhibition presents an array of works by Nordic artists who embraced Neo-Rococo: Albert Edelfelt, Gunnar Berndtson, Carl Larsson and Kristian Zahrtmann. They lived in France in the late 19th century absorbing the influences of the Neo-Rococo that had become highly fashionable at that time.

Also the works by 18th century Rococo artists, such as Antoine Watteau, Alexander Roslin and Ulrica Pasch are exhibited. They have inspired the artist of the sequent century and in the exhibition engage a dialogue with the art of the Neo-Rococo era.

The exhibition The Marquise and the Baron contains original items from the Rococo era: costumes, furniture and decorative items to characterize the spirit of the period, for example genuine Meissen porcelain and magnificent Rococo-costumes from 1760s. The costumes are on loan from the Swedish Royal Armoury.

Never-ending Masquerade

The curator of the exhibition, French art historian Laura Gutman is a specialist of the 19th century European art. She has created an exhibition with a strong narrative background. – It facilitates the identification of analogous features in furniture, costumes and artwork from original Rococo, Neo-Rococo or modern interpretation of those.

Helena Hietanen’s wig sculptures have been inspired by French Queen Marie Antoinette. Hannu Palosuo’s sculptures and paintings made of metal remind one of decorative crystal chandeliers. Emilie Mazeau-Langlais’ cardboard furniture imitate the original furniture of the Rococo period. Modest material is far from precocious woods, and yet the sprit of Rococo lives in its forms and handicraft skills.

– Genuine costumes and artworks from Rococo period, 19th-century paintings, Yrjö Ollila’s costume sketches created for the operetta Madame de Pompadour in 1929 as well as artworks made by contemporary artists create an illusion of never-ending Rococo masquerade, describes Laura Gutman.

The Spirit of the Enlightenment Lives on

The title of the exhibition The Marquise and the Baron refers to the connection that developed in France between pre-Revolutionary old rule and the new power. The gentile that became rich by industry, adopted the Rococo style and aristocratic way of life in the late 19th century. They adorned their residencies with genuine artworks of Rococo era or their reproductions and favoured the artists of Neo-Rococo time.

One of the key pieces of the exhibition is Art Connoisseurs in the Louvre painted by Gunnar Berndtson in 1879. Gösta Serlachius acquired the artwork for his collection in 1929. In the exhibition and in its title the world history’s most seductive mistress the marquise de Pompadour meet with a modern industrial baron.

In the Nordic countries, rather than eroticism associated to Rococo more attention was put on the thoughts of the philosophers of the Enlightenment Rousseau and Voltaire. According to Laura Gutman, the historic connection to Sweden was emphasized in Finland when Russia tightened the noose against the Grand Duchy. – Neo-Rococo was a political statement against the Russification policy, she emphasizes.

– Even in our own time, we feel the urge to refer to the philosophy of the Enlightenment whenever the importance of irony and freedom of thought needs to be reminded against Obscurantism, she states referring to the recent incidents in France

An exhibition catalogue Neo-Rococo and the North has been published. In their articles Laura Gutman and Maria Vainio-Kurtakko shed light into the art and thoughts of Neo-Rococo era in the Nordic countries. The book has been published by Finnish Literature Society and is sold by  the Serlachius Museums.

Easier access to the Serlachius Museums

You can reach the Serlachius Museums in winter time more conveniently than before. Serlachius bus starts to operate during weekends from 24th January. The bus transports passengers from the trains arriving at Vilppula railway station to the museums and to Mänttä. The bus provides a link to the trains to Tampere and Helsinki. Detailed information at

The increased opening hours of the museums contribute also to an easier access starting from 24 January. The museums are open in wintertime 1 September–31 May Tue-Sun at 11 am–6 pm and in summertime daily at 10 am–6 pm.

Additional information:
Curator of the Neo-Rococo exhibition Laura Gutman tel. 040 743 1969,

Thursday 12. June 2014

At Serlachius Museum Gösta's exhibitions SuperPop!, Sakkinen and Ahtila

The pavilion of the Serlachius Museum Gösta will open to the public Saturday 14 June. The Gösta Serlachius Fine Arts Foundation's collection exhibitions in Gösta will receive company in the form of top-class exhibitions of contemporary art: SuperPop! curated by Timo Valjakka, Museum of No Art established by Riiko Sakkinen and Eija-Liisa Ahtila’s video installation Studies on the Ecology of Drama 1.

The art museum's main summer exhibition, SuperPop!, presents a wide range of pop art. The exhibition’s curator, Timo Valjakka, has collected together classics of pop art from the USA and Finland. Works by international and Finnish contemporary artists enter into dialogue with them.

The exhibition contains 130 works by 23 artists. It includes works by Andy Warhol, Roy Lichtenstein, James Rosenquist, among others. They influenced Finnish artists of the 1960s and 70s such as Paul Osipow and Raimo Reinikainen.

The other side of the exhibition comprises works by international and Finnish contemporary artists. They belong to a generation that has grown up amidst popular culture and for which pop art is part of their world of experiences. - I didn’t build the exhibition on a generational basis, and in any case the exhibition is not an overview of the history of pop art, says Timo Valjakka.

More about the SuperPop! exhibition can be read by clicking on this link:

Watch a video in which Timo Valjakka tells about the SuperPop! exhibition:

Studies on the Ecology of Drama 1

Internationally-renowned Finnish contemporary artist Eija-Liisa Ahtila's four-channel video installation Studies on the Ecology of Drama 1 is premiering in Gösta’s pavilion. The work has been acquired for the Gösta Serlachius Fine Arts Foundation’s collection.

The work is a12-minute installation of moving images about an attempt at empathetic dialogue with other living organisms. Actress Kati Outinen plays the human role in the work. Other living creatures are a bush, a tree, a worm, a house martin, a butterfly and horses.

According to Ahtila, the aim of the artwork is to present athropocentrism, or belief in the centrality of the human race, in film narration, and to utilise moving images as means of expression in the creation of an ecological drama and story.

A monograph broadly presenting Eija-Liisa Ahtila’s production is also being shown along with the installation. A book written by Pauli Sivonen, Director of the Serlachius Museums, considers the treatment of the Man’s relationship with nature in Ahtila’s works from the mid-1990s to the present day. The book is published by the Finnish Literature Society.

Museum of No Art

Artist Riiko Sakkinen is establishing a new museum in Gösta's pavilion, the Museum of No Art, a.k.a. MuNA. This is a fictional and dystopic museum where the most important things are business and the ego of the museum director. Art has no meaning in this museum.

- The most important picture in art museums is the large metal one in the lobby. It shows the names of the sponsors and often also those of the members of the board. Money and power play a key role. The Museum of No Art has taken this concept so far that the museum no longer needs any art at all, says Sakkinen.

MuNA contains art only on advertising posters outside the museum. It does not, however, disturb the actual business of the museum, which is the sale of products in the museum shop. Sakkinen also showcases the museum as an institution, in which art is needed merely to legitimise and advertise the museum, not for content.

Read more about the Museum of No Art by clicking this link:

Watch an interview with Riiko Sakkinen, in which he tells about the Museum of No Art:

Gösta’s Friends

In Gösta’s old manor are two exhibitions, which have been put together from the Fine Art Foundation’s own collections. The Gösta’s Friends exhibition displays works by artists who were important to Gösta Serlachius, the founder of the Foundation.

Gösta Serlachius acquired works from the artists of his time, and particularly liked to buy contemporary art of his time. Following his example, the Fine Arts Foundation now also acquires contemporary art, a few examples of which can also be seen in the exhibition.

The Model and the Mad Painter

The first floor of the old manor houses an exhibition that transcends the boundaries of a traditional art exhibition. In it, artworks and installation architecture punctuated by literary texts play a major role. The exhibition showcases Finnish art from the Golden Age as well as Modernism, following the timeline of art history.

This time, the work’s models get to have their say: the owner of Ekola Farm, Eerikki, a nude model posing in an art school in Paris and a butterfly that has landed on a worker's trousers. Through texts by Riikka Ala-Harja, we get to experience the age and to imagine the moment when paintings are made.

Laura Kuurne is curating the exhibition, and its visual expression has been created by Tarja Väätänen, Chief of Exhibitions at the Serlachius Museums. The texts are the work of author and dramatist Riikka Ala-Harja.

Read more about the exhibitions in the old manor by clicking this link:

Further information: Director of the Serlachius Museum Pauli Sivonen, +358 (0)50 566 1355,

Image requests: Susanna Yläjärvi, +358 (0)40 166 3480,

Thursday 12. June 2014

Serlachius Museum Gösta is a triumph of international cooperation

International and Finnish skills are combined in an extraordinary way in the new Gösta pavilion of Serlachius Museums. As a result of this co-operation, on 14 June, Mänttä will see the opening of an art museum that respects its surroundings and our most traditional Finnish building material, wood, all while showcasing unique structural engineering solutions.

Building the Gösta pavilion posed all manner of challenges. Regardless, the new museum building was completed on schedule, within roughly 18 months.

Architecture agency MX_SI from Barcelona won the international design competition organised for the Gösta pavilion, and architects Héctor Mendoza, Boris Bezan, and Mara Partida designed the building. Their design is based on connecting the new building to the old manor milieu. ‘Now that the building is finished, it feels like the dialogue has begun,’ they say.

The greatest challenges for the architects included preserving as many of the characteristics of the original competition submission in subsequent stages as possible. These included the relationship between inside and outdoor areas and the building’s subtle and delicate geometry.

A construction project brimming with challenges and successes

Even though the Serlachius Museums construction project posed many challenges, the designers, construction workers, and the Gösta Serlachius Fine Arts Foundation stress that the project enjoyed an immense team spirit. Many saw the Gösta pavilion as the kind of project that comes along only once in a lifetime.

The building is supported by approximately 100 glulam frames that are visible from both the interior and exterior of the building. They support the building, create space, and give the building its unique character. The concrete floors are connected to the wooden support structure with innovative joints. This is a building with almost no 90-degree corners, which is testament to the importance of work done by hand.

The architects at MX_SI consider finishing the project in time their greatest accomplishment. A lesser, but nonetheless important, success was creating a three-dimensional effect on the wooden façade by inventing an ingenious way of rotating the boards.

‘We have studied the use of wood as a construction material, along with the related techniques, to create a space that houses valuable and fragile artworks in addition to fulfilling all its other functions, and we learned a lot. The technique in this museum building is very advanced, and it offers flexible opportunities to use the spaces within for various exhibitions,’ the architects say.

The largest design competition in Finland

The Gösta pavilion construction project started with the announcement of the international architectural design competition, in December 2010. The competition received no fewer than 579 submissions and became Finland’s largest ever architectural design competition.

For its next phases, a Finnish partner handled the project: architect Pekka Pakkanen of Huttunen–Lipasti–Pakkanen Architects. A-Insinöörit Oy was in charge of the structural engineering. Architects from MX_SI remained closely involved in further design and in honing the details throughout the project. Local company Jämsän Kone- ja Rakennuspalvelu Oy was the main contractor for the pavilion.


Serlachius Art Museum Gösta

The old manor was built in 1935. Architect Jarl Eklund designed it for Gösta Serlachius to be used as an official residence.
The manor has been in use as an art museum since 1945.
The gross area of the new pavilion is approximately 5,700 square metres.
The building is 135 metres long and 17 metres tall at its highest point.
The building contains three exhibition spaces, of various sizes, along with a restaurant, a ballroom, and customer-service facilities.
Museum staff has work space in the building, and the Gösta Serlachius Fine Arts Foundation’s collections also have appropriate storage and collection areas.
The total cost for the museum extension and alterations to the old manor was roughly 20 million euros.
The entire project was carried out with funds from the Gösta Serlachius Fine Arts Foundation.

Background material: Questions put to MX_SI architects and their answers.

Further information: Director of the Serlachius Museum Pauli Sivonen, +358 (0)50 566 1355,

Image requests: Susanna Yläjärvi, +358 (0)40 166 3480,

Thursday 3. April 2014

Near handover


The completion of Gösta’s pavilion comes closer day by day. The handover of the spaces starts 17 April, even though the work will continue for about two weeks after that at some parts of the house. The coating work of the interior of the house has almost been completed. The delivery and installation of the restaurant’s furniture and fixed furnishings are in the making. The wood furniture for the foyer, restaurant and office spaces is also under way, as well as the metal furniture for the collection spaces.

The facade cladding of the building is close to finish. The tile cladding of the facade and work on glass link are in progress. The installation of the camera columns has begun. The landscaping work starts weather permitting. The renovation of the old manor is coming to an end and the change work of Autere cottage begins in mid-April. The foundations of the bridge to Taavetinsaari have been constructed and the bridge itself will be lifted to its place on the second week of April. About 130 persons still work on the site. Image: Juha Roponen.