Arabia taiteilijat signeeraukset

Arabian taideosaston taiteilijoita

The first branches of industry to embark on collaboration with artists were ceramics. In order to improve its range and
particularly it's ornamental pieces, the Arabia porcelain factory engaged the architect Jac. Ahrenberg and the Swedish
artist Thure Öberg as artistic advisers. At the turn of the century Öberg was making sculptural ornamental vases featuring
plant and human motives. Some of these vases can be recognised as directly linked to Arabia's majolica output, some
show a clear stylistic affinity with international Art Nouveau.

Arabia's range Fennia came on the market in 1902. It went originally under the name of Finnish model by an unknown
designer, decorated with colourful geometric patterns or alternatively with naturalistic maple-leaf motifs. The design of
Fennia range began towards the end of the 1890s, amid the atmosphere of national enthusiasm generated by the run-up
to the 1900 World Exhibition in Paris, but work was not completed in time.

Thure Öberg 1896-1935

Thure Öberg (1872-1935) Arabin ensimmäinen tehtaan oma taiteilija

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Friedl Kjellberg 1924-1970

Friedl Holzer-Kjellberg (1905-1993) came to Finland from Austria. She was employed by the Arabia factory in
1924. She became interested in the Chinese "rice porcelain" dating from the 18th century Chien Lung period while
visiting the museums of her native country. As a result of her ten years of experimentation she managed to solve
the secret of the "rice porcelain" technique. Rice porcelain was made of extremely thin porcelain by cutting out
the rice shaped pattern and then glaze entire object so the cutout areas remain transparent.

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Tyra Lundgren 1925-1939

Tyra Lundgren (1897 - 1979) Vieraileva ruotsalaistaiteilija (mm. tyyliteltyjä lintu- ja kala-aiheita)

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Greta Lisa Jäderholm-Snellman

Greta Lisa Jäderholm-Snellman (1894-1973)

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Olga Osol

Olga Osol tuli Arabian maalaussaliin töihin v. 1926 Greta-Lisa Jäderholm-Snellmanin assistentiksi, josta maalausateljeen
johtoon v. 1936. Osolin aikana osasto kehittyi Arabian taideteollisuusosastoksi. Olga Osolin tunnetuin koristemalli on Myrna.

Olga Osol came to work in the Arabia painting hall in 1926. After acting as Greta-Lisa Jäderholm-Snellman's assistant,
she stepped into managing the paint studio in 1936. Under her leadership, the department developed into the Arabia
Industrial Art Department. Myrna is the best-known ornamental design created by Olga Osol.

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Jussi Mäntynen

Jussi Mäntynen (1886-1978) (mm. hirviä, karhuja, ilveksiä, kettuja)

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Kurt Ekholm 1931-1948

Kurt Ekholm perusti Arabian taideosaston ja aloitti modernin astiamuotoilun.

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Toini Muona 1931-1970

Toini Muona (1904-1987) edustaa keramiikassa ehdotonta taiteellista näkemystä. Muona ei tehnyt lainkaan teollista
suunnittelua vaan keskittyi tekniikan hallintaan ja muotokieleen. Muonan tekniikalle oli ominaista pelkistävä poltto
Onnistuessaan pelkistävä poltto tuottaa erikoisia väriefektejä kuten kuparioksidista syntyvän häränverilasitteen.
Toini Muonalle ovat tyypillisiä laakeat vadit ja loistavat turkoosin ja violetin väriset lasitteet.

Toini Muona studied ceramics at Helsinki Central School of Arts and Crafts under the Belgian painter-potter Alfred
William Finch. She was allowed to work independently in the Central School's pottery workshop for five years after
receiving her diploma in 1926. In 1931 Toini Muona was employed by Arabia, a growing Finnish ceramics factory
in Helsinki that was seeking to strengthen its artistic profile. Though originally engaged as mere "decorator", Toini Muona
insisted on carrying out the Arts and Crafts -idealism of the studio pottery she had assumed at the Central School.Within
a year she created an independent ceramics collection which was presented in her debut solo exhibition at the Museum of
Applied Arts in November 1932. During the next five years an art department was established within the Arabia factory,
and Toini Muona became one of its leading figures. This art department, a studio of freely working artist-craftspeople
unhampered by the demands of industry or commerce, soon became one of its mainstay of modernist applied arts in
Scandinavia. Like many other artists (Sarpaneva and Wirkkala in glass), Toini Muona also used the organic modernism as
the leading theme in her designs. In 1940´s she participated to several international exhibitions and her ceramics attracted
great attention world wide. Her ceramics inspired the shift from geometrical and bulbous forms to the ascending organic
contours that later came to be regarded a generic feature of Scandinavian modernism.

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Aune Siimes 1932-1964

Aune Siimes (1909 - 1964) kuului Arabian taideosaston ensimmäisten taiteilijoiden
ryhmään.1940-luvulta lähtien hän perehtyi posliinin läpikuultavuuteen ja estetiikkaan.

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Elmar Granlund 1936

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Michael Schilkin 1936-1962

Michael Schilkin (1900-1962) on venäläissyntyinen taiteilija, jonka tuotanto edustaa kuvataiteellista ja
veistoksellista suuntaa. Schilkin on voiman ja liikkeen kuvaaja, jonka teoksissa näkyy häivähdys huumoriakin.
Schilkin on tunnettu varsinkin eläinaiheistaan. Yleensä uniikkeja. Sarjatuotannossa mm. kissoja.

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Birger Kaipiainen 1937-1988

Birger Kaipiaisen (s. 1915 - 1988) tuotannossa toisen maailmansodan aikaiset työt edustavat koristeellista fantasiaa;
vastapainona sota-ajan todellisuudelle. Tälle aikakaudelle on ominaista seinävadit ja laatat, joissa esiintyy naisprofiileja
ja satuhahmoja. 1950-luvulla Kaipiainen siirtyi kohti kolmiulotteisuutta.

Birger Kaipiainen trained at Helsinki Central School of Industrial Arts, and worked as a ceramic artist with Arabia
Factory since 1937 up to his death, in 1988. Kaipiainen represented the romanticism in Finnish ceramic art. His output
formed a welcome counterbalance to the ascetic constructivism prevalent in Finland's Industrial art. He painted all his
works and his material was faience, because its firing heat was not higher than the colours can stand.

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Rut Bryk 1942-1999

Rut Brykin (1916 - 1999) seinälaatat edustavat grafiikanomaista tyyliä jolle on tyypilistä herkät viivat ja upeat värit.

Rut Bryk graduated as a graphic designer from the School of Arts and Crafts in Helsinki in 1939, and started working
for Arabia in 1942. She was almost a stranger to ceramics when she started experimenting with the raw material that
was later to bring her world renown. Her early decorative wall plaques show a magic world of imaginative flowers and
fairies dancing in the woods. The colouring is luminous and light. Her faience plaques have a strange and strong glow.
Her painted plaques in faience display intense colours due to thick glazing. She also used glazing to enhance the depth
dimension of the plaques. In the ”ceramic paintings” from the 1950s she uses delicate lines in relief to emphasise the motifs.
Bryk’s imagery is a combination of elements taken from the Byzantium, early renaissance, folk art and constructivism.
In her early painted plaques she used everyday subjects in a manner reminiscent of icons. Geometric basic forms were
used as additional decoration in the idyllic everyday scenes of the ’40s and ’50s, but since the ’60s they have been employed
as subjects in their own right. Works designed in the ’70s and ’80s can be described as plastic architectural graphics.
Rut Bryk's huspand was one of Finland's most eminent postwar designers - Tapio Wirkkala.

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Hilkka Säynäjärvi 1945-1952

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Hilkka-Liisa Ahola 1947-1974

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Kyllikki Salmenhaara 1947-1961

Kyllikki Salmenhaara (1915-1981) is first and foremost as a skilful pedagogue, and as a reformer of ceramics teaching.
Salmenhaara began to study at the Department of Ceramics of the Central School of Applied Arts under Elsa Elenius.
Her studies were interrupted during the Second World War when Salmenhaara served in a women's auxiliary capacity.
She graduated in 1943 and went on to work for three years at the Kauklahti glassworks. Before entering the service of the
Arabia factory, Salmenhaara spent a trainee period in Nathalie Grebs's studio in Denmark and worked in Sakari Vapaavuori's
studio. Kyllikki Salmenhaara's production shows imagnitive flying saucers, robust vases and jugs, some with a close approach
to the utilitarian. Sometimes she used brilliant blue copper glazes, but more offen she left her objects inglazed or only partly
glazed with lovely beaty spots in the fired clay.

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Sakari Vapaavuori 1947-1974

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Aino Anttila 1948-1974

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Annikki Hovisaari 1948-1974

Annikki Hovisaari (1918-1974) was attached to Arabia in 1948 after completing her studies at Central School
of Applied Arts. At Arabia she designed vases and decorative objects for Arabia Industrial Art Department
until 1963. From 1964 until 1974 she worked at Arabia Studio (Arabia Art Department).

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Ritva Kaukoranta 1948-1952

Ritva Kaukoranta (1926-) studied at the School of Arts and Crafts in Helsinki. Before coming to work for Arabia, she
worked at a ceramic workshop in Copenhagen, Denmark. 1966-1972 she had her own studio. In 1972 Ritva Kaukoranta
with few other Finnish art ceramists established potter's colony 'Pot Viapori', Suomenlinna - a group studio, where she
worked as an independent ceramic artist until 1977.

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Liisa Hallamaa (Larsen) 1950-1971

Liisa Hallamaa (Larsen, later Walden) (1925-). Central School of Applied Arts (1949) At Arabia she specialized in
materials, thrown-methods and glazes. Specially in her glazes she shows excellent colour sense. After leaving Arabia,
during the years 1974-80, Hallamaa designed and made art ceramics for her own Studio.

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Karl-Heinz Schultz-Köln 1950-1962

Karl-Heinz Schultz-Köln tuli Arabialle Birger Kaipiaisen assistentiksi.

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Raija Tuumi 1950-1974

Finnish ceramics artist Raija Tuumi (1923-) trained at College of Industrial Art, Helsinki under Elsa Elenius. She worked
mostely with heavy simply-thrown forms in stoneware and chamotte, in which the traces of throwning remain in the coarse
outer surface. Her glazes also are crude and uneven, and because of this individual and interesting. The complete simplicity
of form characteristic of her bowsl and dishes gives her products strenght and endows them with an original charm.
After leaving Arabia, Tuumi worked for a few years for her own Studio.

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Gunvor Olin-Grönqvist 1951-

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Francesco (Mascitti) Lindh 1955-1989

Francesca Mascitti-Lindh (1931 in Italy) joined Arabia Studio in 1955 under Kyllikki Salmenhaara. After being
trained in Italy at Liceo Artistico delle Belle Artiand 1946-48, and in Finland at Institute of Industrial Arts 1949-52,
Francesca Mascitti-Lindh and her husband Richard Lindh had their own studio in Helsinki 1953-1955.Like Kyllikki
Salmenhaara, Francesca Lindh was interested in the contrasting qualities of different clays, and her own distinctive
technique has established her as one of Finland's leading potters. Some of the first pieces of work done at Arabia
by Francesca Lindh were the "pipe cans".

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Richard Lindh 1955-1989

Richard Lindh studied at the School of Arts and Crafts in Helsinki. Before coming to work for Arabia in 1955,
he had a ceramic workshop of his own which he ran together with his wife, Francesca, also potter. At Arabia Richard
and Francesca started as vase and dish makers, who concentrated on the experimental possibilities available at Arabia
and both developed their own design language. The Lindhs also worked together to design articles intended for serial
production such as spice jars. At the beginnig of 1960, Richard Lindh became head of the Applied Art Department.
Fifty skilled craftsmen, including six creative artists, Hilkka-Liisa Ahola, Svea Granlund, Annikki Hovisaari, Gunvor Olin,
Olga Osol and Esteri Tomula, worked under him. The artists designed models and patterns that were copied by hand.
Every piece originating from this department was previded with the trade mark "Arabia Handicraft". The production
included vases through wall plaques, hand painted coffee and tea cups to complite table sets.

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Anja Jaatinen 1955-1974

Anja Jaatinen (1934-) After studies at the Central School of Applied Arts Helsinki worked for Arabia as
a product designer and ceramic artist. At Arabia she created mostly hand made decorative art ceramic objects
for Arabia Studio, but she also designed few tableware patters, for example the pattern "Kaira" and "Karelia
In 1974 Anja Jaatinen-Winquist moved to work for Pentik Oy, where she worked as a designer untill 1991.

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Oiva Toikka 1956-1959