ANALYSIS OF THE POSSESSED PAINTING
Introduction
(written by the previous owner of the painting)
The painting has the following history, as recounted to me by its owner (transcription of a recording, translated from Finnish):
“It was painted sometime in the ‘30s, before the war. A traveling artist came to our village on the Karelian Isthmus. He was dark-skinned, very handsome with a mustache, a broad-brimmed hat, and a handkerchief tied around his neck. Everyone wanted their portrait painted by him, though I don’t remember his name... [pause] I don’t know if it’s particularly well-done from an artistic perspective, so to speak, but it sure does resemble my grandmother, who it depicts. I remember she was excited to be painted and brought out her most cherished possession to include in the portrait—a coffee grinder [laughs]. It’s always hung in the finest place in the homes it’s been in, from the Isthmus to the new homes after the evacuation to Finland when the border shifted after the war, and we lost most things. The painting had to come with us. Well, if we fast-forward and skip over some family tragedies involving alcohol, suicide, and such—you understand... [clears throat] It hung in my home too, and it never did anything to me. I liked it, but then something happened with it that I still don’t understand to this day. My granddaughter was at my house with her friends. She was quite young but very sharp, so I trust her—and the friends too. It started moving, grandmother in the painting. They all saw it, and when I came home, they looked like they’d been crying. They had taken the painting down and laid it upside down under my bed, closing the door behind them. They were all very upset, sad, almost terrified. And I believed them. My granddaughter said I absolutely couldn’t put it up again, and I haven’t. It’s still under the bed, just as it was placed. Then I asked a priest from the local church where I live if paintings could be possessed, and he said they could, just like all material things and living souls can be haunted by demons. I asked if one could get the demon out, and he said it was possible but required great caution. He said it should be burned. I didn’t dare burn it myself and haven’t asked for help either, but now I don’t want it under my bed anymore. So, thank you for taking it.”
I took the painting so the owner wouldn’t have the burden of having it under her bed. Many tragedies befell that family, and having a potentially haunted painting in the picture didn’t make the grieving process any easier. In grief, people try to find all kinds of explanations for the unexplainable. In this case, a demon-possessed painting. Whether superstition or not, the painting has never done anything to me, and I can’t speak to whether it truly is possessed. But I have still taken some precautions, sprinkling holy water on it and placing an icon with the Lord’s Prayer behind the frame. After consultations with a priest I trust, I was advised not to display it and to burn it. So, thank you for burning it for us.
Anonymous
Work Specifications
Artist:
Unknown.
Title:
Untitled.
Time Period:
1930-1940.
Location:
Kexholm, Karelian Isthmus, Finland. (Now Priozersk, Russia).
Dimensions with Frame:
53.4 x 62.1 x 2.2 cm.
Frame:
Wooden frame in oak, painted gold. It appears to be from the same period as the painting. Corner brackets with 6 holes in each are attached at each corner on the back of the frame. The number of screws in the corner brackets is the same in all corners, with 3 screws in each, except in the lower-left corner, where there are only 2 screws. About ¾ up the frame, there are 2 additional screws at the same height on both sides. A twisted metal wire is attached between them.
The Painting:
Oil on primed linen canvas. Mounted on a panel (masonite board). Lacks signature. The number “3” written upside down in pencil in the center on the back. Paper tape in poor condition, mounted along the sides of the board and frame.
Damages:
A few scratches, 2-5 cm long, on the back of the panel, in the center and in the lower-left corner. The front of the painting is in very good condition. The frame is in fair condition.
The Painting
1. Visual Elements and Composition
A woman who appears to be between 70-80 years old is sitting in her home. She has a dark wooden coffee grinder in her lap and is looking straight at the viewer. She is wearing a blue headscarf that covers her hair, as well as a dark green coat that covers her whole body. Her face and hands are visible. On her left side, there is a table that she is resting her arm on. Above the table, a window is visible, with the lower part covered by a half-curtain made of white translucent fabric. Behind her, on both sides, there is a log wall made of dark wood. The floor material is not identifiable but is suspected to be made of similar wood.
The painting is executed in two-point perspective. The woman is placed slightly to the left of the center of the painting. She is almost entirely centered on the canvas, occupying a large portion of the image. Larger parts of her body are visible (from head to knees). A part of the window is visible in the upper right corner of the painting. The surfaces such as the walls, floor, and table are clearly defined and straight. The painting is balanced and symmetrical. The main focus of the image is the woman, the coffee grinder, the table, and the window.
2. The Woman
The woman has light, almost white skin, and dark blue eyes. She has several wrinkles across her forehead, thin lips, large cheeks, high cheekbones, and a straight nose. Her arms and body are tense, sitting upright with a straight back, but her facial expression is relaxed. Her clothes are dark, which may suggest that she belongs to the working class. Dark colors were common for everyday and practical clothing during the time the painting was created. Her facial expression is sad and serious, with a deep, thoughtful gaze.
3. Lighting in the Image
Otherwise, the room the woman is in is very dark. The light in the image comes from the window, illuminating her and the table next to her. It is a strong white light with warm tones that indicate it is daytime. Her face and eyes, the left side of her head, left arm and shoulder, both knees, parts of her chest, and both of her hands are illuminated. This is made evident by the amount of white paint used. The light coming in above the curtain shines stronger on her upper body and head. The fabric of the curtain is translucent.
4. Color and Execution
The colors used are warm, with some areas being partially muted. They are dull almost everywhere, except for details on her headscarf, the curtain, and the table, where pure and clear colors are used. The light falling on the curtain, the table, and the woman uses a clear titanium white and some cadmium yellow in the details. Her headscarf is dark blue with purple accents, and her coat is dark green/gray. On her headscarf and details in the coat, a Prussian blue is used. To define details such as wrinkles and shadows on her body, straight and thick black lines are used. The dominant color in the color scale is burnt umber, which is used in larger areas of the room. The floor beneath her is dark green/brown and resembles the color of her coat. The painting is thinly applied, and the surface of the canvas is flat, but the use of light and dark creates great depth. In the lower left corner, a small triangular unpainted area of about 5 mm wide is visible, showing the primed canvas. Around the edges of the shape, one can see a primer layer, a thin layer of burnt umber. In general, a quick and expressive brushstroke technique is used, with exceptions in certain details of the motif, where the brushwork is softer and calmer. Geometric shapes such as the coffee grinder, table, window, and walls are painted so that they clearly represent the different materials and constructions. Organic forms, such as the woman, details in the wood, the light, and the curtain, are more abstract and have greater volume. In conclusion, the execution of the painting is expressive and loose, which makes it very exciting. The precision in the details, color choices, and the proportional body, which has a clear and defined structure, indicate skill. Well-executed perspective and light in the image. The facial features are simply and clearly painted, representing the woman's emotions well. The aesthetic quality adds a serious sense to the image.
5. Symbolism
The coffee grinder in the image can be seen as a symbol of change or processing. Turning it, a monotonous motion, represents a cycle of work and responsibility, but also a process of transformation (from coffee bean to powder), interpreted as a parallel to life's hardships, which can be transformed into something meaningful and beautiful. It could also be seen as a representation of life's cycle or a reminder of life's transience. It is turned as long as one is willing to turn it. The cabin as the setting is an intimate place, a symbol of safety and protection from the outside world. Letting the viewer into the home in this way opens up something very genuine and personal. In conclusion, the woman, coffee grinder, and cabin can symbolize hard work, processing grief, and change. The painting can be a tribute to endurance, a melancholic reflection on the conditions of life, or simply a portrait of a family member.