A handsome young man with curly hair stands in a corridor on the fourth floor of the University of Helsinki Main Building. He is naked and leaning his weight on one of his legs. His eyes are downcast and his expression is sombre and slightly melancholy. Is he Antinous?
February’s object of the month is Hugo Backmansson’s painting “12 Ophthalmologists” from the Galleria Academica portrait collection of the University of Helsinki. The piece hangs in the Emergency Outpatient Clinic for Eye Diseases. Located in the Meilahti medical campus, the clinic was originally affiliated with the University, but was transferred to the Helsinki University Central Hospital in 1958 and to the Hospital District of Helsinki and Uusimaa (HUS) in 2000. The Helsinki University Museum and the HUS Museum Committee performed an inventory on the historical collections of the clinic last year and divided the objects in the collection between them.
Completed in 1923, the painting, which is also known as “The meeting of ophthalmologists”, depicts a group of twelve ophthalmologists gathered around a green table. Some seem to be engaged in a lively discussion while others are lost in thought. Backmansson has rendered each character as a distinct personality without ignoring the group dynamics in the piece.
Resusci Anne is resting in the collection facility of the Helsinki University Museum, protected by dust covers. Anne bears the likeness of a beautiful, youngish woman with golden blonde hair and a blue-and-white tracksuit. Her eyes are closed and her mouth is slightly open. The manikin, its carrying case and other equipment for practising resuscitation were donated to the University Museum by the museum committee of Pitkäniemi Hospital in 2012. Pitkäniemi, Finland’s fourth oldest psychiatric hospital, is still operational today.
Used for practising cardiopulmonary resuscitation (CPR), Resusci Anne is a remarkably realistic looking manikin, developed by the Norwegians Åsmund Lærdal and Björn Lind and the Austrian Peter Safar. The manikin was first presented in 1961 at the First International Symposium on Resuscitation in Stavanger, Norway. The face of the manikin is based on L’Inconnue de la Seine, a plaster cast death mask of an unidentified woman reputedly drowned in the River Seine in the 19th century.
It is May. Spring-green foliage curves round to frame a scene in a park. The atmosphere is tense, the adults and children have a concentrated look on their faces. A man dressed in black, Fredrik Cygnaeus, is about to step down from the rostrum and the eyes of his audience are following him. Clear pastel colours create an impression of the air shimmering.
At a time when long-distance travel was rare, faraway regions could be brought to people through the means of art and, later, photography. One way to examine culture and architecture was by studying scale models. They also afforded an opportunity to look into the past, especially in the case of historical locations that had not survived for posterity. As our object of the month for October, we present a scale model of the classical era Tower of the Winds from the Sederholm collection I catalogued last spring.