The Finnish artist’s work was hugely influenced by her passion for the great outdoors – in particular the tiny island of Klovharun
In 1964, when she was in her 50s, the Moomin creator Tove Jansson settled on her dream island. Klovharun in the Finnish archipelago is tiny – some 6,000 sq metres – and isolated, “a rock in the middle of nowhere”, according to Jansson’s niece, Sophia. It has scarcely any foliage, no running water and no electricity. Yet for Jansson, it was an oasis. For 18 years she and her partner Tuulikki Pietilä spent long summers there, heading out from Helsinki as soon as the ice broke in April, leaving only in early October. The island meant “privacy, remoteness, intimacy, a rounded whole without bridges or fences”.
Klovharun encapsulates something of Jansson’s originality as an artist and writer – and her human presence. Her illustrated Moomin books, which began to be published just after the second world war, brought her phenomenal acclaim and devotion. The tales of amiable troll creatures have been taken to generations of hippy hearts; their pear-shaped faces have adorned a million ties. Their marketing triumph – in which Jansson enthusiastically participated – has overshadowed her other achievements as a painter, novelist, short-story writer, anti-Nazi cartoonist, and designer of magazine covers. Success may also have obscured how ambivalent she was, how often on the cusp of identities. She was brought up in Finland speaking Swedish, had male and female lovers, told her stories in pictures and in prose, lived on water as well as land. More and more she appears as a pioneer. Not least in her crystalline descriptions of the natural world.
