About Anna

AnnaAfter graduation Anna studied business in Stockholms Sekreteraskolan in Sweden, Germany and UK, followed by which she continued her studies, this time in the arts field, by taking courses in Helsinki’s “Taiteilijaseura” during three years. After moving to France, Anna wanted to continue her art studies thus entering the Ecole de Beaux Arts in Versailles in France, where she studied for two years. Versailles’ palace including its gardens and trails formed already then, an inspiring environment to realise in paintings and drawings. In the Ecole de Beaux Arts, Anna also became interested in drawing live models and she concentrated on learning different techniques.

After moving to UK, Anna Luukkainen continued her art studies in Chiswick, London, where the education was centred on portraits and paintings representing people. Different excursions by foot all around London using paths and routes reinforced again the artist’s vision to portray roads.

Once back again in France, Anna continued her studies according to a new approach, “the École de Barbizon”. Over several years with the painter Georges Dalmén’s group, her style reinforced itself in becoming more of an École de Barbizon movement type, in which realistic landscapes and figures are recognisably Barbizon style. The forests and nature of Fontainebleau increased yet again the artist’s interest in portraying roads as essential elements in paintings.

Anna still continues strongly the portrayal of her learned style of over sixteen years abroad in both her landscape and nude model paintings. Nature, hunting and dog walking have reinforced her appreciation for nature, which can be seen in her new ideas daily. The different colours in fields, forests as well as in urban environments can be seen in characterisation and bringing front of perspective and form.

Anna’s dry pastel technique has over the years, of studying abroad, consolidated itself into two main areas of interest; landscapes in which roads and paths usually represent essential elements and secondly the portraying of live woman models, in which a soft romantic subject’s figure is defined by a gentle line fulfilling the interpretation.