Albert Edelfelt was born on 21 July 1854 in Porvoo in Kiialan kartano. His father, Karl Edelfelt, was the architect.
From 1869 to 1871 he was engaged in the drawing School of the Finnish Union of artists in Helsingfors B. Lindholm and B. Reinhold. From 1871 to 1873 he studied at Gelsingforsskay University, from 1872 to 1874 — in the Academy of arts of Antwerp. In 1874 he took lessons from J. L. Gerome in Paris. Repeatedly traveled to Italy and France, was in England (1878), Spain (1881), Sweden, Denmark and Russia. Exhibited since 1872.
In 1869−1871 he was engaged in the drawing School of the Finnish Union of artists in Helsingfors from B. Lindholm and B. Reinhold. In 1871−1873 he studied at the University in Helsinki, from 1872 to 1874 — in the Academy of arts of Antwerp. In 1874 he took lessons from J. L. Gerome in Paris. Repeatedly traveled to Italy and France, was in England (1878), Spain (1881), Sweden, Denmark, and Russia. Exhibited from 1872. He painted historical and genre subjects, portraits, landscapes. Worked in monumental painting (mural Grand opening of the University in Turku, 1904, Helsinki University). Used the technique of pastels and watercolors. In Porvoo there is a Museum of the artist.
Early works on historical subjects — Queen Blanca playing with her little son, (1877), Swedish king Carl insulting the corpse of his enemy statthalter Flanders Fleming (1878, both of Helsinki, the Ateneum) is written in the style of academic painting, the convergence of domestic genre. Scenes from Swedish history to the sixteenth century and the Italian Renaissance is treated with sentimentality and pathos in the spirit of a costume pattern 2-second half. Of the XIX century, similar in manner to salon painting domestic scenes Good friends (1881) and children’s (1885, both of St. Petersburg, GOS. The Hermitage). Art observed portraits of the artist 1870−1880's- self Portrait (1874), A. Edelfelt (1883, both of Helsinki, Ateneum), V. I. Miatlev (1882, Moscow, GOS. Museum of fine arts. A. S. Pushkin), Sofia Manse (1880, Helsinki, Foundation for S. and A. Ulenberg). Images full of lyricism and lack of idealization, present in later works.
In the late. 1880s Edelfelt drawn to a new theme, portraying the life of peasants and fishermen in Finland. Picture of the child’s Funeral (1879, Helsinki, Ateneum), At sea (1883, St. Petersburg, State. The Hermitage), the Women of Ruokolahti (1887, Helsinki, Athenaeum) transmit scenes of popular life, the colour of nature, images of strong and courageous inhabitants of the Northern coast. In later portraits the artist’s traits of saloons, their colorful palette and compositional structure tend to panels (Singer A. Act, 1901, Helsinki, Athenaeum). In the spirit salon naturalistic painting popular in the late. Nineteenth century biblical story executed the painting Christ and the Magdalene (1890, Helsinki, Athenaeum).
Throughout the creative way Edelfelt worked in the landscape. Paintings created in Paris (the Paris landscape, Paris. In the Luxembourg gardens, both 1887, Helsinki, Ateneum), imbued with a feeling colorful and bright, action-Packed life of the city. They are written in a bright color range, light and expressive brush strokes. The influence of plein-air painting of the French Impressionists was evident in landscapes of a later time (Kind of Porvoo, 1902, Helsinki, Athenaeum). With the subtle mood of the shows they covered branchy pine-tree slopes of mount Nameimage in minutes pre-sunset lighting, quiet, running away up the streets of Porvoo. Significant work in graphics were illustrations for the works. L. Runeberg King Fjalar and Tales of ensign table. A master of varied and profound talent, Edelfelt was one of the first Finnish artists, has obtained a European fame.