Professor Elina Druker writes for The Conversation
How Tove Jansson used her Moomins comic strip to humorously critique the financial and creative pressures of being an artist.
In 1954, the Finnish artist Tove Jansson was commissioned by the Evening News in London to draw comic strips about the Moomintrolls. The strip was syndicated by hundreds of newspapers, introducing the Moomins to an international audience and marking a dramatic turning point in her career.
Between 1954 and 1959, Tove Jansson drew 21 comics, some in collaboration with her brother Lars Jansson, who continued to draw the comic strip until 1975.
The success of the Moomin in the Evening News brought Tove Jansson economic security and helped her with the mortgage of her studio in Helsinki. However, over time, the assignment also became a burden on her creative work – a time-consuming and demanding obligation.
Perhaps because of this personal conflict, the comics often explore themes such as the struggle of artistic creation, the role of the artist and the value of art. Jansson had previously created humorous and satirical commentaries on the art world in various artists’ magazines in Finland, but here she places the Moomin at the heart of the creative process.
Unlike the novels and picture books, the Moomin comic strips were created for adults and can be described as satire. Jansson uses the compact format to comment on society, including the art world. The growing conflict in her own life, between the Moomintrolls and her artwork, is brought into focus in the comic strips.
This is part of a series of articles celebrating the 80th anniversary of the Moomins. Want to celebrate their birthday with us? Join The Conversation and a group of experts on May 23 in Bradford for a screening of Moomins on the Riviera and a discussion of the refugee experience in Tove Jansson’s work. Click here for more information and tickets.
The theme of the purpose of art and artistic creation is playfully introduced in one of the first comic strips, Moomin and the Brigands. Here Moomin and his friend Sniff embark on a quest for fortune. They engage in several schemes, including capturing rare creatures and selling them to the zoo, marketing magic rejuvenation potions and creating modern art.
While visiting a Hemulen (a really uptight counterpart to the Moomintrolls who love rules), Moomin and Sniff accidentally break several precious items in her home. Among the broken objects is a large statue of Rebecca at the Well, which falls from its pedestal and shatters. Rebecca at the Well is a classic biblical motif, which is often portrays a model of feminine virtue, symbolising divine guidance and exemplifying ideals of hospitality and moral character.
The friends awkwardly attempt to reassemble the statue by gluing it together. The result is a strangely angular and expressive piece of art, referencing fragmented cubist portraits. Cubism, which emerged around 1907 to 1908, aimed to represent reality in a radically new way by bringing together subjects and figures, resulting in objects that appear fragmented and abstracted.
Sniff immediately sees the potential of the new Rebecca. “She’s more modern now,” he exclaims joyfully. The friends carry the statue to an enthusiastic art dealer who sells it for £500 in his gallery.
The episode with the deconstructed Rebecca is, of course, a funny caricature of the trend-sensitive art market. But the shattered statue with its intricate shapes was also a commentary on the debates about the “incomprehensible” and “obscure” nature of modernist art in Nordic countries during the time.
The destruction of the Rebecca can also be seen as an act of iconoclasm – the breaking of icons or monuments – or rather, a parody of it. While usually associated with vandalism, here, the iconoclastic act leads to the creation of something new. This expresses a desire for renewal and a liberation from restrictive conventions. It is, however, worth noting that Rebecca retains her symbol of virtue – the water jug – even after this pivotal encounter.
Drawing on the work of French philosopher and anthropologist Bruno Latour, iconoclasm can be understood as both destructive and constructive – an ambiguity that also applies to Jansson’s interpretation of the motif.
Later in the story, the money offered by the modernist Rebecca lures Moomin to the field of the arts. For a brief moment, he assumes the role of a painter and wholeheartedly embodies the romanticised ideal of the poor, misunderstood artist.
Moomin dons a Rembrandtian black velvet beret, but despite this, appears lost and bewildered in his new role, muttering: “I only want to live in peace and plant potatoes and dream!”
In a scene of self-parodying metafiction, he is blinded by his oversized beret and ends up tumbling down a cliff, abruptly ending his artistic career.
Tove Jansson’s Moomin comic strips for the Evening News use satire to explore artistic creation, the role of the artist, and the art world.
Through Moomintroll’s and Sniff’s pursuit of fame and fortune via the accidental modernist deconstruction of Rebecca, Jansson satirises romantic notions of the artist, the commercialisation of art and the professions surrounding artistic production. These themes are deeply connected to Jansson’s own experiences as an artist and author, constantly balancing between various professional and artistic demands, between children’s books, public obligations and painting.
Text: Elina Druker
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The article “How Tove Jansson used her Moomins comic strip to humorously critique the financial and creative pressures of being an artist” was originally published by The Conversation 15 May, 2025.
Elina Druker is Professor of Literature at the Department of Culture and Aesthetics. Her research area covers picturebooks, illustration history, Avant-Garde and modernism studies. She is manager of the research area Literature.
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Last updated: May 16, 2025
Source: Department of Culture and Aesthetics