This article will address the topic of Walter Runeberg, which has gained relevance in recent times due to its impact on various aspects of society. Walter Runeberg has been the subject of debate, analysis and discussion in different areas, generating conflicting opinions and awakening the interest of academics, specialists and the general public. In this sense, it is imperative to fully explore the implications and consequences that Walter Runeberg entails, as well as reflect on possible solutions and actions that could mitigate its influence. Through a multidisciplinary approach, the various aspects related to Walter Runeberg will be delved into, offering a comprehensive and critical vision that allows us to understand its scope and current context.
Walter Magnus Runeberg (Finland Swedish:[ˈrʉːnebærj]; 29 December 1838 – 23 December 1920) was a Finnish neo-classical sculptor. He was the son of Finnish national epic poet Johan Ludvig Runeberg.
After periods living and working in Rome (1862–1876) and Paris (1876–1893), Runeberg produced many of Helsinki's best-known examples of monumental public art. The largest is the Alexander II Monument in Senate Square, a commission awarded jointly to Runeberg and sculptor Johannes Takanen, then completed by Runeberg after Takanen's death in 1885. The pedestal features several allegorical figures. Notably, the figure representing Law is a version of the Suomi-neito, the Finnish maiden, here cloaked in bearskin.
Runeberg was also frequently commissioned for private assignments. These include the bust of Ellan de la Chapelle in Paris in 1880, who became the wife of artist Albert Edelfelt in 1888.
From 1893 to 1896, Runeberg worked in Copenhagen, Denmark.