Anna Aemelin had the great, persuasive power of monomania, of being able to see and embrace a single idea, of being interested in one thing only. And that one thing was the woods, the forest floor. Anna Aemelin could render the ground in a forest so faithfully and in such minute detail that she missed not the tiniest needle. Her watercolours were small and implacably naturalistic, and they were as pretty as the springy blanket of mosses and delicate plants that a person walks across in a dense forest but seldom really observes. Anna Aemelin made people see.
—Tove Jansson, The True Deceiver (pictured here with a pair of trousers, and a mug of tea—but we don’t question the nice people who send us photographs)