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EXHIBITION

CONTEMPORARY

SCANDINAVIAN ART

Held under the auspices of the

AMERICAN-SCANDINAVIAN

SOCIETY

' Introduction and Biographical Notes

By CHRISTIAN BRINTON

With the collaboration of Director KARL MADSEN
Director JENS THUS, and CARL G. LAURIN

The American Art Galleries

New York

December tenth to twenty-fifth inclusive

1912

IfOQQ MUSEUM LIBRAtV
^ HARVARD UNIVERSITY

BARVARO FINE ARTS USftAfW
FOGG MUSEUM

Pint Impression
6,000 Copies

Redfield Brothers, Inc.
New York

SCANDINAVIAN ART
EXHIBITION

Under the Gracious Patronage of

HIS MAJESTY GUSTAV V

King of Sweden

HIS MAJESTY CHRISTIAN X

King of Denmark-

HIS MAJESTY HAAKON VII

King of Norway

Held by the

American-Scandinavian Society

1912-1913

NEW YORK, BUFFALO, TOLEDO,
CHICAGO, AND BOSTON

Iboo MUSEUM UBRJai
HMIVARO UNtVENSnV

INTRODUCTORY NOTE

rjViE American-Scandinavian Society was estab-

A. lished primarily to cultivate closer relations be-
tween the people of the United States of America and the
leading Scandinavian countries, to strengthen the bonds
between Scandinavian Americans, and to advance the know-
ledge of Scandinavian culture among the American pub-
lic, particularly among the descendants of Scandinavians.

The American-Scandinavian Foundation is an
independent institution consisting of a self-perpetuating
Board of Trustees, established to bold in trust and admin-
ister an endowment of more than five hundred thousand
dollars, ^ven by the late Niels Poulson.

The Foundation, which is working in dose sympa-
thy with the Society, being created to promote essentially
the same end, has, by granting to the Society a considerable
subsidy, made possible the Scandinavian Art Exhibition.

The exhibition is remarkable from several points of view.
It is one of the few occasions in the history of Scandinavian
art that the three countries have united in exhibiting. It
is the first time that most of the painters represented,
although of international reputation in Europe, have ex-
hibited in the United States, and it comprises, in as far as
has been possible, the best work of living artists.

The Society and the Foundation have for several years
desired to familiarize the American public with the remark-

able modem painting of Scandinavia, and have herewith
endeavoured to show American Scandinavians, in the most
favourable and acceptable manner, the production of the
leading Swedish, Danish, and Norwegian painters.

In order to interest the Scandinavian Governments and
artists in the project, the President of the American-Scandi-
navian Society went to Scandinavia during the Spring.
Their Majesties, KingGustav V, of Sweden, King Christian
X, of Denmark, and King Haakon VII, of Norway,
most graciously consented to act as Honourary Patrons,
each of their country's art; their respective Governments

gave every possible assistance, and the artists themselves

•

joined enthusiastically in the plan. Mr. Christian Brinton
accompanied Mr. Gade and proved invaluable in his
capacity as critic and connoisseur. The Society as well
as American art lovers further owe a debt of gratitude to
the brothers, Carl G. and Thorsten Laurin, of Stockholm,
to Mr. Karl Madsen, Director of the Royal Gallery at
Copenhagen, to Mr. Otto Benzon, of Copenhagen, and to
Mr. Jens Thiis, Director of the National Gallery at Christi-
ania, as well as to the numerous generous and patriotic
owners of paintings, both at home and abroad, who have
gladly loaned from their private collections in order that
many of their countries' chief artistic treasures might not
be omitted from the exhibition. It is a particular pleasure
in this connection to mention the names of Mr. Carl Piltz,
of Stockholm, Baron Rosenkrantz, of Rosenholm, Dr.
Alfred Bramsen, of Copenhagen, Mrs. Joseph T. Jones and
the Albright Art Gallery of Buffalo, Hugo Reisinger Esq.,
and Robert W. de Forest Esq., of New York.

The Norwegian portrait painter, Mr. Henrik Lund,
accompanies the paintings on their visit throughout this
country, acting as Artistic Director of the Exhibition.

AMERICAN-SCANDINAVIAN SOCIETY

OFFICERS FOR 1912

JOHN A. GADE President

REV. FREDERICK LYNCH Vice-President

HANNA ASTRUP LARSEN Acting Secretary

REV. W. H. SHORT Treasurer

H. E. ALMBERG Counsel

F. W. GREENFIELD )

r Auditors

EMIL F. JOHNSON f

BOARD OF TRUSTEES

LOUIS S. AMONSON Philadelphia, Pa.

PROF. GISLE BOTHNE, University of Minnesota, Minneapolis,Minn

MILES M. DAWSON New York City, N. Y.

PROF. GEORGE T. FLOM . . University of lUinois, Urbana, 111.

J. D. FREDERIKSEN Little Falls, N. Y.

JOHN A. GADE New York City, N. Y.

JOHN D. HAGE New York City, N. Y.

J. HOVING, M.D New York City, N. Y.

A. E. JOHNSON ^®w York City, N. Y.

E.F.JOHNSON New York City, N. Y.

OVE LANGE New York City, N. Y.

CARL LORENTZEN New York City, N. Y.

REV. FREDERICK LYNCH .... New York City, N. Y.
PROF. DAVID NYVALL, Washington State Univ., Seattle, Wash.
PROF. A. H. PALMER . . Yale University, New Haven, Conn.

ERODE RAMBUSCH New York City, N. Y.

P. A. REQUE, M.D Brooklyn, N. Y.

REV. W. H. SHORT New York City. N. Y.

CONSUL C. A. SMITH Oakland, Cal.

PROF. CALVIN THOMAS, Columbia Univ., New York City, N. Y.
HON. OSCAR M. TORRISON Chicago, 111.

AMERICANSCANDINAVIAN FOUNDATION

OFFICERS FOR 1912

REV. FREDERICK LYNCH Prcttdent

CONSUL-GENERAL CHR. RAVN Vice-Prewdent

HENRY GODDARD LEACH Secretary

REV. W. H. SHORT Treasurer

H. B. ALMBERG Counsel

BOARD OF TRUSTEES OF THE
AMERICANSCANDINAVIAN FOUNDATION

LOUIS S. AMONSON

SAMUEL T. DUTTON

CHARLES S. HAIGHT

HAMILTON HOLT

ALEXANDER E. JOHNSON

JOHN D. HAGE

PROF. WM. HOVGAARD

REV. FREDERICK LYNCH

CONSUL O. H. HAUGAN

PROF. WILLIAM H. SCHOFIELD

PROF. ARTHUR H. PALMER

CONSUL-GENERAL CHR. RAVN

CONSUL CHAS. A. SMITH

REV. WILLIAM H. SHORT

INTRODUCTION

By CHRISTIAN BRINTON

NOT the least significant phase of esthetic expression
has been the constant endeavour on the one hand to
achieve a fusion of form, line, and colour that shall commend
itself as universal in appeal, and on the other to preserve
those fundamental factors which may be designated as
national in substance. It is a struggle that has been waged
unceasingly throughout the ages, and which repeats itself
alike in the artistic development of every nation and every
individual. The human spirit constantly seeks to voice in
expansive fashion the great, typical impressions received
from nature and from life, and yet has at the same time
been endowed ndtb the precious faculty of interpreting them
after its own specific manner and largely according to a
predetermined plan. If you attempt to deprive the creative
impulse of its conscious or unconscious universality of
utterance, or of its inherent nationality of accent, you go far
toward diestroying its significance, for art, whether pro-
duced in obscure wayside cottage, simple hut among the
hills, or under the prestige of an organized institution, will
instinctively seek to widen its outlook and clothe itself in a
language for which it has the justification of an inalienable
racial heritage.

It is to the enduring credit of the leading Scandinavian
countries that they may be counted among those fortunate
peoples who, despite external influences, have stoutly
guarded their native artistic birthright. Their achieve-
ments in the field of painting, sculpture, architecture, and
industrial design are refreshingly and unmistakably their
own. Save in rare and isolated cases they do not speak,
and do not attempt to speak, that superficial studio Volapiik,
that facile salon Esperanto, which is so utterly devoid of
character and vitality. You will remark above all in the
production of each of these nations, and to a kindred degree
in each instance, the salutary stamp of race and of country.
It is in fact only the redoubtable Russians who can to-day
compete with the sturdy Scandinavians in the possession of
a spontaneous, unspoiled esthetic patrimony. The reasons
for such a situation have in many respects been similar, if
not, indeed, identical. As in the case of Russia, the relative
geographical remoteness of the Peninsula, the barrier of an
imfamiliar speech, and the fact that the pallid fervour
of Christianity and the pagan richness of the Renais-
sance were comparatively late in making appearance on
the scene, all tended toward preserving that integrity of
expression alike in art, letters, and music which is their most
distinctive possession. It must not, however, be jauntily
assumed that the contribution of the Scandinavian nations
to the sum of creative artistic effort is, save in a broad sense,
one and the same. Their painting, in particular, divides
itself into three well-defined schools, which developed at
different intervals, and the leading features of which are
manifestly at variance.

Historically, and in the general order of precedence,
Sweden was the first of the Northern countries to foster
esthetic culture in any definite degree. Long before Den-

mark, and still longer before Norway could boast an interest
in the fine arts — apart, of course, from their most primitive
and elementary application — the Swedes were familiar with
that which was being accomplished abroad, and were wel-
coming to their shores prominent painters and architects
from Holland, Germany, France, and Italy. Protected by
the Court and favoured by the nobility, art flourished in
approved fashion in Stockholm and certain other of the
more important centres. Still, though a great deal has
always been made of early Swedish culture, it is not clearly
realized that it was of the most extraneous and sporadic
description. It is true that the Thirty Years' War had
made these hardy campaigners masters of some of the finest
collections in all Europe; it is likewise true that Swedish-
bom painters attained distinction in Paris and elsewhere,
but nevertheless beauty in no sense penetrated the masses,
and much less was it a product of patient, earnest, local
endeavour.

The chief reasons why it was several generations before
the Swedes were able to display anything resembling inde-
pendent artistic activity were the distraction and general
depletion of vitality occasioned by incessant foreign wars,
and the fact that the population was distributed over such
a wide area that communication was difficult if not, indeed,
actually impossible. Art is essentially social and gregari-
ous, and it is, in consequence, not to eighteenth century
Sweden, but to Denmark during the early years of the nine-
teenth century that we must turn for the first specific signs
of esthetic promise throughout the entire Peninsula. Liv-
ing in a geographically more condensed community, and

•

being themselves innately peaceful and home-loving at
heart, the Danes were enabled to produce those few almost
apologetic, yet epoch-making figures, so sympathetically

silhouetted by Director Madsen, who were the veritable
founders of modem Scandinavian painting. Their inherent
clarity of vision, their simplicity of theme and treat-
ment and, above all, their unfailing solidarity and cohesion,
shielded them from outside influences. At a period when
the rest of Europe was revelling in the pretentious aftermath
of the classic revival, and later, when the specious gleams of
a purely studio romanticism were flashed upon soaring
moimtain peak, crumbling ruin, and tiny peasant chalet, the
Danes alone remained true to native type and scene. Their
art was impretentious, but it was soimdly and endearingly
national in feeling. Even those first, eamest-souled pil-
grims who went to Italy, flimg off a flaccid classicism when
they faced homeward, and ended by preferring simple
Copenhagen townsfolk to Sicilian bandit and Neapolitan
flower seller. You will find nowhere, save in the work of
the Dutchmen themselves, a similar love of everyday
motive such as you discover in the art of the Danes. This
modestly tenacious desire to be and to remain oneself is the
ke3mote of Danish painting. And it is this quality that
is responsible for an unbroken continuity of development
extending down to the present day.

On glancing, with somewhat more than casual, tourist
curiosity at the artistic prospect of Norway, you will be
greeted with a wholly different set of conditions, both social
and historical, and consequently with results which present
still further variation from the general type under considera-
tion. Norway enjoys the distinction of having evolved,
during the dim, legendary days of her intrepid Vikings and
sea rovers, a thoroughly original and independent national
style. Buckler and shield, carved ship prow, and curious
wooden house, not to mention commemorative tablets to
fallen heroes, and the richly ornamental dress of the living,

all bear witness to a bold and individual conception of the
possibilities of decorative design. Superb in rhythm and
splendid in form as much of this work is, it was, alas, swept
aside by the inevitable ferment of the ages and has persisted
largely in mind and memory, and not, to any perceptible
degree, as a vital creative force. It is true that at present
there is an intelligent and well-defined movement to revive
the ancient saga spirit, yet it is mainly confined to the field
of arts and crafts. Although boasting what should logically
have proved a magnificently fruitful legacy, contemporary
Norwegian painting owes little or nothing to the past. Its
actual beginnings date only from the early decades
of the last century. In point of fact, it is the youngest
school of the three, and as such flaunts the priceless boon
of a fresh, unfatigued outlook upon nature and life. There
having been no such thing as systematic training in their
own country, the pioneer Norwegian painters went, as a
rule, to Copenhagen for instruction, and it was there that
they absorbed that veracious, clear-eyed vision of external
reality which has set its wholesome seal upon the work of
each successive generation.

This, in brief, is the fragmentary and not infrequently
shadowy profile of Scandinavian painting during the forma-
tive stages of its development. You note in the art of
Sweden, that is to say in the art of the Gustavian and
Carolean periods, a refined and spirited eclecticism charac-
teristic of a community in close touch with Continental
ideals. Still, no matter how cultured its Court and upper
classes may have been, a nation largely composed of restless
warriors and remotely isolated agriculturists cannot be at
the same time a nation of painters, and Sweden was fated
to wait until a much later date before evincing her inherent
artistic proclivities. In the case of Denmark, as you readily

see, the situation was distinctly more favourable for the
fostering of native talent. Less ambitious of conquering a
worid position by sheer force of arms, satisfied in the main
with her restricted natural bounderies, and possessing the
wisdom and sagacity to cultivate herself intensively along
all lines of activity, it is but fitting that art, which is so
essentially a flower of social stability, should have first
taken root upon Danish soil. With Norway it must always
be a source of regret that the inspiring substratum of
saga tradition should have been buried so deeply beneath
the debris of time and, indeed, often wilfully neglected or
destroyed — ^yct still in the present-day production of these
rugged sons of mountain and fjord we are convincingly
confronted with the spirit of their ancestors. Full of unde-
veloped power and passionate defiance, more fundamentally
talented than the Swedes, and endowed with an aggressive
force often disconcerting to the pacific Danes, the Nor-
wegians were able, within the span of a few brief, tempest-
uous years, to place themselves abreast of their more
advantageously situated neighbours.

It was inevitable, once intercommunication with the
Continent was established, that Scandinavian painting
should have responded to those same influences which,
during the ensuing decades, dominated European art in
general. Classicism was followed by romanticism, and
within romanticism and its robust successor, naturalism,
lurked the germs of the impressionist movement. The
romantic tendency in German art and the taste for story
telling genre found ready devotees among the midcentury
Scandinavian painters. In Sweden we have Malmstrom and
his delicately diaphanous water nymphs; in Denmark we
note Exner and his genial souled Amager peasants, while
Norway completes the picture with the panoramically

viewed fjords and mountains of Gude, and Tidemand's
more serious and solidly constructed rural pastors or gaily
decked bridal couples in the Hardanger. Diisseldorf was
the point from which radiated this manifestly false concep-
tion of reality. The grandiose glow of artificial sunset and
the softly mellow radiance of humble, candle-lit interior
characterized the all too popular output of this period.
Genuine, first-hand observation was unknown. Art had
again become a mere convention, though by no means so
diverting a one as in the days of Watteau and his mdre
playful pedants, Fragonard, Lancret, and Pater.

While there is no denying that Scandinavian painters of
the middle and the third quarter of the century fell imder
this same insidious spell, they were by no means slavish
followers of a mood which in more than one sense was
utterly foreign to their inborn taste and inclination. Al-
though there were at one interval no less than twenty -seven
Swedish students at the Diisseldorf Academy, and though
the prestige of Dahl at Dresden and Gude at Karlsruhe and
later at Berlin was recognized on all sides, the Northern
painters were more sincerely naturalistic in their landscapes
and more soundly truthful in their character studies than
were their Teutonic professors and prototypes. And when
at length the day of Diisseldorf was finally over, and with
one accord they all repaired to Munich, the Norwegians in
particular revealed a sober richness of tonality and freedom
of brush stroke which at once made them remarked in the
then most popular art centre of Europe.
. While it was portraiture and landscape which mainly
attracted the Norwegians, it was the more pretentious
appeal of historical theme that claimed the attention of the
Swedes. This was not alone the day of Eilif Peterssen's
dark and imposing likenesses of the leading artistic and

literary figures of the early 'eighties; it was also the hour
of the huge concoctions of Georg von Rosen, Gustaf
Cederstrom, and Karl Hellqvist, certain of whose canvases,
heroic in size and supposedly also so in sentiment, were
actually painted within the shadow of the Academy walls
and imder the approving eyes of Wagner and Piloty. We
must not, however, be imduly severe upon the Scandina-
vians of this stressful and not infrequently distressing epoch.
Almost every artist of the day was doing much the same
sort of thing. It was the fashion to be impressive. The
human coimtenance was given imwonted significance by
Lenbach and his followers, and historical scenes were staged
with a dramatic effectiveness which rivalled that of the
theatre. Out of this world, which was largely composed of
rhetoric and imreality, soimd nevertheless a few virile and
striking notes. You cannot forget the earnest, militant
gaze of Eilif Peterssen's Ame Garborg — ^painted, it is
true, much later, but still in the approved Mimich manner
— ^nor do you fail to catch a hint of veritable arctic fortitude
in the figure of von Rosen's Adolf Nordenskiold, reso-
lutely facing the illimitable expanse of ice and snow stretch-
ing about on every side.

Straightforward and indigenous as Danish art has ever
been, it did not entirely escape the current fallacies of the
hour. Though it is true that such men as Carl Bloch suc-
ceeded in ignoring the obligations of a well-defined national
style, such phenomena were, however, notably rare. The
genteel provincialism of Danish art remained virtually
imdisturbed by extraneous S3rmpathies for some time yet.
It was not, in fact, imtil the coming of Kr0yer that any per-
ceptible change took place in the contribution of these
peaceful apostles of objective verity, whose vision did not
extend beyond the confines of their serene little coimtry,

every comer of which reflects the most benign care and
solicitude. The mention of Kr0yer brings us, by the way,
to the very threshold of the modem movement, the first
effects of which tended in the direction of internationalism,
but which, after a brief period of clarification, became the
obedient instnmient of a national artistic expression reveal-
ing hitherto imsuspected depth and chromatic brilliancy.

Those same tendencies which had for years past developed
so spontaneously and unconsciously with the Danes, now
took definite shape with the Swedes and Norwegians. The
inspiring period of self-discovery ably outlined by Director
Thiis in the field of Norwegian art, was paralleled by the
Swedes along kindred lines. Just as the early 'eighties saw
Erik Werenskiold, Christian Krohg, Gerhard Mimthe, and
Eilif Peterssen back in Christiania, taking up the cudgels
for the new cause, so that less belligerent but even more
spirited group, which included Zom, Larsson, Liljefors,
Josephson, and Nordstrom, likewise carried the fight right
the portals of the Swedish Academy, which they finally to
succeeded in opening to the stimulating light of day. And
what is still more significant, the movement was in no sense
confined %q painting alone. It was felt alike in all three
coimtries and in all avenues of activity. As is usually the
case it was the author who led the way, and the artist who
followed with his still more highly developed sense of form
and passionate quest of colour. In Denmark the eloquent
mysticism of Grundtvig foimd'its graphic covmterpart in
the cartoons of Skovgaard. In Norway Werenskiold and
Kittelsen gave typical semblance to the idyllic figures of
native folk tale, while Swedish landscape, first pictured with
sympathetic accuracy in the novels of Strindberg, and the
appealingly romantic periods of Vemer von Heidenstam,
came into its full richness and splendour in the austerely

beautiful panels of Karl Nordstrdm, the star-studded can-
vases of Eugene Jansson, and the noble exaltation of
Prince Eugen's luminous views of wood, water, and majesti-
cally soaring cloud.

The movement toward a more conscious appreciation of
the very soul of the Scandinavian people seemed, however,
to focus itself in the work and personality of that remarkable
pioneer in a singularly fruitful field, Artur Hazelius, the
virtual creator of the renowned Northern Museum in Stock-
holm and the nearby Open Air Museum at Skansen. It is
owing to the zealous energy and unflagging enthusiasm of
Hazelius that the Scandinavian nation as a whole has been
brought to a definite, objective realization of its place in
European ethnic and esthetic development. No one had
heretofore a concise idea as to what had actually been
accomplished until Hazelius and his assistants began collect-
ing the humble, anonymous treasure troves of peasant indus-
try and arranging them with scientific precision and pre-
senting them in the most enlightened and effective manner
possible. Ancient wooden houses were transported bodily
to Skansen and nestled among appropriately authentic gar-
dens and groimds, or perched upon stony hillside corre-
sponding as exactly as was feasible to their original sites.
Rooms were re-erected and furnished precisely as they were
in bygone days, and the incidental decorative and domestic
arts, such as wood-carving, iron work, pottery, and weaving,
foimd place in a broad scheme, the colour notes of which
were contributed by the bright red, clear green, dauntless
yellow, or discreet white and black of native dress. The
work which Hazelius accomplished in Sweden imder such
difficulties, but in the end with such a supreme measure of
success, was in part duplicated at the Danish Folk and
Industrial Art Museums of Copenhagen, and later at the

Museum of Industrial Art in Christiania and the still more
recent Open Air Folk Museum at Bygdo.

It is impossible to over-estimate the value of this illu-
minating work. The fast disappearing fragments of an
eloquent and absorbing epoch were assembled and placed
upon permanent record. Handicrafts of various descriptions
were revived, and old customs and the spirit of a sturdy,
wholesome past were kept alive and can never be
entirely obliterated. The importance of what has been
already described as the characteristically objective side of
this great movement toward self-discovery— which in
essence was merely a rediscovery — is far reaching. Its
effects can be plainly felt in numerous widely separated
channels of activity, and not least in the province of. the
fine arts. It has, above all, taught the general public what
the Scandinavian peoples really are, and thus affords the
soimdest possible basis for judging that art which they to-
day produce in such stimulating richness, abundance, and
variety. It is work evolved under such conditions which
you have in the present exhibition, though before approach-
ing its latest manifestations we must resume a little more
definitely the logical sequence of development.

The painting of the naturalistic period, which is best
exemplified in the robust, veracious excursions of Christian
Krohg into the social, and of Bruno Liljefors into the
animal world, gradually became more impressionistic in the
hands of those Paris-trained men to whom an analysis of the
shifting play of light seemed for the time being the end and
aim of pictorial expression. The leading exponents of
pleinairismwere Kroyer in Denmark, and Diriks in Norway,
the latter being particularly successful in his ability to indi-
cate motion. There is a grandeur, a touch of Ossianesque
power and solenmity, in certain canvases by Diriks, which

give them high place in contemporary Norwegian painting.
You see here the man who is a direct descendant of centuries
of sea rovers, and who embodies in himself and his work
their restless, questing spirit. Modem though they lui-
questionably be in their feeling for bright, sparkling tints
and dexterous and vivacious surface effects, neither Zom
nor Thaulow, two of the most facile technicians Scandinavia
has ever boasted, can with any strictness be termed Impres-
sionists. Few of the Northerners, in point of fact, are
explicit followers of the impressionist formula. Broken sur-
faces and the minute and often meticulous suggestion of
tonal decomposition, as practised by the Frenchmen, are
rare in the work of these artists who as a rule prefer a more
direct and flowing brush stroke. Instead of carrying mat-
ters as far as the pointellists, most of them merely made use
of the spirit of the new gospel, which they adapted to their
several needs and purposes. The Swedes remained quite
as Swedish as before, and in Norway you see even as early
as the 'nineties signs of a reaction, notably in the restrained
and fervent triumphs of the new romantic movement, fos-
tered by the late Halfdan Egedius, and to-day exemplified in
the deeply personal art of Harald Sohlberg, whose canvases
recall in their zealous, conscientious craftsmanship and sub-
dued emotional intensity the work of a still earlier period.
And as before the painter did not stand alone, for by the
side of Sohlberg wrote and dreamed with delicate ardour the
brothers Thomas and Vilhelm Krag, who have enriched
modem Norwegian prose and verse with some of its rarest
flowers of fancy and most sensitive, penetrant observation.
Although after Impressionism logically come Post-
Impressionism, Expressionism, and all the other isms that
latter-day art is heir to, we must not fail to recognize the
fact that two veritable precursors of what is now termed the

modem movement, not alone in Scandinavian painting, but
in the painting of Europe as well, were the Dane, Jens
Ferdinand Willumsen, and the Norwegian, Edvard Munch.
Both Willumsen and Mimch are innate pathfinders. If you
concede a hint of RafFaelli in certain of Willumsen's early
Paris studies and sketches, and a touch of Christian Krohg's
naturalistic integrity in the work of Munch's first period,
every trace of early dependence was lost in the invigourating,
defiant canvases that shortly followed. Willumsen soon
discovered that Paul Gauguin possessed a more progressive
potency than did the narrowly Parisian painter of boulevard
and banlieu, and as for Munch, he had merely to look into
his own tremulous or feverishly exalted soul in order to
summon forth a myriad teeming pictorial fancies. In Wil-
lumsen you find, amid an impetuous torrent of creative ex-
uberance, two essentially Danish qualities — sanity and
humour. In Mimch's art one is confronted with an acute
hypersensitiveness voiced now with masterly conviction,
now in troubled, tortured accents. A profoimd awe, a
cosmic fear, is the ke3mote of these canvases. He is as a
child who sees terror in the most familiar shapes, or a man
who shudders on the brink of an abyss, obsessed with the
eternal mysteries of life, desire, and death.

Matters have lately moved so fast in t;he field of art that
men whose names half a dozen years ago were considered
the synonym of modernity, to-day find themselves occupying
a relatively middle position. Among these may be men-
tioned the two superlatively talented Norwegians, Henrik
Limd and Ludvig Karsten. They are both fluent, brilliant
draughtsmen, and colourists of rare power and vivacity.
The work of Lund in particular will doubtless command
attention through its spirited verve of stroke and bold, yet
delicately modulated colour values. There are, however, in

the present exhibition still more advanced notes. The
Danes, Sigurd Swane, Edvard Weihe, and Harald Giersing,
go even a step further, while in the two canvases by Per
Krohg you have the ideals of the Salon des Independants,
plus a certain touch of Northern seriousness and sobriety.

There is scant question but that certain of this work will
seem to timorous stay-at-homes the outcome of sheer, wilful
exaggeration or deliberate perversity. It may be impatri-
otic to say so, but, judged by current European standards,
we are distinctly behind the times when it comes to the
matter of esthetic development. Whatever it may have
accomplished in the political or industrial world, our much
discussed progressive spirit has clearly not penetrated the
subtler province of the fine arts. Even modest and ultra
conservative little Copenhagen has had its glimpse of the
Futurists, while copies of Der Blaue Reiter, Der Sturm, and
Les Tendences Nouvelles are eagerly purchased in the
more prominent book shops. While it is true that we have
had our intermittently illuminating tabloid exhibitions at
the Photo-Secession, nothing is yet known of modem
art as a movement, and it is thus, and thus alone, that it
should be studied, not merely from isolated, unrelated sam-
ples, or specimen^ which confuse, without in the least degree
clarifying, the popular mind.

It is obviously too soon to predict with any measure of
precision what effect the Expressionist propaganda may
ultimately have upon Scandinavian art in general. One can
only judge by what has taken place in the past. And yet
one thing is certain, and that is that modernism must be
reckoned with as a force possessing a vitality which cannot
readily be ignored or extinguished. Copenhagen, as already
noted, has lately been given the opportimity to judge for
itself. Stockholm boasts its Sajon Joel and The Eight—

whose leader is Isaac Ghinewald — ^while in Per Krohg and
kindred spirits Christiania possesses its isolated but earnest
apostles of progress. All this is a far cry from the crisp,
inviolate whiteness of Gustaf Fjsestad's snow scenes, or
the quiescent ambience of Vilhelm Hanmiersh0i's discreetly
luminous little interiors. It is also far from the sterling
objectivity of Ring's closely painted landscapes, and from
Sundbom, the bright-countenanced scene of Carl Larsson's
activity, snugly nestled among the birches of Dalecarlia.
We have pushed rapidly forward during the past decade,
perhaps a bit too rapidly, but still there is no cause for
alarm, since that which holds within it the precious secret
of permanency will survive, and that which is inconsequen-
tial will be speedily consigned to the limbo of oblivion.

There is one. fact which stands clearly forth after a
comprehensive survey of Scandinavian painting, and it is
that, no matter what transitions may have been recorded
during successive periods of development, the primal,
elementary basis of this art has remained unchanged. It
continues, as always, full of tender lyricism and heroic
intensity. It is the typical expression of a race whose
civilization is jroung, yet whose roots lie deep-anchored in
the past, and whose present is the direct product of certain
definite, prenatal conditions. And not only does the
racial factor enter largely into this work, but back of it
looms a still more sovereign source of strength. The
marked unity of tone — ^that blond clarity so characteristic
of the North which you will instantly recognize — is merely
one phase of a general congruity of aim, a single broad
harmony of purpose which exists between the land itself
and its people. For centuries there has been going silently
and irresistibly forward a subtle process of interaction be-
tween these two elements which is reflected alike in litera-

ture and in art. There can be no question but that such
facts are eloquently manifest in the work herewith under
consideration. You instinctively feel, on studying these
canvases, an exhilarating sense of direct communication
with nature and natural forces. You note the naive
sest of healthy, imfatigued sensibilities for fresh, tonic
^lour contrasts, and you feel the thrill of eternal aspiration
i^ this fondness for great, open spaces and the magic
radiance of the arctic aurora. From the very outset this
sturdy, sea-faring and forest-loving folk have been in com-
plote consonance with their surroundings. And we can
only be grateful that they have conveyed their esthetic
message in terms at once so robustly beautiful and so
valiantly autonomous.

Tl^e current exhibition which, in brief, may be char-
acterlxed as a superb demonstration of pictorial pantheism,
revealp to Americans Scandinavian art as it actually exists.
It is distinctly more progressive than retrospective or
reminiscent in spirit, and in being so is all the more true
to artistic conditions as they obtain to-day in the three
coimtries represented. Face to face with these stimulating,
colourful canvases, you will doubtless find much to admire,
and not a little that may prove disconcerting. Yet you
must beaf in mind one important thing, and that is to look
at each separate picture, in as far as possible, with the eyes
of the man who painted it. His vision is more individual,
his soul more vigorously or subtly expressive than yours,
and it is your duty to take his message on faith, in case
you do not at first comprehend it. For it has always been,
and will always be, the artist's mission to lead, and the
public's privilege to follow.

THE ART OF SWEDEN

By CARL G. LAURIN, of Stockholm

IT IS not until comparatively late that Sweden makes her
appearance in European art. It is true that in this
country, where the same race had for thousands of years
lived a free and hardy life, there had existed since time
immemorial an excellent type of industrial art, which stUl
survives in our textile peasant work, and which produced
bronze ornaments and weapons of great artistic beauty
even before Christian times. But it was not until the
twelfth century that Christian architecture made its way
up to us, and as for Swedish painting, one can hardly speak
of it before some decades after New York, or, more properly.
New Amsterdam, had been founded by the same industrious
and artistically trained Dutchmen, who in painting were
the leading nation of the seventeenth century, and frcHn
whom Bhrenstrahl, bom in Hamburg, 1629, and called
the father of Swedish painting, received iiwtruction, even
though die pompous Italo-German baroque style was to be
predominant in his production. Ehrenstrahl painted three
great sovereigns— -Charles X, who made Sweden great,
his son, Charles XI, who made it strong, and the latter'^
son, Charles XII, who made it honoured the world over,
and for whom even our vast country was too small. Sweden
was great, but the population was scanty and poor, and the

eighteenth centiiry was for us a much needed period of
economic improvement. Like the rest of Europe, Sweden,
too, during this century, turned admiring looks on the
literary and artistic culture of France, which also politically
had been our traditional ally since the alliance between
Gustavus Adolphus II and Richelieu. Among the Swedes
who won for themselves honoured and famous names in
Paris were the pastel painter, Gustaf Lundberg, the por-
trait painter, Alexander Roslin, the miniaturist. Hall, the
gouache painter, Nils Lafrensen the younger, called
Lavreince, and K. G. Pilo. Our first and greatest sculptor,
Sergei, also received his preliminary training in the French
school, though the then prevailing passion for the antique
was to chill like a cold blast the warm, sensual treatment
of marble which was at first characteristic of him.

It might appear as though this Gustavian — ^for it gathered
round King Gustavus Ill^this bright, technically thorough,
and elegant art had been, so to speak, put to flight by the
pistol shot at the masked ball at the Stockholm Opera in
1792, when Gustavus III was murdered. But the real cause
was that the times had everjnvhere changed. Modem,
classicism, and almost simultaneously, romanticism, now
entered the arena. Reynolds's pupil, K. F. von Breda,
visualizes the new aspect of the times in his portraits, at
once dignified and romantic. During the nineteenth cen-
tury Swedish painting was \mder the sway of the tendencies
prevalent in European art at large, and we find among
the painters excellent representatives of romanticism,^
among the most prominent of which may be mentioned
August Malmstrom. In the middle of the century the
Diisseldorf genre had admirable exponents in Fagerlin and
A. Jemberg, and in landscape art Reinhold Norstedt ap-
pears as a genuine Swedish successor of the Fontainebleau

school. In historical painting, as it had been developed in
Munich, Brussels, and Paris, under the influence of deep
studies in museums, J. Hockert, J. Kronberg, G. von Rosen
and G. Cederstrom are well worthy to be placed alongside
good German, Belgian, and French historical painters.
Georg von Rosen's portraits, with their lofty and noble
style and their subtle interpretation of character, are works
of great and enduring value, and will bear comparison
with those of Lenbach.

The year 1885 marks a new epoch in modem Swedish art.
A group of young artists who had studied painting in Paris
\mder the guidance of French masters, and who had come
\mder the influence of Manet, Bastien-Lepage, and Cazin,
exhibited their works in the spring and autumn of 1885 at
Stockholm. They severed themselves from the Academy
of Art and its method of teaching, found fault with its lack
of interest in the arrangement of exhibitions, and accord-
ingly adopted the name of "Opponents." Some of these
artists joined together in 1886, and called their association
the Konstnarsforbimdet, or Artists' Association. To this
organization belong, or have belonged, most of the best
Swedish artists at the close of the nineteenth century,
though some of them, it is true, were members of it only
for a short time.

Their greatest painter, though a somewhat erratic type,
was , Ernst Josephson, a combative character, full of
melancholy and defiance, who became insane as early as
1887. His picture Stromkarlen — The Water-Sprite — ^in
the possession of Prince Eugen, reflects both in subject and
execution the quintessence of the life and work of this man
of undoubted genius. Among those who returned home
from France, bringing with them light and joy, and having
acquired a marvellous skill of hand, which enabled .them. to

give a still more concise expression to the impressions
from their own country with which they were teeming, were
Carl Larsson and Anders Zbm. Another great artist, whom
it is always customary to mention with them, is Bruno
Li^jefors.

One must know Sweden very intimately in order to
understand how it is that these three artists, above all
others, have won the hearts of the Swedish people. Carl
Larsson paints the home with all the associations of happi-
ness and sunshine, of children and flowers, that the word
calls up. Zbm, again, is pre-eminently the painter of the
Dalecarlian people, that sturdy stronghold of the Swedish
nation and, withal, of the Swedish peasant woman, full of
health, vigour and unconscious sensuality, and fresh and
hearty as a ripe cherry. Liljefors, in turn, reveals to us
the forest with its mysterious life. No one has felt such
deep sympathy as he with Swedish nature, with foxes,
eagles, ducks, loons, and other birds and beasts following
the instincts of their kind in the solitude of the primeval
forest. The Swedish people have always loved to penetrate
nature's secrets. Linnseus, Swedenborg, Celsius, Berzelius,
and Arrhenius are in this respect the true children of a
people whose science, poetry, and art have refreshed them-
selves, with almost religious ardour, at the maternal breasts
of nature. This absorption in the universe is also seen in
the paintings of Eugene Jansson. Though there is a touch
of lyrical delicacy in his work, there is a breadth and a
grandeiu- about it vdiich, to my mind, are unique in the art
of our time.

With austere, manly defiance, which at certain periods
has appeared harsh and gloomy, but which has now dis-
solved into an intense revelling in coloiu-, this same feeling
for nature comes to light in Karl Nordstrom, at present

the strong hand that holds together the painters who have
remained in Konstnarsforbundet. The art of Nils Kreuger
is deliberate, composed, and reliable. He has delineated the
domestic animals as they live in the open — cows placidly
chewing their cud in juicy green pastures, shy horses, and
stupid sheep. Seldom have realism and monumentality
grown into one as in the pictures of Krueger. We have
too few figure painters in current Swedish art. Prominent
among them is Richard Bergh, our foremost modem por-
trait painter, whose likenesses of Strindberg and the poet
Eroding are a study for the psychologist as well as for the
art lover. Bergh does not paint much, but what he paints
is usually of real significance. He is at once a thinker and
an artist, without, as is often the case, allowing the former
to encroach upon the latter. A faithful depictor of the life
of the Swedish people is Carl Wilhelmson. With thin,
bright coloiu^ he paints the lean peasant girls, and has
discovered a kind of beauty in things poor and scanty.
The exact antithesis to him in all but the bright colours is
Gosta von Hennigs, whose canvases are veritable orgies in
red and blue. He is intoxicated by coloiu* — coloiu* for its
own sake. The subjects he is most addicted to are clowns,
dancing girls, and other pictiu-esque types outside the pale
of prim and respectable society.

It cannot be denied that Sweden at present is not merely
an art producing, but also an art loving country, and a
coimtry where art is bought. If struggle means life, we
have been very much alive in art during the last twenty
years. Unfortunately, there has been rife among us far too
much of the spirit of dogmatism and bias, and this spirit has
often hindered us from uniting our forces and appearing in
full muster when it has been a question' of exhibiting all of
our best, either at home or abroad.

In virtue of his high position and his universally acknowl-
edged artistic talent, through his judicious patronage of art,
and not least by virtue of his personal amiability, Prince
Eugen, whose whole bent is toward the ideals represented
by the Konstnarsforbundet, has exerted a most beneficial
influence. In his beauiful home in Djurg^rden Park there
is an excellent collection of modem Swedish art. And here
he paints pictures in which, with discreet passion, if the
expression be permitted, he gives a personal expression to
nature, particularly the Swedish summer night, with all its
lyrical harmony.

It is only in the northernmost parts that Sweden is a
mountainous coimtry; otherwise it is a land of forests and
lakes, and few have depicted the wide prospects over blue
ridges in the far distance as has Otto Hesselbom. G. Kail-
stenius paints pine forests and lakes so as to make one
almost feel the smell of resin and the cool shade under the
trees, and Gunnar Hallstrom lends a true Swedish char-
acter to the waters of Lake Malaren and the stolid, earnest
peasant culture which obtains thereabouts. Sweden is
indeed a peasant country, and we are proud to possess a
race of peasants which has for thousands of years been
healthy, free, and self-reliant. The himiour of Swedish
peasant life has its artistic interpreter in Albert Engstrom,
a man admired all over Sweden — admired for his quaint,
untranslateable verse, his prose which in national pith and
vigour is unequalled by that of any living Swede, and not
least for his drawings, in which he has revealed to us the
very fundamentals of our being.

Three of our sculptors are clearly in the front rank.
Foremost perhaps is Carl Milles, a sculptor of genius, a
man bubbling over with creative power, and endowed with
moniunental force. Alongside of him stands Christian

Eriksson. A consummate artist in all he touches, whether
small or great, particularly in his treatment of surfaces, he
has the feeling for nature and the love of detail so character-
istic of the sculptors of the Early Renaissance. Eriksson's
best works are his big reliefs on the walls of the new Dra-
matic Theatre in Stockholm, but his characteristic Lapp
subjects in wood, bronze, or stone, also bear abimdrnt
testimony to his originality and taste. Woman has a
glowing interpreter in the sculptor, Eldh, who has also
admirably depicted the complicated type of the woman-
hater as exemplified in Strindberg.

In this brief review, where regard has been paid only to
the very best, there has not been room even for the names
of many Swedes who are endeavouring to give personal form
to those elements which the people of our nation especially
love and admire. For small nations, even more than for
big ones, quality is a matter of supreme and vital import-
ance, particularly in the province of the mind, where the
small nations' thinking or thirst for beauty may sometimes
bring forth one supreme master — a Plato, or a Rembrandt —
outweighing all that has been produced for centuries in the
same department in different quarters of the world. The
Swedish historian Gejier maintains that every one can do
something better than any one else. I believe this to be
also true of nations, and I believe that the great world-
symphony is decidedly enriched by the chords, the hymns,
of Swedish clang-colour which our people set up in praise
of beauty — ^beauty as our eyes see it.

THE ART OF DENMARK

An Epistolary Preface

By KARL MADSEN
Director of the Ro^al Gallery, Copcnhaflni

My Dear Christian Brinton:

SURELY you still remember the Pavilon on Langelinie
where two or three times we lunched so congenially
together. Through the great windows of the restaurant wc
had an outlook eastward over the Sound and the ships,
westward over the tranquil moat to the green trees of the
Citadel, where we heard at times a blackbird's whistle. In
the restaurant, near the entrance, sat loyal German tourists
with beer mugs and souvenir postcards. At other tables
my countrymen were laughing at their own jokes. We
Danes are — as you correctly observed^a people who are
fond of amusing ourselves, and who do not think very much
about the morrow; indeed, altogether too little. Some-
times, however, on beautiful summer evenings you will meet
people here who, silent and dreaming, gaze out over the
sea. This, also, is perhaps characteristic of our nation.
We have grown up with Andersen's Fairy Tales, and have
had other good authors with whom you are doubtless
familiar.

When from Langelinie I see the beautiful clouds floating
over a gently rocking sea, I often find myself recalling an

artist who, near a hundred years ago, long before the
Pavilon was built and souvenir postcards were invented,
went modestly on his evening walks from his professor's
quarters in the Academy at Kongens Nytorv out to this
spot. He was neither poet nor dreamer. His sharp eyes
made purely scientific observations upon the formation of
clouds, he examined the construction of ships with the
eye of a professional, and sought to explain the laws govern-
ing the perspective of the shifting waves. The artistic
ambition of this upright soul was to give the most precise
picture possible of nature, as true as a mirror. His can-
vases are old-fashioned; all objects present themselves as
though seen through a strong field glass, but the tones are
fine and clear as day. When I now look from Langelinie out
across the sea, Danish painting in later years does not seem
to have produced works that, in striking fidelity to nature,
surpass those of Eckersberg.

And over there in the Citadel behind the tranquil moat
his pupil, K0bke, had his home. Even to-day, both in fact
and in the art of K0bke, these old fortifications are an
idyllic spot. His sister's pink dress against the green trees
of the rampart, the simshine on an empty wagon in the
Citadel bakery yard, the Dannebrog flying over a boat
landing, or a pair of poplars in the twilight, were for K0bke
motives sufficiently rich in interest. You, dear Mr.
Brinton, at once imderstood how to value his pictures from
these realms of peace, his portraits of relatives, friends, and
plain townsfolk. They are as modest and unpretentious as
the violets on the Citadel terrace.

When Marstrand, K0bke's contemporary and fellow-
pupil imder Eckersberg, walked here on Langelinie, he
looked, I fancy with greater interest upon the promenaders
than on the sea and the Citadel. Here he must have met

young girls, whose graceful necks, blushing cheeks, and
bright eyes reminded him of the beautiful women of
Rome — ^unforgettable memories of his youthful student
days. Here, too, he met droll Copenhagen tjrpes, who
served as capital models for his character figures from
Holberg's comedies, and perhaps, also, the tall, gaunt
officers he may have used for his representations of Don
Quixote. Marstrand, the most richly endowed and many-
sided of our older painters, had himself the noble knight's
thirst for lofty deeds. His sketches and drawings show a
vast range of happy inspiration, but when he had to carry
out his work according to the demands of the time, evil and
invincible forces paralyzed his hand. The colouring became
crude, the form characterless, the features rigid, and life
itself had departed.

During this entire period exact execution was regarded
as the hallmark of respectable painting. In all our art, from
Eckersburg down, this was held in highest honour. It was
the flowering time of the so-called national art. Poets
had s\mg the praises of the fatherland, and an eloquent
critic pointed out the importance of purely native themes.
Landscape painters sought to epitomize the peculiar
beauty of Danish nature. Genre painters glorified the
Danish peasantry. Art, they held, should be Danish in
form as well as content, and borrow nothing from other
nations. In our separation from the world many virtues
flourished, but also many vices, for of course men ought
to strive to be themselves, yet, as Henrik Ibsen says,
only the devil is self-sufficient. And so, when Danish paint-
ing came to be exhibited at the World's Exposition at Paris
in 1878, it made such a sorry showing that an old Danish
artist seriously believed that the canvases were covered
with dust, which had been overlooked in cleaning. It stuck

80 tight and thick that they seemed lustreless, poor in colour,
and strangely antiquated. For this reason several young
Danish painters went to school in Paris and in due course
brought home new conceptions of the aim of painting.
Later, other Danish artists, when they had opportunity,
have looked about in the worid, though it cannot be said
that they have learned overmuch from foreign art.

We are a little nation, and our national independence is
for us the most precious quality we possess. A local news-
paper has recent^ given some soimd advice regarding the
forthcoming exhibition of Danish art in America. Regard
for the purely artistic merit of the canvases ought, as a
matter of principle, to be subordinated. It is far more
important that the pictures bear the familiar national
stamp. As yet I do not definitely know how the exhib-
ition which is shortly to be placed before the tribunal of
America will be constituted. But I know that you, dear
Mr. Brinton, have wished that it might be free from
banalities. You have preferred the characteristic to the
commonplace, the fresh to the dusty, the vigorous to the
vapid. You have sought to combine that which in your
opinion is good art with that which recommends itself as
national.

And in any event the exhibition would not have lacked
the national impress. This factor does not depend upon a
peculiar manner of treatment or style of painting; Tiepolo
is just as Italian as Botticelli. Nor does the national note
depend upon subject. Every good artist expresses his
nationality in new forms. The invited painters are all
legitimate children of their land, and many of them have
inherited some of their best qualities from those same art-
ists who, beside the Sound and in the Citadel, founded the
Danish school of painting. Truthfulness is quite as precious

to Ring as to Bckersberg, and Vilhelm Hammershei has
seen, just as Kebke, that the most unobtrusive lives and
the simplest scenes and incidents can contain a world of
marvellous poetry.

But the individual characterization of these painters I

resign to you, my dear Mr. Brinton. You have studied our

art with a sympathetic interest and imderstanding for

which I offer you my heartfelt thanks.

Yours sincerely,

KARL MADSEN.

THE ART OF NORWAY

By JENS THUS

Dinctor of tbc National Oalleiy, ChriatiaDia

ON FESTIVE occasions we Norwc^aiis are prone to
speak of "Old Norway," yet to tell the truth there is
much that is both young and new in "Old Norway." Our
national painting— to mention one instance — is by no
means old in years, for it was not until after the dissolution
of the union with Denmark that the nation awoke to con-
sciousness and began to assert its independence in the
domain of art. In less than a generation from that time —
1814 — a little band of painters appeared, who in popular
opinion stood out clearly as a true Norwegian school,
although every member of the group had obtained his
artistic education abroad, and was still obliged to seek a
livelihood there. At home in Norway the people were
wholly engrossed in the struggle to improve the economic
position of the country, and secure her political indepen-
dence under the new union with Sweden. Hence many
years passed before this little band of Norwegian artists
could find a footing on their native soil. Yet although
every member of the older school of Norwegian painters
obtained his training in German academies — Dresden, Diis-
seldorf, or Munich — and to a great extent resided in foreign
countries, they nevertheless painted the homeland, and by

means of summer visits and frequent journeys to the
mother country, they maintained a connection with the
people and the scenery which was reflected in their art.

No Norwegian painter is more worthy of mention in a
rapid survey of the history of our art than Johan Christian
Dahl, the father of our painting. Not only chronologi-
cally, but in precedence, he stands in the front rank, as the
earliest and one of the most inspired interpreters of Nor^
wegian scenery. In an artistic sense, Dahl was the dis-
coverer of Norwegian landscape. Although as professor of
the Academy at Dresden he was obliged to live far from his
native land, he never ceased to interpret and glorify Norway
in his art. During his summer joiimeys he traversed the
valleys and mountain wilds, sailed the long coast and
penetrated the deep fiords, so that later he might return to
his studio at Dresden with a rich harvest of studies that
were wonderfully fresh in treatment, and true in colouring.
Dahl died at Dresden the 14 October, 1857. He was the
Constable of Norwegian art, and one of the greatest figures
among European landscape painters of that period. Dahl's
talented pupil, Feamley, followed in his master's footsteps,
and gave greater decorative effect to the healthy poetic
naturalism of the older artist. But Feamley died young,
just as his art reached its zenith, and thereby the line of
tradition from Dahl was broken, and the further develop-
ment of Norwegian painting considerably retarded.

The next group of painters, which appeared in the 'forties,
and influenced the character of Norwegian art for nearly
twenty years, sought its education in the studios of Diissel-
dorf . At that time a new romantic school was predominant
there, differing from Dahl's fresh, natural romanticism in its
more literary and eclectic outlook, with a preference for the
theatrical, the sentimental, and a pretentious

^:r4«Mil*^^ii

of colouring. Nevertheless, the period of Norwegian art
which followed — ^the Diisseldorf Period — ^must in certain
respects be regarded as a sort of golden age, rich in talent,
and in definite harmony with other movements in our
national culture. The time immediately before and after
the July Revolution was a period of reawakening after the
days of affliction that succeeded the war and the imion
of 1814. The courage which long had lain crushed under
financial troubles and political difficulties now rose and
expanded during the so-called Patriotic Period. Recovered
freedom, growing independence, and the glorious traditions
of the past which the nation was now ambitious of main-
taining, inspired the people with faith in the powers of
their country and themselves, a faith which found focus
in the personality of that great poet and national leader,
Henrik Wergeland. Alike in verse and in speech all
praised the "gallant Norwegian yeoman," and his rock-
bound land, but neither the yeoman nor his coimtry were
very well known at that epoch. Therefore, in the 'forties,
we note an intense desire to study the people and the
country, a period of self-discovery in Norwegian intellec-
tual life, when scholarship, poetry, and art went hand
in hand, each being accorded equal significance.

Dahl and Feamley, it is true, began this work by the
discovery of Norwegian mountain scenery, the beauties of
the fiords, the majesty of the moimtain wilds, and the pic-
turesque grandeur of waterfall. But as yet no great poet
or painter had really approached the people. The character
of the Norwegians still lay hidden and obscure in the dark-
ness of the saga ages. Hence the work of the investigator
was needed, and a desire to imite the past with the present
was steadily persistent throughout the years of later
romanticism which now followed in Norway. The work of

historical research was begun, its most famous exponent
being P. A. Mimch, the author of The History of the
Norwegian People. Simultaneously began the systematic
labour of investigating and preserving the great monuments
of the past, and of collecting the rich and varied treasures
of the Norwegian imagination. It was in those years that
our curious wooden churches were discovered, and our fairy
tales, our ancient legends and folk songs were collected and
interpreted, while our composers began to imbibe at the
foimtain head of folk melody.

Nor must we forget such painters as Tidemand and Gude,
the principal representatives of the Diisseldorf school, and
the only really popular Norwegian painters of the older
period. Tidemand desired to be an historical painter, and
to depict our heroic age, but he soon perceived that there
was a task nearer at hand which no one thus far had
attempted — ^the depiction of the Norwegian people of his
own time. It was thus that Tidemand selected the special
field from which he rarely departed, that of painting the
life and surroimdings of the Norwegian peasant. Tide-
mand's art suffers from the same faults as do the majority of
German paintings of the Romantic Period — ^it exhibits the
same tendency toward the literary and the sentimental, and
it reveals the same imdeveloped colour sense and lack of
individual execution. Nevertheless, his pictures of national
life proved a valuable factor in the onward march of
Norwegian culture.

The name of Hans Gude is intimately associated with
that of Tidemand, and the two artists are often mentioned
together. The yoimger landscape painter, who both as
friend and fellow-worker stood so near Tidemand, is the
second central figure in Norwegian painting of the middle of
the nineteenth century. Gude's art shows a wide range.

He portrayed the mountains and lakes, the narrow fiords of
the West, and the smiling landscapes of the East — all with
happy, harmonious feeling, and a keen sense of the idyllic.
Gude was also an academy teacher of high repute, first in
Diisseldorf, later in Karlsruhe and Berlin, and as such
occupied an important position as insturctor of the yoimger
generation.

However, during the 'seventies the yoimg Norwegian
painters, instead of turning to the above cities for edu-
cation, selected the new art center at Mimich, and thither
repaired most of the prominent painters of about the year
1880 who were destined to play such an important part in
the development of native art — e.g., the "men of the
'eighties" — Mimthe, Werenskiold, Eilif Peterssen, Skredsvig,
Kittelsen, Harriet Backer, Kitty Kielland, etc. Two of
the most gifted members of the same generation, Krohg
and Thaulow, obtained their education elsewhere, Krohg
in Berlin imder Gussow, and Thaulow first imder Gude at
Karlsruhe and later in Paris, yet in spite of subsequent
influences from other quarters, the work of most of these
painters shows traces of German training.

By degrees, however, the ties that boimd Norwegian
painters to Germany were loosened. Mimthe and Isaach-
sen, the two senior members of the group, were the earliest
to visit Paris and to receive first-hand impressions of
French art, and just as this latter school was celebrating its
superiority at the International Exhibition of 1878, its fame
appears to have reached the academy students at Munich.
Hence after the year 1880 we find nearly all the yoimg
Norwegian painters assembled in Paris, eager to learn and
to participate in the fight for the cause of modem art.

The golden age of naturalism had just dawned. The old
studio traditions were broken, Manet had propoimded a

new and fresher view of reality, and with his inspired tech-
nique had made giant strides toward the further develop-
ment of painting. Simultaneously Monet had revealed the
claims of landscape painting in the open air and simlight,
and was engaged in preparing a new and cleaner palette, and
in developing the technique of impressionism and studying
the decomposition of colour tones. Even though our Nor-
wegian painters did not always come into dose contact with
the actual exponents of the new art, they lived, nevertheless,
in a productive period, when fresh ideas were disseminated
far and wide. From Paris they journeyed northwards.
About the year 1883 nearly every imit of our artistic
strength was gathered in Christiania, determined to remain
in the old coimtry, to work and struggle at home.

We now enter a new epoch in the history of Norwegian
painting. The Period of Emigration is past and the
National Period begins. The younger men sought to free
themselves from the traditions of the German school, from
its eclecticism and studio taste, its dark and brownish
colour. From this time forward the influence of France
is predominant, even though foreign technique is always
adapted, as far as possible, to the requirements of our own
scenery and temperament. Werenskiold and Gerhard
Mimthe, in particular, displayed a firm desire to Nor-
wegianize themselves, and imder their guidance a new
period of self-culture was introduced. The plain, imroman-
tic landscape of the East, and the genuine, realistic Nor-
wegian peasant, without any extraneous adornment, now
appeared for the first time in Norwegian painting.

The early years of naturalism in Norway were both
stormy and noisy. The air resoimded with shibboleths,
war cries, taimts, wranglings, and squabbles. The public
was quite at a loss for a dear understanding of this new

open-air movement in landscape, and was full of illwill and
bitterness toward this naturalism which set itself the task
of portraying social life with brutal frankness, without pity
or mercy. The people at home had never seen other art
than that of the aftermath of the German romantic school,
and it is small wonder that this fresh tonality and free hand-
ling were completely foreign and distasteful to them.
Moreover, the lack of a critic with a right imderstanding of
the issues at stake widened and deepened the gulf that
separated the public and the painter.

The artists themselves, on the other hand, revelled with
no little delight in this troubled sea of contempt. Seen
from the outside, their fight often had the appearance of a
torrent of youthful outpourings and exaggerations. These
men were above all accused of being one-sided, but they
won strength in proportion as they developed this very
quality, for behind their defiance stood a sturdy faith in the
cause for which they struggled. Better fighters were, in-
deed, never seen. We are compelled to admire the courage
and fortitude displayed by this little band, crushed as they
were by poverty, accused of heresy, and despised by the
world at large. Yet they remained imdaimted. They
painted, argued, drank, and battled bodily, even, for the
new gospel. And at last the art of painting, after centimes
of thraldom imder the overpowering prestige of the old
masters, imder the discipline of academies, and the
formulae of pedantic esthetes, cast off its fetters, and
dared to view nature directly and paint her as she really
appeared.

With this newborn faith in actuality, this pantheistic
enthusiasm for nature and truth, the men of the 'eighties
wrote, spoke, and painted. In literature the main themes
were social problems and stormy demonstrations of bellicose

individualism. In art men were occupied with breaking
tradition, and securing a victory for dear-eyed reality.
The fight against the public and press was wild and reckless,
but when the victory was won — comparatively quickly —
and this young, radical art after the lapse of a few years was
not only tolerated but even imderstood, jyhen painting in
Norway finally achieved official recognition, there can be
little doubt that it was the result of the artists' courage and
sagacity, yet first and foremost because of the abimdant
talent possessed by this band, a generation that claimed
Werenskiold, Krohg, Thaulow, and Mimthe. Nor must we
forget to mention the rise of a yoimger group, with such a
genius as Edvard Mimch at its head.

Indeed, the 'eighties produced an enormous amoimt of
good art — a disproportionate amoimt in fact, for so small
and poor a nation as ours. Undoubtedly during these
years both painting and literature floiuished, and despite
all this juvenility and bustle, the lives and struggles of
these artists were traced in strong and characteristic lines.
The very idealism which they scorned by name was in
reality their inspiration — ^the idealism of life, action, and
opinion. Yet their efiorts alone could not have achieved
the victory so quickly. The naturalistic tendencies of
painting had as a backgroimd our national development
and the revolution in public consciousness that took place
during those years. The artists were but a tiny group in
the advancing army which at that period forcibly made its
way through traditional barriers. The strong, vital cur-
rents of thought from Ibsen's dramas swept through the
intellectual life of Norway, and thence across that of
Europe. The fresh moimtain breezes that issued from the
verse and prose of Bj0mson, the caustic fire of Georg
Brandes's criticism, the passion for truth in the works of

Garborg and Jaeger, the wave of radicalism that mounted
high in the political world — these were the secret forces in
the backgroimd.

This backgroimd shortly developed into a universal one.
Positivist philosophy, with its revaluation of old values,
scientific research, with its sobering effect in all departments
of intellectual life — even in art — all were factors in the case.
People began to pay more systematic attention to the
experiences of the senses, and naturalism waxed strong in
art, becoming a kind of twin brother to empiricism in science.
We feel that democracy is the soil from which all these
movements sprang, spreading restlessly about on all sides,
seething with discontent and with dreams of happiness. A
longing for social revolution everywhere makes itself felt,
and the revival of Norwegian painting in the 'eighties was
merely a reflection of those deep-seated currents of thought
that surged back and forth at this period.

The most prominent painters in the fighting line of the
naturalists were Thaulow, Krohg, Werenskiold, and Mimthe.
Of these Frits Thaulow first entered the lists, and was also
the first to withdraw and turn his back upon the narrow
artistic conditions of his native coimtry. Thaulow was a
typical cosmopolitan with a refined and elegant taste for
colour, who did not feel at home among the naturalists with
their bold strength and imadomed truth. Weary of the
rank smell of earth, so attractive to the open-air school, he
returned in his latter years to the studio, where, with dainty
touch and technical cleverness, he won for himself a Euro-
pean reputation, and for his productions a large market in
America.

Christian Krohg is gifted in quite another direction.
Originally a bold and vigorous colourist, he reached, under
the influence of Manet, a higher measure of picturesque

strength and raciness than any other Norwegian painter
before or since. Moreover, he evinced decided social
sympathies, both as painter and journalist, and above all
regarded art as a reflex of society. His work was charac-
terized by actuality, frequently with a definite purpose; he
usually selecting strongly marked types and a genuinely
veracious milieu. Krohg was first and foremost the demo-
cratic portrayer of modem social life, especially of the
Christiania proletariat, but at the same time he foimd a
special field in depicting seafaring life, and in particular in
painting the old Norwegian pilots with remarkable sym-
pathy and skill.

The third, and in certain respects the most significant
figure in the art of the 'eighties, was Erik Werenskiold, a
painter who despite his fifty-eight years still retains his
full vigour, and keeps abreast even of the younger mem-
bers of the school, always imprejudiced and clear-sighted
with regard to the relative status of modem painting. In
Werenskiold's artistic temperament we find strength of
purpose, cool calculation, and a quiet, happy enthusiasm.
He is a mixture of the logician and the lyrist. The fame
of Werenskiold as an artist is chiefly connected with his
now classic illustrations to Norwegian fairy tales, in which
he depicts each story with a happy insight into the char-
acter of the people, and, as it were, sees with the eyes of
a peasant. With masterly tact the scenes are laid in an
indefinite yet not very distant past, imagination and real-
ity alternating and supplementing each other in the most
delightful manner. As a painter Werenskiold has divided
his talents between a portrayal of the Norwegian peasant
in a typically Norwegian landscape and portrait painting.
His artistic development has proceeded evenly and without
lapses, yet marked by constant experiment and self-reno-

vation as to newer tendencies, so that of late he has
unreservedly espoused the modem movement in its striving
after strength of colouring and decorative effect.

Gerhard Mimthe early joined the three pioneer painters
mentioned above and, in fact, constituted the rarest
element in the resulting quartette. He is Norway's fore-
most landscape artist of the naturalistic period, and at the
same time he is the imaginative renewer and recreator of
our present-day decorative art, conceived in the old Norse
spirit. It is a matter for sincere regret that this original
and stimulating talent is not represented in our exhibition.

The whole artistic development of the 'eighties culmi-
nated, however, about 1890, in the work of Eklvard Mimch,
imquestionably the most gifted of all Norwegian painters.
With his intuitive genius, the profoimd spiritual depths
of his vision, his richly varied and soulful, though not
always technically finished production, he remains, in the
author's opinion, the most interesting and compelling perso-
nality in Scandinavian painting of to-day. The only artist
with whom he can be compared in point of creative strength
and poetic genius is his great contemporary, Gustav
Vigeland, the sculptor. Mimch was the product of the na-
turalism of the 'eighties. He was originally influenced by
Krohg, and during his fruitful period of the latter part
of the 'eighties, he painted some of the ablest figure com-
positions and portraits which can be foimd in the entire
range of our art. His great canvas. Spring, in the Natio-
nal Gallery, as a pictorial arrangement, a portrayal of
hiunanity, and a coloiuistic achievement, is an indisputable
masterpiece, and perhaps the most important and most
mature work in all Norwegian painting.

It is the first warm day of Spring. The yoimg girl's
invalid chair has been placed by the open window, and,

languidly reclining on the pillows, she sits and breathes the
air that sighs through the room. A light breeze laden with
the fragrance of the fields at this moment fills the window
curtain, so that it swells like a sail. As if in gratitude the
glance of the convalescent is directed toward her aged
mother, who is seated knitting close by, and who eagerly
scans the expression on the invalid's coimtenance. No
words are uttered, but the silence is full of quivering
expectation, while the vernal simshine floods every comer
of the simple interior.

There is another canvas, earlier in date, but with a
similar motive, although quite differently handled, entitled
The Sick Child, of which a later replica may be seen in the
present exhibition. Out of warm twilight tones gleams the
pale profile of a child with a halo of reddish golden hair.
At her side appears the kneeling form df the mother, bowed
in grief. The lines of composition are incomparably
blended in this picture, over which flutter the shadows of
the wings of Death, and in which two beings, so fondly
imited, are about to be gently separated one from the
other.

As a landscape painter Mimch is first and foremost the
portrayer of the northern siunmer night. No one has ren-
dered as he the mystic suggestion of those light nights, with
mighty tree tops swaying above slimibering white houses
and the pale, blurred outlines of the surroimding coimtry.
Often against this soft backgroimd he masses the striking
splendour of pure colour, as seen in the bright summer
costiunes of yoimg girls and women in the foregroimd. It is
very characteristic of Mimch's art that it oscill^ites between
the tender and the poetic and the most powerful demon-
strations of chromatic strength which sometimes do not stop
at sheer brutality. He is typically Norwegian, both in his

lyrical feeling and in his violence, in his morbid fantasy and
his alert and sensitive apprehension of reality.

Munch's contribution marks the parting of the ways in
the development of Norwegian painting, the turning point
from photographic realism and illusionism to a purely per-
sonal interpretation and picturesque strength and beauty.
Not one among the young men of talent can be foimd who
has not received vivid impressions from his work, and most
of all is this true of his gifted follower, Ludvig Karsten.
This painter, who is justly considered the strongest and most
spontaneous genius among the yoimger group, goes even a
step further than Mimch in the direction of out and out
subjectivism, but in his best work he displays qualities so
buoyant, so strong, and at the same time so varied and
refined, that he may even be said to compete with Munch
himself.

The talented portrait and landscape impressionist, Henrik
Limd, although he now pursues his own path, also clearly
stands in a position of indebtedness to Mimch. The key-
notes of Limd's art are his shrewd psychological analysis
and his pointed presentation of character. None can equal
him in catching a fleeting expression and transferring it to
canvas — a glance, a half smile, a feature that reveals and
yet conceals personality. He handles his brush with dexter-
ous and virile strength, which fact makes him one of the
few virtuosos of Norwegian painting. Allied to the fore-
going artists we find the painter of still-life, Folkestad, with
his gay, decorative pictures of flowers and fruit, while at a
somewhat greater distance should be placed the tasteful
and subdued coloxirist, Kavli, with his captivating silver-
grey harmonies.

The painters Thorvald Erichsen and O. Wold-Tome are
modem colourists of another type. Both obtained solid,

thorough training in the Danish schools, and both subse-
quently received strong impetus from French impressionism
and from Cezanne. We can readily trace this latter rela-
tionship in their brilliant yet subdued and richly saturated
colouring, often showing an iridescent siuface, and their
fondness for tones of violet-blue. Thorvald Erichsen from
quite an early age was a pvirist in art, and, freed from all
restrictions, he espoused the cause of Vart pour Vart^ and
added to Norwegian painting elements of taste and ele-
gance that were previously lacking. In this respect he has
faithfully co-operated with his comrade and congenial
fellow-spirit, O. Wold-Tome, a genuine, beauty loving still-
life painter, who, in company with Werenskiold and Mimthe,
has led Norwegian naturalism further toward refinement
of style and colouration.

Lastly, we must mention Harald Sohlberg, a solitary and
imique figure, who belongs to the new romantic group of
the 'nineties, and has remained isolated from the impres-
sionist movement. No one can fail to remark the carefully
drawn and minutely detailed landscapes of this artist, with
their rich, enamel-like colouring, affording an extremely in-
teresting combination of stylistic and naturalistic motives.
Sohlberg's art goes its own way, but its earnestness and
tense sincerity are the loadstars that keep it from straying
too far afield. Art with such a strong stamp of individuality
will always achieve its ends, nor can it fail to rejoice and
inspire sjrmpathetic spirits.

Had we space we might also mention Holmboe, with his
boldly and broadly painted landscapes; Onsager, with his
sensitive and subdued figure compositions, as well as many
others. Yet this brief introduction does not aim at com-
pleteness, so we shall herewith; permit the pictures to
speak for themselves.

SWEDISH SECTION

Under the Gracious Patronage of

HIS MAJESTY GUSTAV V

King of Sweden

ANNA BOBERG— From a fitotogtapt

PAINTINGS

BOBERG, Anna, Stockholm

Anna Boberq was bom the 3 December, 1864 at Stock-
holm. She is a daughter of F. Scholander, who played
such a prominent part in the development of modem Swedish
archiecture, and is the wife of Ferdinand Boberg, one of
the most eminent architects in Sweden. With that daimt-
less energy so characteristic of the highly talented family
to which she belongs, she has, during the past few years
worked her way up to European fame. The locality from
which she takes her subjects is the Lofoten Islands, off
the coast of Norway, and there she has painted those huge
moimtains rising out of the sea, surroimded by fleets
of fishing boats, which have the same form as the old
Viking ships, and the crews of which have not a little of
the hardiness and courage of the Vikings. Though certain
Swedish critics have not infrequently treated the work of
this talented artist with imjustiflable harshness, yet abroad,
and especially in Venice and in Paris, these paintings from
the North, rendered by a woman of imcommon artistic
talent, who combines with her love of art the true Scandi-
navian fondness for outdoor life, have been greeted with
distinct enthusiasm. Mrs. Boberg often spends long
periods in the solitude of these far-away islands, where
something of the sturdy spaciousness of old Northern
times still survives.

1 Sunlight and Showers

2 At Rest, Sunday

3 Dragonheads

4 After the Day's Work

5 Boats and Fisher Huts

6 Not a Ripple

7 Putting Out to Sea

EUGEN, H. R. H., Prince Eugen,

Prince Euqen, son of Oscar II and Queen Sofia, was
bom the 15 August, 1865 at Drottningholm Castle. He
began to paint about 1885, and studied in 1887 at Paris,
where Puvis de Chavannes seems to have aroused his taste
for decorative art. He exhibited for the first time in 1889
in Paris, and during the last few years has lived at Valdem-
arsudde, in Djurgarden Park, Stockholm, occupying the
beautiful villa built for him by the distinguished architect,^
Ferdinand Boberg. The services Prince Eugen has rendered
modem Swedish art are inestimable. He has generously
aided and supported a large niunber of yoimg painters, has
exercised an extensive patronage in the shape of orders for
pictures, and finally has himself created genuine works of
art and studied his craft deeply and without a trace of
dilettantism. It is particularly the Swedish summer night,
with all its feeling of unison and melting into one great har-
mony, that he depicts as no one else has done. Tegner
describes the Scandinavian summer night with the words:
** *Twas not day, 'twas not night — a-poise between the two,"
and for the Swedes, Prince Eugen's pictures wake into deep
and rich life their innermost and profoundest feelings for
nature. Yet Prince Eugen paints not alone the more remote
appeal of distant wooded and watered landscape, but also
devotes his energies to recording the constantly shifting
panorama of life and scene in and about Stockholm. And
to no theme does he fail to impart that note of refined and
exalted lyricism which is the dominant characteristic of his
temperament.

8 Swedish Summer Night

9 After Rain

FJiESTAD, Gustaf Adolf, Arvika

GUSTAF FJiESTAD was bom the 22 December, 1868 at
Stockholm. He studied at the Academy of Arts from
1891 to 1892, and also under Liljefors. Fjsestad, like the

latter, is both sportsman and painter. In his art he views
native landscape with something of an arbitrarily chosen
viewpoint, now bringing out the decorative elements in rip-
pling water, mosses, and snow-drifts heaped together by the
wind, and again appljdng his stylistic vision to textiles and
furniture. It is, however, through his snow scenes from
wintry Sweden that he has won such appreciation abroad,
and rarely have snow and frost effects been painted so con-
vincingly. Fjsestad devotes himself extensively to applied
art, and in his rustic furniture has striven to produce true
Scandinavian decorative motives, and in his carpets and
wall-hangings he gives artistic expression to mosses and
flowers of the forest, or the quaint surface formation of
water-rings. In all this work he has imquestionably said
new and personal things concerning the treasury of beauty,
left unregarded for centuries, to be foimd in the fantastic
and varied shades and shapes the snow can assume, the
snow which had previously been regarded in art and litera-
ture from but one point of view — ^that of white, virgin
purity.

Winter Morning

Part of Waterfall

Hoarfrost

Meditation

September Night

Ripples

Sun and Snow

Running Water

18 Winter Night— Tapestry

19 Running Water — Tapestry

20 Thaw — Tapestry

21 Below the Falls— Tapestry

GUSTAF ADOLF FJ£STAD — Prom a photograph

HALLSTROM, Gunnar, Bj6rk6

GUNNAR HALLSTROM was bom the 2 May, 1875 at
Stockholm. He studied from 1893 to 1897 at the Academy
of Arts, and has resided during the past ten years at Bjorko
in Lake Malaren. In this beautiful island, where the town
of Birka was once situated, and where the French monk,
Ansgar, in the middle of the ninth century, first preached
the Christian faith, there still survives something of the
ancient Swedish peasant culture, and this profoimdly ima-
ginative artist has made Bjorko the focus of his esthetic
activity. He paints and draws not only ancient graves,
ovei^ which birches are soughing, but also yoimg, living
Sweden — ^light-haired men and women, dancing roimd the
Walpurgis Night fires, or speeding on skis over the frozen
waters of the lake. Hallstrom is an entirely independent
artist. He has a strong feeling for the decorative, which is
displayed to advantage in his tapestries and vignettes, and
notably in the strikingly suggestive and characteristic poster
which he has designed for the present exhibition.

22 On the Frozen Snow

23 The Gladness of the Earth

24 On the Border of the Field

HESSELBOM, Otto, Seffle

Otto HesselboM was bom in 1848 at Animskog, in
the Province of Dalsland, and it is in this province,
situated on Lake Vanem, the largest lake in Sweden, that
he has painted and still paints his typically Swedish views
over blue heights and broad waters. His artistic develop-
ment was slow, and it is strange to think that the meek
Mission School boy, who so tardily began his studies at the
Stockholm Academy of Arts, should have been appreciated
in Germany and Italy before his name was even known to
Swedish artists or patrons of art. He strives after simplicity
and monumentality, giving his pictures a lyric quality and a

GUNKAR HALLSTROH — From a photoBraph

quiet grandeur which are typical of certain aspects of the
Swedish landscape. Hesselbom now resides at Seffle in
Varmland, near Lake Vanem, and has recently had the
satisfaction of seeing himself better and better appreciated.
His pictures have been purchased by leading museums
at home and abroad, and he is an artist who has made his
way by dint of extraordinary energy and singleness of
purpose.

25 My Country

26 View Over Lake Arran

27 My Parental Home

28 Evening Landscape, Lake Arran

LARSSON, Carl, Sundbom

Carl Larsson was bom the 28 May, 1853 at Stockholm,
where he studied at the Academy of Arts from 1869 to
1876. He meanwhile supported himself by illustration,
went over to Paris in 1876, and in 1883 revealed his first
independent artistic style in a series of bright and delicate
water-coloiu^. As an illustrator, too, he shortly attained a
much higher plane. Residing first at Gothenburg and then
at Stockholm, he devoted himself to mural decoration, his
most important work in this line being his six frescoes in the
National Museum and his great ceiling-piece in the foyer
of the Dramatic Theatre in Stockholm. He is best known,
however, by his water-coloiu^, aboimding with true Swedish
feeling, love of home, and good humour. These pictiu-es,
executed with a consmnmate mastery of line, have, by their
wide yet merited popularity, doubtless prevented the gen-
eral public from fully realizing his greatness as a miu-al
painter. Rarely has the sheer joy of esthetic creation so
come to light as in Carl Larsson and his art. These emana-
tions from a singularly rich personality have influenced and
invigourated the entire nation. At Simdbom, near Falun,
Carl Larsson has built for himself a home in every way

OTTO HESSELBOM— From a [diotosraph

worthy the artist, a home which he loves, and which it has
been his delight to depict with inexhaustible charm and
variety.

Myself

My Wife

Shelling Peas

The Love Park

In Mother's Bed

Theatrical Cogitations

In the Snow

Nerium

Kersti at the Window

37A In the Study
LILJEFORS, Bruno Andreas, BuUero

Bruno Liljefors was bom the 14 May, 1860 at Upp-
sala, and studied from 1879 to 1882 at the Academy of Arts
in Stockholm. The great animal painter travelled in Ger-
many, Italy, and France, but has been little influenced by
other painters. He has spent nearly his whole life in
Sweden, in the coimtry, first near Uppsala, and, during the
last twenty years, some miles south of Stockholm. Lilje-
fors is pre-eminently the painter of the forest. It has been
said of him that he paints natural history, and, indeed, in
his pictures everything is reproduced with the exactness of
the himter and the lover of nature. He delights in depict-
ing the protective mimicry of animals, such as evoking S3rm-
phonies of colour from a group of brown-speckled waders
on the sandy beach. Liljefors paints animals as they are
when no one sees them. He surprises them in their life
and death struggles, without being visible himself. It is
within his power, and his alone, to show us the ducks as they
quack mysteriously in the light summer night, or the foxes
slinking farther and farther into the forest, where the music

of the pines has been soughing since time immemorial, and
where everything gives forth a compelling sense of the unity
of all organic life.

38 Foxes

39 The Hunter

40 Fox Shooting

40^ Birds in the Snow

ZORN, Anders Leonard, Mora

Anders Zorn was bom the 18 Febniary, 1860 at Mora,
in Dalame, the son of a brewer from Bavaria and a
Dalecarlian woman. He was brought up as a peasant boy
on the banks of Lake Siljan, and when but a small child
gave evidence of his passion for art by carving wooden
figures, which he coloured with berry juice. At the age of
fifteen he went to Stockholm. Though he first studied
sculpture at the Academy of Arts, it was as a water-colour
painter that he made his initial mark. As early as 1881 he
began to travel, spending considerable time in Spain, and
later residing for some years in London. Diuing the
'nineties he passed no little time at his home in Mora, upon
which he has lavished his most ardent love, but he has also
resided in Paris and the United States, where his breezy
freshness, his spirit and dash, his inimitable blending of
rusticity and elegance, and the vigour and healthy sensuality
of his line and stroke readily found both enthusiastic and
discriminating admirers. Zorn may sometimes be imcon-
vincing in his painting, but when he does succeed, he con-
jures up reality itself, and gives his work a definite some-
thing which recalls Frans Hals, though Zorn never*tried to
learn from the masters of either the seventeenth or the
eighteenth centuries. Technically he has chiefly aimed at
giving proof of his supremacy as a painter of light and of
fleeting chromatic effects. He has endeavoured to repro-
duce that which he most loves — the fullness of life —

BRUNO A. LILJEFORS — Portrait by Andera L. Zorn

and his personality' shines forth in every line» every patch
of colour.

41 Mona

42 Matins on Christmas Day

43 Djos-MattSy Clockmaker of Mora

44 Skeri-kulla

45 At the Window

46 Dagmar
46A Hall Kesti

SCULPTURE
EDSTROM, David, Stockholm

David Edstrom was bom in Sweden in 1873, and came
to America as a mere child, his parents settling in Iowa.
Until nearly twenty he lived in the West, at which age,
desirous of piu^uing an artistic career, he returned to his
native coimtry and began his studies at the Stockholm
Academy. He early revealed remarkable talent, particu-
larly in the field of plastic portraiture, and continued his
apprenticeship in Florence and in Paris. Edstrom was seen
to particular advantage with his associates of the Konst-
narsforbimdet at the Berlin Secession in 1910, and still
more recently at Stockholm and Amsterdam, having held
this siunmer in the latter city an important collective exhi-
bition conjointly with his cpimtryman, Carl Larsson. His
portrait busts of Ernest Thiel, Esq., of Professor Knut
Kjellberg, of the publisher, Karl Otto Bonnier, and other
notable men, display imcommon vigour of characterisation
and psychological analysis.

47 Ernest Thiel, Esq. — Bronze

ANDERS L. ZORN — Portrait of telf

MILLES, Carl, Stockholm

Carl Milles was bom the 23 June, 1875 at Lagga, near
Uppsala, but received his artistic training in France,
where he studied under Fremiet. Milles, who has been
residing in Stockholm for about a decade past, is a fertile
artist, rich in creative power. He is as full of ideas and
projects as he is conscientious in their execution, plunging
into the biggest and most arduous tasks with joyous enthusi-
asm. The statue of the Swedish chemist, Scheele, at
Koping, is considered one of his best works, and the huge
seated statue of Gustaf Vasa, in the Northern Museum,
at Stockholm, shows that Milles has already entered into the
popular consciousness, for this Gustaf Vasa stands for
Swedes as the true type of the king who "built up Sweden
from floor to roof." Eagles, elephants, giant lizards, and
bears, at once grotesque and monumental, have also been
fashioned by Milles in granite and in bronze. His work is
free and broad in treatment and never fails to reveal a wel-
come measure of spirited, graphic verity.

48 Dancing Girl — Marble

49 Dancing Girl with Drapery — Marble

50 Lost in Thought — Polychrome marble

51 After Six O'Clock — Bronze

52 At the Farrier's — Bronze

53 Elephants — Study — Bronze

54 Dutch Milkmaid — Bronze

55 Six Studies from Holland — Silver

PETTERSSON, Axel, Doderhult

Axel PetTERSSON was bom in 1868 at Doderhult,
in SmMand. He is from the same province as the
great humourist, Albert Engstrom, and, like the latter,
depicts the lean, shrewd old peasants and peasant women

CARL MILLES — From a photograph

AXEL I^rraRSSON— From ■ photograph

with their quaint air of assurance. He also carves similar
subjects, and, like the Japanese, puts something at once
grotesque and artistic into his wooden statuettes, which
arc now known and prized the world over. Pcttersson is
himself a peasant's son. Me first began work as a joiner.
He is wholly self-tai^t, and a man of unusual originality.
His style of execution, his feeling for the requirements of
the material, and for broad, simple planes, constituting a
sort of impressionism in wood carving, render his emacia-
ted hacks, his obstinate bulls, and burlesque peasant wed-
dings and funerals really remarkable works of art.

56 The Christening — Wood

57 At the Photographer's — Wood

58 The Burial — Wood

DANISH SECTION

Under the Gracious Patronage of

HIS MAJESTY CHRISTIAN X

King of Denmark

THORVALD BINDESBOLL— Portrait by Vilhelni HammeMhCi,
CoUection of Dr. Alfred Bramaeo, Copetiha{eii

THORVALD BINDESB0LL

The late THORVALD BiNDESBeLL, whose countenance so
characteristically adorns the opposite page, was indisput-
ably the most virile and fecund force in the entire field of
contemporary Scandinavian decorative art. Bom at
Copenhagen in 1846, he died sixty-two years later in the
city which he strove so variously to beautify, and of which
he remains to-day one of the imperishable glories. The
career of this remarkable individual was an incessant
struggle toward an ever richer and more typical esthetic
self-expression. His energy was boundless, and his activity
as unceasing as his flow of wit and lusty good hiunour which
were tempered now and again by a manly and merciless
sarcasm. He touched current artistic endeavour at an
infinite niunber of points, and everywhere left the impress
of his vigorous personality and unflagging inventive ex-
uberance. The son of the well-known architect who
planned the Thorvaldsen Museum, he was himself trained
in the paternal profession, which he practised whenever
opportimity offered. It was, however, in the province of
creative design that he attained highest rank, and no one
familiar with his work in pottery, furniture, silverware,
tapestry, book-binding, or decorative ornament of any
description will fail to recognize the abundant freedom and
rhythmic eloquence of his contribution. While there are
echoes in this art of such widely divergent influences as the
Romanesque, Baroque, and Chinese, still, in the final
analysis, £dl that he has left behind remains sheer BindesboU
in its opulent breadth of form, fluent individuality of
stroke, and sonorous richness of tone. It is a pleasure
to offer herewith even such an inconsiderable fragment of
BindesbcU's art as may be noted in the cover and incidental
decorative features of the present catalogue. The designs
are published with the special sanction of Director Karl
Madsen, and have been adapted and arranged, in as far as
has been necessary, by Bindesbj&U's favourite pupil, Mr.
Svend Hammershei, brother of the Danish painter, Vilhelm
Hanunershci, and himself an artist of distinction.

PAINTINGS

GIERSING, Harald, Copenhagen

Harald Giersing was bom in Copenhagen and oc-
cupies a prominent place among the younger group of
Danish painters who have lately done so much toward
shattering the chrysalis of a comfortable past. They have
one and all derived their chief impetus from the ever fruit-
ful city by the Seine, which, at stated intervals, takes it upon
herself to revolutionize and renovate the field of art.
If his friend and fellow worker Eklvard Weihe leans vaguely
toward Cubism, Giersing goes further back and takes his in-
spiration mainly from Cezanne. He exhibits of course at the
Erie Udstilling, the stamping groimd of modernism, his group
last spring and summer being a particularly interesting
one consisting of eight portraits and nature studies. While
it cannot be said that Giersing has as yet found himself
in an artistic sense, he has nevertheless given evidence of
uncommon talent. In order to be comprehensive, an
exhibition should look courageously forward into the futiu-e,
as well as safely and placidly back to the past, and Harald
Giersing is one whose work clearly points to newer and
fresher accomplishment.

59 Girl with Blue Skirt

HAMMERSH0I, Vilhelm, Copenhagen

VILHELM HAMMERSH0I, was bom the 15 May, 1864
in Copenhagen, and pursued his artistic studies at the
Royal Academy of Arts from 1879 to 1884, after which he
was for sometime a pupil of Kr0yer. In the spring of 1885
he made his first appearance at the annual Charlotten-
borg Exhibition, on which occasion he displayed the
celebrated Portrait of a Young Girl, now in the Hirsch-
sprung Collection. There was little trace in any of his
early work of the facile pleinairism of his master, Kr0yer,
for from the very outset Hammersh0i began to see life

HARALO GIERSING — Portrait of self

and nature after his own inherently subtle and in-
dividual manner. In their delicacy of vision, subdued
ambience of .tonality, and premeating quietude of spirit
these interiors and genre studies are quite without parallel
in the province of modem artistic achievement. They re-
call in a measure the modest triiunphs of the Dutchmen
of the seventeenth century, yet no Dutchmen ever showed
the tense and tremulous subjectivity which these incom-
parable little panels reveal. In 1891 Hammershei, to-
gether with a niunber of the more progressive Danish
painters, left the dull official somnolence of Charlottenborg
in order to imbibe the fresher atmosphere of the Frie
Udstilling, and year by year his work has gained in depth
and esthetic penetration. He is now recognized throu^-
out Europe as a unique artistic personality, and in 1911
won the Grand Prize at the International Exhibition in
Rome. Although the early stages of his career were not
marked by a conspicuous measure of success, Hammershoi
was fortunate in finding a discriminating and enthusiastic
patron in Dr. Alfred Bramsen, of Copenhagen, to whose
courteous generosity we are indebted for the present
characteristic group of canvases.

60 Western Portal, Christiansborg Castle

61 The Church, Christiansborg Castle

62 The Young Virtuoso, Mr. Henry Bramsen

63 Sunbeams

64 Kronborg, Hamlet's Castle

65 Open Doors

66 Montague Street, London

67 Entrance to Asiatic Company, Copenhagen

68 The Balcony Door

69 Bedroom

70 Drawing-room, Lady Reading

J0RGENSEN, Axel, Copenhagen

Axel JORGENSEN was bom the 3 February, 1883 in
Copenhagen, and thus obviously belongs to the younger
group of Danish painters who are to-day winning their
laurels with such remarkable rapidity and assurance.
Studying first at the Technical School at Copenhagen,
J0rgensen made his debut at Charlottenborg in 1908, and
two years later attained signal success on the occasion of
his appearance at the exhibition of The Thirteen, a group
of young radicals who have already given excellent account
of themselves. The same year — 1910 — ^he was invited to
send to the Erie Udstilling, or Free Exhibition, and sub-
sequently made his appearance at the International Ex-
hibition at Rome. The painter's recent retrospective dis-
play at Blomqvist's in Christiania stamped him as con-
siderably more than a promising newcomer. His style
reveals welcome breath and freedom, his grasp of character
is firm, and, both in his work in black and white and on
canvas, he proves himself the possessor of a distinctly
marked esthetic individuality. It is a pleasure to add that
J0rgensen is another of that group of talented progressives
who have lately won favour with Director Madsen of the
Royal Gallery.

71 Portrait

72 Portrait of Young Man

KYHN, Knud, Copenhagen

Knud Kyhn was bom the 17 March, 1880 in Copen-
hagen, and received his preliminary training at the Royal
Academy of Arts, where he at once displayed his fondness
for pure colour and refreshingly decorative effects. He
made his first professional appearance at Charlottenborg
in 1906, and since 1908 has been regularly invited to ex-
hibit at the Erie Udstilling where he finds himself in dis-
tinctly more congenial company. Although still a young

AXEL J0RGENSEN — Portrait of »elf

man he has ah-eady won recognition on the Continent,
having recently hem seen to advantage at the Salon des
Independants in Paris and also at the Berlin Secession,
his group of three brightly tinted panels having been parti-
cularly admired in the latter galleries last summer. Both
in spirit and in practice an essentially decorative painter,
Kyhn adds a welcome note to Danish art, which, until now,
has shown marked neglect of those tendencies which may
be briefly characterised as stylistic, and with which the
Swedes evince such pronounced S3rmpathy.

73 Ducks in Flight

74 Mowgli in the Jungle

LARSEN, Johannes, Kjerteminde

Johannes Larsbn was bom the 27 December, 1867
at Kjerteminde, on the Island of Fyn. He did not receive
formal instruction from any of the Danish art schools or
academies but from 1884 to 1893 pursued his studies in
more leisurely and stimulating fashion under Kristian
Zahrtmann. In 1891 he made his appearance for the first
time at the Charlottenborg exhibition, and since 1893
has been a member of, and regular contributor to, the
Frie Udstilling. Larsen has also studied and painted at
different intervals in Paris, in Italy, and even Boston, where
he resided for sometime in 1907, Together with his fellow-
pupils under Zahrtmann, Fritz Syb^ and Peter Hansen,
Johannes Larsen forms the nucleus of what is known in
modem Danish painting as Den fynske Skole, a group of
sincere and earnest natiu-e worshippers who find their
chief inspiration in the Island of Fyn and whose best pro-
ductions are to be seen in the provincial museum of Faaborg.
Larsen is Denmark's foremost painter of bird life, and inva-
riably lends his work a verity of observation and char-

JOHANNES LAESEN — From a photograph

acteristic truth of setting and colouration ^ich never
fail to attract interest both at home and abroad.

75 At the Window

76 Peahen and Young

77 Summer by the Sea

78 Goldfinch in Cage

MADSEN, Viggo, Lyngby

VIGGO Madsen was bom the 5 March, 1885 at Lyng-
by, one of the numerous beautiful suburban resorts in the
vicinity of Copenhagen. Like his distinguished father,
Director Karl Madsen of the Royal Gallery, Viggo Madsen
early gave evidence of marked artistic talent, and in 1903
made his entry at Charlottenborg. The following year he
became a member of the Frie Udstilling, the magnet which
inevitably draws into its energizing radius the younger
and more progressive exponents of Danish art as well as
not a few of the older spirits who thereby seek to postpone
as long as possible the impending process of fossilisation.
In his portraits, genre studies, and landscapes Viggo
Madsen displays no little fresh charm of vision and freedom
of handling.

79 Portrait of My Mother

80 View from My Bedroom Window

NIELSEN, Einar, Hellerup

EiNAR Nielsen was bom the 9 July, 1872 at Copen-
hagen. After studying for a brief period at the Technical
School he entered the Royal Academy of Arts where he
remained from 1889 to 1893, making his appearance the
latter year at the Charlottenborg exhibition. Owing
largely to considerations of health he has, since 1905,
resided mainly in Italy, returning occasionally to pass the

EINAR NIELSEN — From a photograph

summers at Gem, in Jutland, and but rarely opening his
modest white house set among the trees of Hellerup. His
position in Danish art and, indeed, in the art of Europe is
imique. His tense, scrupulously designed, and penetrant
portraits and character studies are imlike anything in
modem painting. Almost achromatic in tone, yet incom-
parately faithful in line, instinct with psychological feeling
and imbued with a deep sense of himian misery and suffer-
ing, these canvases exercise a powerful appeal wherever
they make appearance. His own lack of phjrsical vigour
has imquestionably coloured his vision of external reality
and conferred upon his art its acutely sensitive modernity
and sympathetic affinity with that which is most enduring
in the production of the past, particularly the work of the
Italian primitives.

81 Evening Bells

82 Portrait

83 Brittany Woman

PAULSEN, Julius, Copenhagen

Julius Paulsen was bom the 22 October, 1860 at
Odense, where he began his artistic career in humble
fashion as pupil in the Technical School, and was subse-
quently apprenticed to a local house painter and interior
decorator. Encouraged chiefly by his mother to continue
his studies, he moved to Copenhagen, remaining at the
Royal Academy of Arts during 1879-1882. His debut was
made at Charlottenborg in 1879 and since then he has been
a constant exhibitor and has at various intervals been
accorded the highest official honours. As a member of the
Royal Academy, a member of the Academy Council, and
an Academy Professor he has enjoyed unusual prestige,
a prestige in the main justified, though within the past few
years taste has decidedly changed respecting the more
academic side of his production. As a landscape painter,
and in the province of portraiture he however continues

to hold his own, being indeed the only Danish artist save
Krjeryer, and in a lesser degree Tuxen, to give his sitters
that touch of cosmopolitan elegance so currently admired
in social and diplomatic circles.

84 Portrait of Baron Rosenkrantz

RING, Lauritz Andersen, Baldersbrcnde

Lauritz Andersen Ring was bom the 15 August,
1854 in the village of Ring, in Seeland, where his ancestors
had for generations been humble cottagers. There being
scant opportunity to pursue his artistic studies in the
nearby town of Praestjer he came to Copenhagen in 1875
and remained at the Academy for a considerable period.
In 1882 he made his first appearance at the Charlottenborg
exhibition, and it is on the historic walls of this same
venerable institution that his canvases are still annually
seen. Save for a few brief trips abroad this essentially
home-loving artist has passed most of his quiet, industrious
lifetime in Denmark, the fiat, wide-horizoned scenery of
which he loves so deeply and paints with such endearing
truth and sincerity to fact and to spirit. Ring continues
the line of that older generation of artists who were the
veritable founders of Danish landscape. His art is purely
traditional, and has nothing in common with that of the
younger men now so much in the public eye. To visit
his modest, vine-covered and flower-fronted home near
Roskilde is like finding one's self back in the frlagrant, repose-
ful atmosphere of past existence and patient endeavour.

85 The Postman

86 Winter Day

87 The Farewell

88 Karrebaksminde

89 Marshland

SCHOU, Karl, Valby

Karl Schou was bom the 9 March, 1870 in Copen-
hagen, and at the age of seventeen became a pupil of Kris-
tian Zahrtmann, than whom no one has done more toward
opening the eyes of the younger generation of Danish and
Norwegian painters to the myriad possibilities of nature in-
terpretation and the colouristic beauty of wellnigh any speci-
fic object or scene either within or out of doors. Like so
many of his comrades, Karl Schou made his first public
appearance as a painter at Charlottenborg (1891), after-
ward joining forces with the Frie Udstilling of which he
has been a member since 1896. Continuing his studies in
Paris, London, and Italy, he returned to his native coimtry
where he has won a distinct place for himself as a subtle
and poetic apostle of delicately varied atmospheric effects.
Schou in essence belongs with the tonalists. His freely
handled little canvases are usually conceived in a single
carefully sustained key, and seldom fail to reveal refinement
of taste and true esthetic sensibility. His art is subjective
in appeal, and stands in direct antithesis to the clear-eyed
objectivity so characteristic of Ring.

90 Miss B. at the Piano

91 The Farm

92 Farmyard After Rain

93 In the Garden

SWANE, Sigurd, Copenhagen

Sigurd Swane was bom the 16 June, 1879 at Frederiks-
berg, Copenhagen. During 1900-1902 he studied at the
Royal Academy of Arts, and from 1904 to 1906 was imder
the sound and stimulating guidance of Kristian Zahrtmann.
He meanwhile, before going to Zahrtmann, made his debut
at Charlottenborg, and in 1907, after completing his studies
at home, spent considerable time in Paris. It was in Paris
that he absorbed to the full the new gospel which at that

LAURITZ ANDERSEN RINQ — From a pbotc«raph

period had barely become known in Copenhagen, and on
his return naturally cast his lot with the Frie Udstilling of
which he is one of its strongest pillars. Swane's work is
marked by a pronoimced degree of colouristic vigour and
beauty. He also draws with freedom and power, and his
grasp of character is imcommonly sure. In that great
struggle for self-expression along novel and independent
lines, that fight for simplification of contour and of tone
whidi is so completely dianging the complexion of modem
painting, Swane is already making his personality felt, and
will doubtless prove a prominent factor in the forward
march of contemporary Danish art.

94 Four Artists

95 Early Spring

96 The Forest, Afternoon

SYBERG, Christian Friedrich Wilhelm Heinrich,
Copenhagen

Fritz Syberg, as he is somewhat more expeditiously
known, was bom the 28 July, 1862 at Faaborg, and it is as
a prominent member of Den fynske Skole that he takes well
defined place in the minds of the Danish public. Like his
comrades Johannes Larsen and Peter Hansen, a pupil of
Kristian Zahrtmann, with whom he studied from 1885 to
1891, Syberg made his debut at Charlottenborg, and sub-
sequently joined the Frie Udstilling where he has regularly
exhibited since 1893. At different intervals he has con-
tinued the study and practice of his profession in Germany,
Italy, and Paris, and from 1909 has resided in Pisa. While
in no sense brilliant or dexterous, the art of Fritz Syberg
compensates for any seeming lack of manipulative mastery
by its manifest sincerity of purpose and fidelity to fact.
There is an inborn as well as voluntary rusticity of theme
and treatment to the work of this particular group which
at once commends their production to the quiescent, home-

SIGURD SWANE — Portrait of Mlf

loving Danes. They represent that national note in
Danish painting so dear to Director Madsen, and which,
though it is never lost, is at times in danger of being obscured
by extraneous influences.

97 The First Day of Spring

98 September Sunshine

99 Gulls at Meilo

100 Sunshine and Mist, Kattegat

WEIHE, Edvard, Copenhagen

Edvard Weihe was bom the 18 November, 1879
and received his preliminary training at Copenhagen under
Zahrtmann during 1905-07. It is, however, Paris and the
restless ferment of latter day artistic effort which have
had the most pronoimced influence upon him as, indeed,
upon so many of the younger Copenhagen painters of his
generation. He has lately joined the Frie Udstilling where
his recent canvases displayed distinct traces of that wave
of wholesome radicalism which is at present causing con-
sternation among the ranks of the timid and conservative
devotees of precedent. Weihe is to-day engaged in casting
off the shackles of a smooth, insipid beauty that has long
since lost all significance and seeking, in the sturdier and
more simplified creed of the progressives, a characteristic
esthetic programme. Judged according to the most
advanced standards he cannot be called an extremist,
though he is thus regarded in Copenhagen, and will doubt-
less be considered even more so in America. It is such
young men as Swane and Weihe who should help to con-
vince us that we are artistically stagnant, and their presence
in the current exhibition is to say the least — opportime.

101 Portrait of My Mother

102 Flower Market » Copenhagen

EDVARD WEIHB — Portrait of self

WILLUMSEN, Jens Ferdmand, HeUerap
Jens Ferdinand Willumsen was boifn the 7

September, 1863 at Copenhagen, and received his prelimin-
ary training at the Technical Institute, later entering the
Royal Academy of Arts where he remained from 1881 to
1884, subsequently studying for a time under Krjeyer.
His first public appearance was made at Charlottenborg
in 1883 and after a brief period of work and struggle in
Copenhagen, he settled in Paris where he resided continu-
ously for over a decade. Few artists have displayed such
restless creative activity or attacked so many different
phases of esthetic endeavoiu*. Willumsen is not alone a
painter, but also sculptor, architect, and decorative de-
signer. In 1891, largely through his efforts, was organized
the now famous Frie Udstilling which has played such an
important role in the emancipation of modem Danish
painting. From 1897 to 1900 he was Artistic Director of
Bing and Grjerndahl's Pottery, to which firm his efforts
lent imexampled prestige. It was again Willumsen who
was mainly responsible for the success of the Friluftsteatret
or Open Air Theatre at Dyrehaven and, in brief, no one
save perhaps the late Thorvald Bindesbjerll has left so
strongly personal a stamp upon the varied field of current
Danish artistic development. Willumsen is an avowed
internationalist in his attitude. He is the enemy of that
confiding provincialism so dear to many of the Danes even
in these progressive dajrs. He holds that art is a imiversal
language, and fiaimts his viewpoint squarely in the face
of the Copenhagen public. For years his pictiu'es, so un-
compromisingly modem in feeling and technique, aroused
the angry scorn or good natured sarcasm of his countrymen,
but recently the tide has tiuned in his favoiu*. The day
has been won through sheer force of his superb creative
energy and enthusiasm, and he now enjojrs a rapidly
increasing prestige both at home and abroad. Like Munch
in Norway, Willumsen is one of the young Titans of con-
temporary Scandinavian art, a trifle battle-scarred perhaps,

J, F. WlLLtJMSEN— Portrait by Johan Robde

for his fight has been a long and bitter one, yet the victory —
and the vindication — ^have fortunately not come too late.

103 Youth and Sunshine

104 The Painter and His Family

105 A Mother*s Dream

106 The Mountain Climber

107 Paseo de las Delicias, Sevilla

108 Plaza de San Fernando, Sevilla

109 Sefiora de Valencia

110 Summer Night, Denmark

PORCELAIN

ROYAL COPENHAGEN

111 VILHELM FISCHER — Vase, Pelican

Motive

112 VILHELM FISCHER — Vase, Heron

Motive

1 13 C. MORTENSEN — Vase, Danish Land-

scape Motive

114 C. MORTENSEN— Vase, Crow Motive

115 Small Pieces, Various Motives

NORWEGIAN SECTION

Under the Gracious Patronage of

HIS MAJESTY HAAKON VII

King of Norway

EDVARD DIRIKS — Portrait of self

PAINTINGS

DIRIKS, Karl Edvard, Drobak

Edvard Diriks was bom the 9 June, 1855 in Chris-
tiania, and at the age of seventeen went to Germany with
the intention of devoting himself to architecture. He
studied successively in Stuttgart, Karlsruhe, and Berlin,
and it was in the latter city, while a pupil at the Bauaka-
demie that, imder the influence ofhis countr3rman Christian
Krohg and the magnetic German, Max Klinger, he re-
nounced architecture and found more congenial expression
in the field of painting. He shortly repaired to Weimar
where, after a brief period under Theodor Hagen, he re-
tiuned to Christiania in 1879 and has subsequently divided
his time between Norway and Paris. Diriks is one of the
heroic figures of contemporary Norwegian art. He was
intimately connected with the great struggle for clearer
vision and cleaner palette, and was one of the earliest
Scandinavian exponents of Impressionism. He is to-day
that rare and welcome phenomenon — a man of middle
age who has remained fresh and buoyant in feeling and in
brush stroke. The fight for recognition at home was for
his generation a long and bitter one, but he enjoys at last
assured position as a poetic and colourful interpreter of
the changing beauty of fjord, mountain, and sky.

116 Clouds Mirrored in the Sea

117 Pine Trees by the Fjord

ERICHSEN, Thorvald, Gudbrandsdalen

Thorvald Erichsen was bom the 18 July, 1868 in
Trondhjem. After beginning his artistic studies in Berg-
slien's School in Christiania he went to Copenhagen where,
in company with other yoimg compatriots, he spent some
time imder the sagacious and inspiring eye of Kristian
Zahrtmann. In order further to enlarge his vision and

101

develop his maturing taste he later visited Paris and Italy,
returning home to identify himself with that significant
movement which in the 'nineties was headed by such men
as Sohlberg and Egedius, and which may be characterized
as the new romanticism. Erichsen, however, possesses
distinctly more painterlike qualities than either of the
foregoing artists. His technique is freer and more ex-
pressive, and he has learned, possibly from the Danes, to
give his work a soft, almost luscious richness of tone and
texture quite imlike Sohlberg's more constrained surfaces.
His most important canvases have been painted in Gud-
brandsdalen, and such of those as attain the excellence of
the Telemarken Landscape in the National Gallery are
certainly a distinct contribution to Scandinavian art.

118 Twilight

119 Snow After Sunset

120 Red Cliffs

FOLKESTAD, Bemhard, Christiania

Bernhard Folkestad was born the 13 June^
1879 in London, and received his preliminary training in
Copenhagen and Paris, exhibiting for the first time at
Christiania in 1901. In common with Wold-Tome,
Erichsen, and other young Norwegians who have come
under Danish influences, Folkestad displays an opulent
harmony of vision which has added a welcome note to
modem Norwegian painting. There is indeed nothing
in the art of the past generation that in any way challenges
comparison with these splendidly seen and eloquently
handled bits of fruit and flowers or these studies of poultry
feeding in simlit cottage kitchen-garden. The talented
group to which Folkestad belongs seems to have decided in
favour of tonalism instead of crisply dazzling outdoor
effects. Their work is always discreetly siunptuous in
colouring. It is an appeal to the senses rather than a
scientific analysis of light or a rigorously simplified arrange-

102

THORVALD ERICHSBN — From a photograph

ment of line. They arc avowed beauty lovers, these men,
and as such their art year by year gains both in distinction
and in maturity of utterance.

121 Still-life

122 Summer Day

HOLMBOE, Thorlof, Christiania

Thorlof Holmboe was bom the 10 May, 1866 in
Vefsen, Helgeland, and from the age of six exhibited dis-
tinct talent for drawing. In 1886, somewhat before — ^it
must be added in extenuation — ^that the old regime was
completely swept away, he went to Berlin in order to pursue
his studies under Hans Gude. After a brief interval passed
in Christiania he turned toward France, studying for awhile
in Paris with Bonnat and Cormon. A confirmed traveller,
and a manifest cosmopolitan in his general attitude toward
life and art, Holmboe is nevertheless fimdamentally Nor-
wegian in his artistic expression. He was for a time more
or less closely identified with the yoimger romantic group,
and particularly in his illustrations attained heights of
decorative romanticism which placed him quite by himself.
Of late his style has considerably broadened and his colour-
ing has become more positive, and there is to-day in these
wind-tossed pines and towering, snow covered peaks a note
of vigour and virility which is alone the gift of a true son
of the Northland. Happily for his progress, Holmboe
early repudiated the academic pedentry of Bonnat and
Cormon.

123 Moimtains, Lofoten

124 Landscape with Pine Trees

125 Autumn

126 View of Christiania Fjord
126^ Landscape

104

THORLOF HOLMBOE — Portrait of self

KARSTEN, Ludvig Peter, Christiania

LUDVIG KARSTEN was bom the 8 May, 1878 at Chris-
tiania, and prepared himself for his future career at the
Munich Academy and in Paris imder Eugene Carriere.
His first appearance as a professional painter was made at
Christiania in 1901, since which date he has travelled,
studied, and resided at different intervals in Germany,
Italy, Spain, and France. The most powerful and decisive
influence in Karsten's esthetic development has been that
exercised by the compelling personality of his own coimtry-
man, Eklvard Mimch. From Munch Karsten has learned
much, yet in the end without undue sacrifice of his own
sovereign artistic individuality. The freest draughtsman,
and the boldest, and at the same time one of the subtlest
colourists of the yoimger Norwegian school, Karsten has
already placed to his credit a niunber of exceptionally
interesting canvases. His temperament is restless, he is
constantly seeking new and fresh effects and may without
hesitation be pronounced one of the most talented figures
in present day Norwegian art. It would indeed be hard
to find anywhere a man of his age possessing such a vigorous
grasp of diaracter and such chromatic strength.

127 Still-life

KAVLI, Ame Texnes, Christiania

Arne Kavli was bom 27 May, 1878 in Bergen, and
received his first restricted initiation into the world of
artistic expression at the Technical School in his native
city, afterward studying in Copenhagen under Kr0yer,
at the Antwerp Academy, and in Paris. The son of a
well known actor, it is not imnatural that Kavli should
from the outset have excelled in the province of character
interpretation and portraiture. His debut was made at the
Bergen Kunstforening in 1895, since which date his efforts
have been attended with no little success and have seldom
failed to enlist the most discriminating interest and appre-

106

LUDVIG KARSTEN — Portrwt of self

ciation. It was toward the subtle, almost monochromatic
harmonies of Whistler and the sober, decorative vision of
William Nicholson that Kavli first turned for sympathetic
assistance, achieving at this period effects that were not
alone imitative but at times even inspiritional. Of late,
however, his eyes have been cast in the direction of Paris,
and more especially attracted by the violet grey clarity and
broad, expressive contour of Cezanne. Yet Kavli's recent
landscapes from West Norway and the Christiania Fjord
are no more lacking in individuality than were the early
portraits and figure compositions.

128 In the Pine Forest

129 Grey Day

130 Northern Summer Night

KROHG, Christian, Dr0bak

Christian Krohg was bom the 13 August, 1852 in
Christiania. Eklucated for the bar he was however not
slow to relinquish the law and begin the study of painting
which he did in 1873 as a pupil of Gussow at Karlsruhe.
When the latter removed to Berlin Krohg followed, continu-
ing his apprenticeship under the same master from 1875
to 1878. He visited Paris for the first time in 1880 and a
decade later returned for a sojourn of several years. Un-
questionably the most picturesque figure in contemporary
Norwegian art, Christian Krohg early made his reputation
as a hardy and uncompromising exponent of naturalism
with distinctly social sympathies. He has always believed
that painting should express brain force as well as a feeling
for beauty, and his close association with Klinger in Berlin,
and his admiration for the writings of the Goncourts, Zola,
and Maupassant have had no little influence upon an
inherently intellectual and reasoning temperament. He
stands to-day an epic figure, the once phenomenal power
of eye and hand somewhat diminished, the characteristic
vigour of thought imimpaired. It is impossible to under-

108

CHRISTIAN KROHG— Portrait of mIT. Collection of Otto Benzon,
Esq., CopeohaKcn

stand the development of Norwegian painting without
visiting Krohg in his unpretentious fjord-side, home at
Dr0bak. He remains the sturdiest and most consistent of
that great group of pioneer naturalists who laid the
foundations of his coimtry's art.

131 Portrait of Myself

132 Dangerous Waters

133 "Look Out!'^

KROHG, Per, Dr0bak

Per KROHQ, the indisputably talented son of Christian
Krohg, was bom the 18 Jime, 1889 in Asg&rdstrand, near
Christiania. When but eight years of age he went to live
with his parents at the home of his uncle, Fritz Thaulow, at
Dieppe, and from thence onward his association with France
and particularly with the* modem movement in contem-
porary French art has been close and intimate. Before ten
he was sketching at the Academic Carlorossi and had made
his debut at a Children's Exhibition at the Petit Palais.
At fifteen he became a regular pupil at Carlorossi's under
his father, later continuing his studies with Mile. Olga de
Boznanska, with the Spanish painter Anglada, and fhially
with Henri-Matisse. If Christian Krohg represents so
staunchly the older regime, his son is a veritable modem
of the modems, and has already grasped considerably
more than the mere rudiments of the new gospel. He ^s
one of those young radicals who are to-day Imocking so
lustily and so eloquently at the door, and to whom the door
cannot fail shortly to open.

134 Danse

135 Carnival

110

HENRIK LUND — From a photc^raph

LUND, Henrik Louis, Christiania

Henrik Lund was bora the 8 September, 1879 in
Bergen, and received his preliminary training at the Chris-
tiania School of Design, later studying in Copenhagen and
travelling extensively in Holland, Belgium, Germany,
France, and Spain. Although virtually self-taught, Limd's
progress was rapid, he having won in quick succession the
Thaulow Prize, Schaffer's Stipend, and the State Stipend.
While the chief esthetic influence during the formative
stages of his development was imquestionably that of
Eklvard Munch, Henrik Lund to-day stands squarely upon
his own feet, his achievements in the province of impres-
sionistic portraiture, landscape, and genre being marked
by pronounced individuality of tone and treatment. His
accurate and ready analysis of character is little short of
phenomenal, and his stroke imexcelled in contemporary
Norwegian art for spirited freedom and breadth. In
point of colour Limd's work is typically Northern in its
fresh, blond clarity. If, indeed, one were to venture a
comment in connection with such brilliant production as
he has already placed to his credit it would merely be
to the effect that he possibly suffers from a sheer super-
abimdance of talent. Once he attains maturity, and com-
plete sovereignity over his truly astonishing powers, there
is literally nothing Lund should not be able to accomplish
after his own vigorous, stimulating fashion.

136 Andreas and Margit

137 Portrait of Hans Jaeger

138 Portrait of Herman Gade, Esq.

139 Portrait of Gunnar Heiberg

140 Landscape

141 Portrait of Finn R0nn

112

EDVARD MUNCH— Portrait of lelf.

MUNCH, EDVARD, Hvitsten

Edvard Munch was bom the 12 December, 1863 at
Ljditen, Hedemarken, and following the removal of his
parents to Christiania began his artistic training at the
Royal School of Design, later studying with Christian
Krohg and in Paris under Bonnat. His debut took place
at the autumn exhibition of 1883, from which date his
periodical appearances in Christiania art circles have been
the signal for the most bitter and insensate campaign of
wilful misinterpretation and villification that could pos-
sibly be imagined. The battle waged a generation before
against the apostles of naturalism was nothing compared
with the chorus of crude denunciation which has been
heaped upon Eklvard Munch. About 1900, however,
Munch, Uke Ibsen, was fortunate in finding a valiiant,
authoritative champion in Director Thiis, whose services
in behalf of the yoimg painter in many respects recall
those which Georg Brandes rendered the sorely maligned
poet and dramatist. Ibsen and Mimch have in addition
not a little in common. They are both poets at heart,
they are both exponents of that psychic restlessness so
characteristic of the Norwegian temperament, and they
both look at life with searching, penetrant gaze, seeking not
the obvious but that which is fundamentally significant.
Ever since the appearance of the first version of The Sick
Child, Mimch has given pictorial form to one of two
typical themes — sickness or sex. You will find in these
beseechingly beautiful or feverishly troubled canvases,
now the most exalted and sensitive response to human suf-
fering, now the scarlet trail of the serpent.

142 The Sick Child

143 Portrait of Hermann Schlittgen

144 In the Garden

145 Summer Night

146 Starlit Night

147 In the Orchard

114

BILIF PBTERSSEN — PorbBit of self

ONSAGER, S0ren, Christiania

S0REN ONSAGER was bom the 6 October, 1878 in
Holmestrand, and received his early artistic training froni
the well known Norwegian painter of interiors Harriet
Backer, afterward studying in Copenhagen under Kristian
Zahrtmann. As the recepient of both the Finne and the
Rosenkrans Stipends, each of which he was twice awarded,
he has been enabled to travel and study at considerable
leisure on the Continent, having visited at different inter-
vals France, Italy, and Spain, and at one period passing
considerable time in Paris where he made successful entry
at the Salon in 1908. It is in the province of figure painting
that Onsager excels, his sketches of young girls and maidens
asleep or in the act of adorning themselves having of late
years proved his favourite themes. Onsager is a delicate
and spirited draughtsman, and a colourist of considerable
independence of taste and vision. He belongs without
question to the advanced group of young Norwegian
painters who owe not a little to the contemporary French-
men, yet like most of them is able to reveal his personality
in fresh and congenial fashion.

148 Sisters

149 CHrls Asleep

150 Young Girl

PETERSSEN, Hjalmar Eilif Emanuel, Lysaker

ElLiF PETERSSEN was bom the 4 September, 1852Xin
Christiania, beginning his studies with Eckersberg in his
native city and subsequently continuing at the Copenhagen
Academy, at Karlsruhe, and at the Royal Academy,
Munich, under Professor Diez. Like Krohg and Wcren-
skiold, Eilif Peterssen belongs with the old guard whose
ranks are year by year growing thinner. He stands in the
history of modem Norwegian painting as a transition
figure. He has enjoyed unusual prestige in hiis profession,

116

has been awarded numerous distinctions, and has placed
to his credit many admirable canvases, yet he has rarely
displayed that compelling, whole-hearted conviction which
so notably characterizes the work of Krohg. The rich,
dark tonality of Munich days and a lingering love for the
discreet sumptuousness of the Venetians alternates in his
production with the open air stimulus and clarity of a
later date. A conscientious and scholarly craftsman,
Eilif Peterssen has given proof of his powers in landscape,
portraiture, genre, and decorative composition. He attains
perhaps highest rank in his likenesses of the sturdy and
thoughtful men and women of his generation — a generation
rich in significant personalities, among whom he himself
has won enduring place.

151 Osterdalen Sater

152 Summer Night, Western Norway

SKREDSVIG, Christian, Eggedal

Christian Skredsvig was bom 12 March, 1855 in
Modum, and received his preliminary training from Eckers-
berg in Christiania and Vilhelm Kyhn, Copenhagen. He
continued his studies in Mimich from 1875 to 1879, and in
Paris from 1880 to 1885. A year or more was spent at
Grez, and it was there that Skredsvig made the acquaintance
of the talented Swedish painter Ernst Josephson and with
him journeyed to Spain. It was not, however, the mag-
netic Josephson who most influenced the yoimg Norwegian
but the considerably milder Frenchmen, Corot, Millet,
and Bastien-Lepage. Skredsvig, who,^ despite his humble
origin, was one of the earliest to affect the delicacy of hand-
ling and somewhat monotonously grey tonality of the
Frenchmen of the early 'eighties, has won perhaps greater
distinction abroad than at home. The celebrated canvas
Menneskens s0n in the Christiania National Gallery dis-
plays considerably more social sentimentality than sound-

117

ness of observation, and indeed most of his work suffers
fircmi similar defects.

153 Astray

SOHLBERG, Harald, Christiania

Harald Sohlberg was bom the 29 November, 1869
in Christiania, and received the groimdwork of his artistic
training at the Royal School of Design in his native dty,
also studying for a brief period with Sven j0rgensen at
Slagen. On leaving J0rgensen he went for a time to
Werenskiold and to Harriet Backer, completing his appren-
ticeship under Zahrtmann in Copenhagen, and later spend-
ing a year at Weimar and another year in Paris. The decade
from 1890 to 1900 found Sohlberg among the group known
as the new romanticists, at the head of which stood the
late Halfdan Egedius, but since then, and particularly
after he settled amid the primitive isolation of R0ros, where
he resided winter and summer, he has revealed himself as
a wholly original and independent artistic personality.
There is nothing in the entire range of Scandinavian painting
comparable with these carefully wrought and tensely keyed
canvases. To the patient exactitude of the Italian primi-
tives, as seen in the pellucid landscape backgrounds of
panels Tuscan or Umbrian, has been added, with kindred
restraint, all the grandeur and austerity of the North with
star-studded sky and illimitable stretdr of snow covered
mountain. Sohlberg's canvases possess to a wellnigh
unique degree the quality of emotional concentration.

154 Autumn Landscape

155 Fisherman's Cottage

156 Mountains, Winter Landscape

157 Afternoon

158 Wagon Road

lis

HARALD SOHLBERG — Portrait of self

WERENSKIOLD, Dagfin, Lysaker

Dagpin WERENSKIOLD was bom in 1892 in Chris-
tiania, and is the son of the well known portrait and landscape
painter and illustrator Erik Werenskiold. This talented
youth, who has the distinction of being the youngest ex-
hibitor in the present display, studied with his father and
also in Paris where he naturally became allied with the
modem group of French painters. • It is not, however, with
brush and palette that Dagfin Werenskiold is seen to best
advantage, but in the field of decorative wood-carving.
Already an accomplished craftsman, he not only designs
but cuts and colours these clearly conceived and boldly
executed panels. His favourite motives are birds and
flowers or decoratively distributed foliage, and his work is
strong in accent and discreetly vigourous in tone. It is in-
teresting to watch this slender, blond giant patiently carving
one of his compositions on the piazza of the family home
at Lysaker. There is much of the old Norse spirit alike
in this work and in the youthful workman. It strikes a
healthy, virile note, and implies a concentration and self-
discipline manifestly lacking in the production of certain
of the young painters of his generation.

159 Turkey Cock Family — Decorative Panel

WERENSKIOLD, Erik Theodor, Lysaker

Erik Werenskiold was bom the 11 February, 1855
in Kongsvinger, and after studying at the University of
Christiania began his artistic training at the Royal School
of Design. From 1876 to 1880 he attended the Munich
Academy in the classes of Professors Lofftz and Linden-
schmidt, and from 1881 to 1883 continued his apprenticeship
in Paris, to which dty he has retiuned at subsequent in-
tervals. His debut was made at Christiania in 1878 with
an admirable portrait of his father, since which date he
has devoted his energies alternately to portraiture, illu-
stration, and landscape, mainly in combination with the

120

ERIK WERENSKIOLD — Portrait of ttlf

O. WOLD-TORNE — Portrait of aelf

figure. Werenskiold enjoys a prestige second to that of no
living Norwegian artist. While it is possible that he may be
longest remembered through his series of earnest, characterful
portraits of the leading figures of his day — Ibsen, Bj0mson,
Collett etc., he has lately added not a little to his varied
accomplishment by embracing, with studious sincerity and
rare open-mindedness, the bc^t features of the modem
movement. He lives on the pine-crested heights of Lysaker,
overlooking the Christiania Fjord, drawing daily from
nature fr^ stimulus and inspiration and, like nature,
illustrating the eternal principle of self-rejuvenation.

160 Two Little Girls

161 Norwegian Boy

162 By the Christiania Fjord

163 Flowers

WOLD-TORNE, Oluf, Christiania

O. WOLD-TORNE was bom the 7 November, 1867 in Soon,
and, as has been the case with so many of the gifted young
Norwegian painters of the day, received his preliminary
training under Kristian Zahrtmann in Copenhagen. On
leaving Zahrtmann he went to Paris where he studied awhile
with Roll, and subsequently travelled on the Continent.
His debut was made in 1893, and though he has devoted
his energies with no little success to portraiture and land-
scape, his most congenial field is that of the decorative arts,
his designs for book -bindings, tapestry, porcelain, and
faience marking a veritable epoch in Norwegian ornamental
handicraft.

164 Portrait of Self

165 Flowers

123

ILLUSTRATIONS

(121} BERNHARD POLKESTAD — Still -Ufe

(64) VILHELM HAM I.IERSH0I — Kronborg. Hamlet's Ceatle.
Collecdofi of Dr. Alfred Bramscn, Copenhasen

(63) VILHELM HAMMBRSH0I— Sunbeama. CoUection of
Dr. Alfred Bramsen, Copenhagen

(124) THORLOF HOLMBOE ~ Landacape with Piae Treei

(131) CHRISTIAN KROHG — Portrait of MyMlf

(135} PER KROHO — Carnival

(137) HENRIK LUND — Portrait of Hans Jeeger

(136) HENRIK HJND — Andrras and Margit

(80) VIGGO MADSEN — View from My

(142) EDVARD MUNCH — The Sick ChUd

(84) JULIUS PAULSEN — Portrftit of Baron Kosenltranto

(94) SIGURD SWANE — Pour ArtiatB

(97) FRITZ SYBERG — The First Day of Spring

(101) BOVARD WEIHB — Portrait of my Mother

(105) J. P. WILLUMSEN — A Mother's Drettm

(43) ANDERS L. ZORN— MatiotonChrittmuDcy

(46 A) ANDERS L. ZORN— Hall Keati

Collection of Hugo ReUinger, Esq., New York

LIST OF ARTISTS

Bindesb0ll, Thorvald

Boberg, Anna ....

Diriks, Edvard ....

Edstrom, David

Eugen, H. R. H., Prince Eugen

Erichsen, Thorvald .

Fischer, Vilhelm

Fjsestad, Gustaf Adolf

Folkestad, Bemhard

Giersing, Harald

Hallstrom, Gunnar .

Hammersh0i, Vilhelm

Hesselbom, Otto

Holmboe, Thorlof

j0rgensen, Axel

Karsten, Ludvig

Kavli, Ame

Krohg, Christian

Krohg, Per

Kyhn, Knud

Larsen, Johannes

Larsson, Carl

Liljefors, Bruno A.

Page

101

101, 102

56,58

102, 104

78,80

60,62

104

106

106, 108

108, 110

110

82,84

84,86

62,64

64,66

161

Lund, Henrik
Madsen, Viggo .
MiUes, Carl
Mortensen, C. .
Munch, Eklvard
Nielsen, Einar .
Onsager, S0ren
Paulsen, Julius .
Peterssen, Eilif .
Pettersson, Axel
Ring, Lauritz A.
Schou, Karl
Skredsvig, Christian
Sohlberg, Harald
Swane, Sigurd .
Syberg, Fritz
Weihe, Edvard
Werenskiold, Dagfin
Werenskiold, Erik
Willumsen, J. F.
Wold-Tome, Oluf
Zom, Anders L.

Page

112

114

86,88

116

88,89

116, 117

70,73

117,118

118

90,92

92,94

120

120, 123

96,98

123

66,68

162

LIST OF ILLUSTRATIONS

Page

Bindesb0ll, Thorvald — Portrait of

Boberg, Anna — Portrait of 54

« (2) At Rest, Sunday . ... 127

Diriks, Edvard, Portrait of 100

Eugen, H. R. H., Prince Eugen — Portrait of . 57

" " (8) Swedish Summer

Night 128

« " (9) After Rain 129

Fjsestad, Gustaf A. — Portrait of .... 59

(12) Hoarfrost .... 130

(15) Ripples ... 131

Erichsen, Thorvald — Portrait of 103

Folkestad,Bemhard — (121) Still-life ... 132

Giersing, Harald — Portrait of 79

Hallstrom, Gunnar — Portrait of 61

" " (22) On the Frozen Snow 133

Hammersh0i, Vilhelm — Portrait of 81

(64) Kronborg, Hamlet's

Castle 134

. 135

. 136

. 105

(63) Simbeams
Hesselbom, Otto — Portrait of

" " (25) My Country .

Holmboe, Thorlof — Portrait of

(124) Landscape with Pine Trees 137

163

j0rgensen, Axel — Portrait of . . .
Karsten, Ludvig — Portrait of . . .

« « (127) Still-life

Krohg, Christian — Portrait of . . .

« " (131) Portrait of Myself

Krohg, Per — (135) Carnival
Larsen, Johannes — Portrait of . .
Larsson, Carl -^ Portrait of .

(34) Theatrical Cogitations
(31) Shelling Peas

Liljefors, Bnino A. — Portrait of .

« « (38) Foxes .
Lund, Henrik — Portrait of .

(137) Portrait of Hans Jseger
(136) Andreas and Margit
Madsen, Viggo — (80) View from Bedroom Window

Milles, Carl — Portrait of

Mimch, Eklvard — Portrait of ....

(142) The Sick ChUd
(147) In the Orchard
Nielsen, Einar — Portrait of .

« " (81) Evening Bells

Onsager, S0ren — (148) Sisters
Paulsen, Julius — (84) Portrait of Baron Rosenkrantz

Page

83
107
138
109
139
140
85
65
142
143

67
141
111
144
145
146

71
113
147
148

87
149
150
151

164

Page

Peterssen, Eilif— Portrait of 115

Pettersson, Axel — Portrait of 72

Ring, Lauritz A. — Portrait of 91

Sohlbcrg, Harald — Portrait of 119

« « (156) Mountains, Winter Land-

scape 152

Swane, Sigurd — Portrait of 93

153

« « (94) Four Artists
Syberg, Fritz — (97) The First Day of Spring .
Weihe, Edvard — Portrait of . . . .
« « (101) Portrait of My Mother
Werenskiold, Erik — Portrait of ... .
Willumsen, J. F. — Portrait of

« « « (103) Youth and Sunshine .

« « « (105) A Mother's Dream .

Wold-Tome, Oluf— Portrait of . . . .
Zom, Anders L. — Portrait of ... .

154

155

121

156

157

122

« « « (42) Matins on Christmas Day . 158
" (44) Skeri-kulla .... 159

165

RUDOLF SECKEL

BI05

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Water Colors, Canvas,

Fine Brushes

Have been commended by eminent American Artists and are in
use in all the prominent Schools of Art in the United States.
The name Devoe is an unfailing mark of quality. Ask your
dealer for " Devoe " goods.

EVERYTHING IN ARTISTS' MATERIALS

F. V/. Devoe & C. T. Raynolds Co.

NEW YORK AND CHICAGO

Norway Mexico Gulf Line

AND

Swedish America Mexico Line

REGULAR SERVICE FROM

Kristiania, Gothenberg and Stavanger to
Newport News (Va.), Vera Cruz (Mex.)
and Galveston (Tex.) and Return;
Also to Havana and New Orleans.

G. M. BRYDE, Kristiania, Norway, Traffic Manager of both Lines

AGENTS
FURNESS WITHY fis CO., Ltd., 10-12 Broadway, New York

FURNESS WITHY & CO., Ltd., Newport News, Va.
FOWLER & McVITIE, Galveston, Tex.
BEREA, O'KELLY & CO., Vera Cruz, Mex.

171

SCANDINAVIAN-
AMERICAN LINE

Direct to the

Land of the Midnight Sun

FAST TWIN - SCREW
PASSENGER STEAMER SERVICE

between

Ne^v York and Denmark,
Norway and Sweden

with the steamers

OSCAR II HELLIG OLAV

UNITED STATES C. F. TIETGEN

Building: FREDBRIK VIII (12,000 tons)

Excellent Accommodations. Moderate Rates.
The Latest Improvements. Unexcelled Scandina-
vian Meals. Splendid Connections in Copenhagen
with all the Principal Cities on the Continent

A. E. Johnson ca Co.

General Patsenger Agents

1 Broadway New York

172

CARROLL t^RT GALLERIES

64 WEST 38TH STREET, NEW YORK

PAINTINGS, BRONZES AND
OTHER OBJECTS OF ART

EXHIBITION GALLERY FOR ARTISTS' WORK

HARRIETT C. BRYANT

GEORGE H. AINSLIE

569 FIFTH AVENUE
At 46TH ST., NEW YORK

Paintings by George Inness and A. H. Wyant

WE SPECIALIZE IN INSURING WORKS OF ART
Against all Risks — An3rwhere

wm. stake CEi> CO.

(Established 1860)

GENERAL INSURANCE BROKERS

»Du ?2S« T u 80 MAIDEN LANE

'Phones 3066 John ^^ YORK

WE INSURED THE SCANDINAVIAN EXHIBITION

As Well as Others

173

p. A. NORSTEDT & SONS

ART AND GENERAL
PUBLISHERS

STOCKHOLM, BRYGGAREGATAN 17

Reproductions in Color after Paintings
by Prince Eugen, Anders Zom, Carl Lars-
son, Bruno Liljefors, Gunnar Hallstrom,
Carl Wilhelmson, etc.

Publishers of

SWEDEN THROUGH THE ARTIST'S EYE

By Carl G. Laurin
(English and Swedish Text)

Also Carl G. Laurin's Konsthistoria,
Skamtbilden, and Kulturhistorisk Bilder-
bok, each work copiously illustrated.

Orders Filled Direct or Through

GEORGE BUSSE

12 West 28th St. New York

174

W^INSOR & NEW^TON, Ltd.

MANUFACTURERS OF ARTISTS' MATERIALS

For the best see that you obtain WINSOR & NEWTON'S

Oil Colors, Water Colors, Brushes, Oil, Vehicles,

Varnishes and Mediums

CANVASES— Winton, Best Artists, British,
Kensington and School of Art — All Sizes.

Send Five Cents for Catalogue

298 BROADWAY NEW YORK

DAY Ca, MEYER

PACKERS y SHIPPERS OF
HIGH CLASS FURNITURE 6f WORKS OF ART

341 FOURTH AVENUE, NEW YORK

Selected to receive, unpack and repack for transi>ortation the

Collection of Contemporary Scandinavian Art

Because of excellent facilities and manner of service

Special Policy Insuring Paintings

Against All Risks

Covering Loss from Any Cause,
in Any Location and in Transit

HERBERT M. SMITH

80 Maiden Lane
NEW YORK CITY

175

TAPESTRIES

Old masterpieces reproduced and modern American
subjects designed and woven in antique texture on
their own looms at IVilliamsbridge i>p IVm. Baumgar^
ten & Co., who in February, 1893, were the first to
introduce the art of tapestry weaving into America.
Also a remarkable stock of antique tapestries of the
XVI, XVII, XVIIIth centuries.

Our 5000-word " History of Ta-
pestry," Fifty Cents, Postpaid

WM. BAUMGARTEN 85 CO.

PARIS NEW YORK CHICAGO

"TAPESTRIES "

Their Origin, History and Renaissance
By GEORGE LELAND HUNTER

Thit is a fascinating book, on a fascinating subject. It is written by a
scholar whose passion for accuracy and original research did not prevent him
from making a story easy to read. It answers the questions people are
always asking as to how tapestries differ from paintings, and good tapestries
from bad tapestries. It will interest lovers of paintings and rugs and his-
tory and fiction, for it shows how tapestries compare with paintings in picture
interest with rugs in texture interest, and with historic and other novels in
romantic interest. (For Scandinavian tapestries, $ee page* 230, 232, 364
and eltewhere.)

With four full-page plates in color, and 147 half-
tone engravings. Square 8vo. Cloth, $5.00 net.
Postpaid, $5.25. Large Paper Edition, $1 2.50 net

JOHN LANE COMPANY

120 WEST 32d STREET NEW YORK

176

3 2044 034 757 682

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