Swedish art exhibition

L

THE

Sa/EDiSH
EXHIBITION

1916.

Lent bv Arthur H. Hahlo &= Co.

ANDERS L. ZORN — Daleearlian Girl in Winter Costume

P4IS

Official Catalogue

The

Swedish Art Exhibition

By
Christian Brinton

NOV I? 1983

'^■^BRAmES

The Pennsylvania Academy

vvs

of the Fine Arts
1916

Cover by Brynjulf Strandenaes
After Design by Gunnar Hallstrom

Copyright, 1916
By Christian Beinton

First Impression
6,000 Copies

8

Redfield-Kendrick-Odell Co., Inc.
New York

Exhibition of

Contemporary Swedish Art

1916

Under the Auspices of

The Brooklyn Museum

The Copley Society of Boston

The Pennsylvania Academy of the Fine Arts

The Carnegie Institute, Pittsburgh

The Detroit Museum of Art

The Chicago Art Institute

The Minneapolis Institute of Arts

The City Art Museum, St. Louis

The John Herron Art Institute, Indianapolis

The Toledo Museum of Arts

The Committee desires to express its appreciation of the
services of Mr. Anshelm Schultzberg, the Art Commissioner
from Sweden to the Panama-Pacific International Exposi-
tion, who has made it possible to exhibit the Swedish
Collection in the United States.

GABRIEL STRANDBERG— The Cripple

INTRODUCTION

THE art of the Scandinavian countries is the
youngest, in the matter of actual date, in all
Europe. It is but a scant century since Sweden,
Denmark, and Norway could boast what may be
termed a native school. The comparative re-
moteness of the Peninsula from the Continent,
the barrier of unfamiliar language, and kindred
causes conspired for a considerable period to keep
these nations isolated from the main cultural cur-
rents of the age. It was the Swedes who, through
the restless lust of conquest, first came into con-
tact with the outside world, and it is Swedish art
which, in point of priority as well as general im-
portance, claims initial consideration from the
student of Scandinavian aesthetic development.
Just as it was a German, Holbein, who may be
said to have founded English painting, so it was the
Hamburger Ehrenstrahl who has been justly called
the father of painting in Sweden. It was in re-
sponse to the desire for magnificence following the
pillage and plunder of the Thirty Years War that
such men as the architect Tessin and the portrait
and decorative painter Ehrenstrahl placed their
respective talents at the service of king and court.
The art of the day was regal and pompous. The
impressive royal palace and the baroque likenesses

of the three Swedish monarchs whom Ehrenstrahl
limned alike reflect the pretence of late Renaissance
standards of taste. They eloquently typify that
militant pride which had been inflated by brilliant
victories upon foreign battle-field.

There was however nothing racial, nothing
indigenous, in the art of this period any more than
there was in that of the epoch which followed.
The gay, sparkling elegance of the Gustavian
regime was Gallic, not Swedish in spirit, and such
artists as Lundberg, Roslin, Lafrensen, and Hall
were more Parisian than Peninsular. Gracious and
refined as was their Franco-Swedish rococo in-
spiration, it was of exotic origin, a product of
superficial conditions. And so also may be
characterized the British influence, chiefly that of
Reynolds and Gainsborough, which made itself
felt in the portraits of von Breda and the land-
scapes of Elias Martin. It is indeed not difficult
to account for the pessimism of that engaging
cosmopolitan Egron Lundgren who, during the
early decades of the last century, could see scant
hope for the future of Swedish painting. And
yet matters were not so bad as they seemed. The
sweeping aside of the arid formalism of the classic
era was followed by the rise of a romanticism
which, despite manifest exaggerations, possessed
the sovereign quality of feeling, of emotion.

While it is true that most of the Swedish artists

8

of the day were virtual expatriates who resided
for long periods abroad and devoted themselves
to foreign type and scene, still the glow of colour
and cult of character found place upon their can-
vases. They nocked to Rome, Diisseldorf , Munich,
or Paris as the case might be. Consciously or un-
consciously they imitated Leopold Robert, Andreas
Achenbach, Rottmann, or the Frenchmen Dela-
croix and Couture. Nevertheless, there was in
their work a striving for independence of vision
and treatment. Fagerlin, Jernberg, and above all
Hockert, were the leading exponents of peasant
genre, while in Blommer and Malmstrom you
meet flashes of genuine northern imagination.
Hockert, who lived and painted for several years
in Paris, excelled both as an interpreter of popular
life and as an historical painter, his Burning of the
Royal Palace, 1697, taking rank beside Pilo's
Coronation of Gustaf III. Veritable precursors of
the modern movement, these men fostered as
best they knew that spirit of nationalism which
was in due course to redeem and revivify the art
of the North.

The task so ably undertaken by Hockert and
his associates was continued by Edvard Bergh,
Per Daniel Holm, Alfred Wahlberg, Reinhold Nor-
stedt, Georg von Rosen, and Gustaf Cederstiom.
With Bergh and Norstedt you note the increasing
importance of landscape as an independent motive.

With von Rosen and Cederstrom you are face to
face with competent portraiture and highly pro-
fessional, if somewhat pretentious, historical com-
position. With Wahlberg you witness for the first
time in Swedish art that unity of mood and lyric
beauty of sentiment — stamning the Swedes call it
— which presaged the coming of true outdoor
treatment. It was in fact such men as Wahlberg,
August Hagborg, and Hugo Salmson who demol-
ished the prestige of Diisseldorf and identified
themselves with the contemporary French school.
The grey-green landscape setting of Bastien-
Lepage and the sober peasant who appealed to
one's sense of social pity, entered Swedish art with
the work of these men. Sincere observers of
atmospheric effect, and close students of character,
they stand upon the threshold of modernism. After
this date there could be no turning back. Light
once and for all began to shed its shimmering
glory over nature and man.

It has been necessary to sketch with a certain
particularity the unfolding of Swedish painting
in order that you may fully grasp its general out-
lines. At first an effete and aristocratic product
catering to a limited section of society, it ultimately
became democratic, not to say universal, in aim
and application. It submitted in a limited though
not less specific degree to those same influences
which moulded pictorial taste on the Continent.

10

Classic, romantic, and subsequently realistic, it
was preparing to accept in robust, straightforward
fashion the programme of the modern school.

In deference to those who cling to dates, it may
be well to recall 1880 as the year when these newer
ideas began to assume definite form in the minds
of the Swedish painters. It was at this epoch
that Zorn, Larsson, Liljefors, Nordstrom, and the
talented but ill-fated Ernst Josephson were living
and studying in France. They logically became
apostles of aesthetic progress, ardent disciples of
Manet, Cazin, Puvis de Chavannes, and their
colleagues. Restless of temperament and thirsty
for the picturesque, Zorn and Josephson posted off
to Spain and the Mediterranean coast, but five
years later they all forgathered in Stockholm,
launched an exhibition of their work, and made
their first bid for public approval. While the
approval was by no means unanimous, they
managed to arouse considerable interest and, after
a spirited contest, succeeded in enlisting a certain
measure of support. The exhibition of 1885 led
to the founding the following year of the society
known as the Konstnarsforbundet, an organ-
ization which, despite its tendency toward autoc-
racy, has largely shaped the destiny of the con-
temporary Swedish school.

It was this revolt against academic ascendancy,
coupled with a spontaneous return to native

11

scene and inspiration which proved the salvation
of Swedish art. Unlike their predecessors the men
of this particular period did not remain abroad,
but returned home to continue the fight upon
Scandinavian soil. The note of nationalism soon
made itself felt in their work, and it is this element
of nationalism, sturdy and forthright, which is the
dominant characteristic of latter-day Swedish
painting. Bold or delicate, brilliant or subdued,
the art of these men is a song in praise of Sweden.
There is no corner of the country where the painter
has not penetrated, no class or condition of society
which he has not portrayed. Sverige genom konst-
narsogon — Sweden through the artist's eye — is,
in the words of our friend and confrere, Carl G.
Laurin, what these painters have given us, and
nothing could be more welcome or appropriate.
Although bound together by a manifest com-
munity of aim and idea, each man worked along
individual lines. After achieving a reputation as
a successful mural decorator, Carl Larsson settled
at Falun, where he built himself the bright-tinted
home which is famous the world over. Everyone
knows and loves Sundborn. In these spirited,
sparkling water-colours we see it winter and
summer, outside and within. Conceived in a
vein of Swedish rococo with a basis of substantial
Dalecarlian motive, this series constitutes a domes-
tic cycle the like of which you can meet nowhere

12

else in art. And just as Larsson found his in-
spiration amid the endearing associations of family
life and became the foremost Swedish intimist, so
Bruno Liljefors, the son of a powdermaker and
himself a born sportsman-painter, ranks as the
leading exponent of naturalism. First in Uppland,
and later among the wave-washed skerries of
Bullerb* in the sodra skargard, or Stockholm
archipelago, he studied on the scene, as no other
artist has, the secrets of bird and animal life. The
canvases of Liljefors present to us in their primal
spontaneity of play or hungry passion a family of
foxes, a pair of great sea eagles, or a flock of wild
geese feeding in the lush marshland. At the out-
set perhaps a trifle over-faithful to certain purely
objective aspects of his subject, Liljefors later
broadened his style. With succeeding years he
has learned to offer something more than a mere
analysis of the world of outdoor nature. His
recent canvases indeed prove that he is fully abreast
of the modern movement.

While it cannot be denied that Anders Zorn has
always been cosmopolitan in his proclivities, he,
too, was unable to resist the call of his native
country, and after a few years constructed at
Mora, near his humble birthplace, a spacious
timber house where he devotes himself to the
depiction of peasant type and scene. You may
have met Zorn many times and in many places,

13

yet you do not know him until you have tracked
him to this forest-screened retreat by the silver
rim of Lake Siljan, which material success has
enabled him to embellish after the fashion of a
true prince of art. And however much you may
admire his likenesses of society queen or captain
of industry, there is no gainsaying the fact that it
is at Mora, and still farther up country at Gops-
moor, where his finest things have been accom-
plished. The pull of deep-rooted natural forces
here draws him toward the very essence of local
life and character as they obtain in this still un-
spoiled community. These canvases in short
constitute not alone a precious series of documents
relative to the customs and costumes of the sturdy
denizens of Dalecarlia; they also chant a joyous
hymn to bodily health and beauty. They are
frankly pagan and Dionysian in spirit. They
hark back to daj^s when the world was younger
and freer than it now is. You have only to glance
at them in order to be convinced that the antique
devotees of wine, dance, and tuneful pipe flourish
even in subarctic forest.

Each section of Sweden has in fact found its
chosen interpreter. Not far from Larsson's de-
lectable domicile at Falun lives and paints
Anshehn Sclmltzberg, whose work is year by year
acquiring subtler colour and a more concise
mastery of form. At Arvika, near Lake Vanern,

14

or, when the grip of frost is upon him, at Abisko,
in the far north, may be seen Gustav Fjaestad,
Sweden's premier snow painter. Formerly a
champion skater, Fjaestad pictures as does no
other artist the inviolate whiteness of winter.
At once naturalistic and stylistic, he extracts the
essential beauty from a given subject no matter
how simple the elements may be. And not only
is he a painter, but also a handicraftsman of un-
common capacity, his carved furniture, tapestries,
wood-cuts, and the like contributing their quota
to an always individual and accomplished en-
semble. Varmland, the home of song and fancy,
of Tegner, Froding, and Selma Lagerlof, was also
the scene of the late Otto Hesselbom's monumental
canvases. In great, sweeping mass and rhythmic
line he was able to fix for us the profile of forest
rising against the sky and the surface of lake
silvered by the sheen of long northern twilight.
With such pictorial possibilities at hand, it is
small wonder that the group of Swedish painters
you note congenially assembled in Hugo Birgir's
Luncheon at Ledoyen's in the Goteborg Museum,
should sooner or later have striven to cast off an
effete continentalism and turn their eyes toward
the home country. The actual work had however
to be carried forth by fresher, more vigorous
talents. In addition to the artists already cited,
mention should be made of Carl Wilhelmson, of

15

the humorous and incisive Albert Engstrom, the
austere Nordstrom, and Nils Kreuger, the painter
of horses seen among the sparse, close-cropped
hill pastures of Oland. The production of these
men and their associates, characteristic though it
be, nevertheless offers but an incomplete picture
of that inspiring nationalist movement, that
awakening of race consciousness which was at this
period making itself felt along all lines of Swedish
endeavour. You will recognize the same forces
at play in the early novels of Strindberg — veritable
masterpieces of penetrant observation, and in the
more lyrical and colourful periods of Verner von
Heidenstam. Alike in letters and in art the study
of milieu became the watchword of the younger
generation.

The focal point of this activity is to be found
in the life-work of the late Artur Hazelius. It was
he who rediscovered for the Swedish people their
national birthright. With indefatigable energy
and enthusiasm he gathered from all parts of the
Peninsula the records of a vanishing culture and
displayed them with accuracy and effectiveness.
You may assume that you know Swedish art if
you have visited the leading painters in their
homes, or are familiar with the National Museum
and the more comprehensive contents of the
Gbteborg Museum. You may have inspected the
private collections of Prins Eugen, Direktor Thiel,

16

Herr C. R. Lamm, and Direktor Thorsten Laurin
yet something will be lacking unless you have
studied the treasure troves of past and present in
the Northern Museum and at Skansen, or better, at
first hand among the country folk themselves.
Sweden is pre-eminently a peasant nation, and the
basis of Swedish art is to be found in that primal
love of pure, brilliant colour and integrity of
structure which are the essential characteristics of
peasant achievement. Collective rather than
individualistic, this art expresses in eloquent
fashion that community of aesthetic interest
which produces the most significant and enduring
results.

While recognizing the ready response to foreign
influence, the attainment of a refined eclecticism
such as you note in Swedish painting for the past
century or more, there can be no question but
that the best work of these artists is that which is
the most fundamentally national in theme and
treatment. Axel Petersson is a greater sculptor
than was Molin, and the drawings of Albert
Engstrom, also a native of Smaland, outvalue the
delicate aquarelles of Egron Lundgren. It was
not until Sweden discovered her innate, indigenous
possibilities that art began to develop in convincing,
healthy fashion. This is the lesson which each
successive exhibition of Swedish painting and

17

sculpture teaches. And this is the lesson you will
find embodied in the current undertaking.

It is not our intention to review in detail the
comprehensive display of graphic or plastic produc-
tion which you find within these walls. The ex-
hibition, though in no sense advanced in character,
is representative of present-day aesthetic activity
in Sweden. You will not here observe any work
by members of the autonomous and exclusive
Konstnarsforbundet. It is a fixed principle of
this body to appear alone, in isolated glory, or not
at all. As usual it was in this instance a case of
the Konstnarsforbundet or the rest of Sweden, you
therefore having before you what is virtually the
rest of Sweden.

The collection is strongest, it would appear, in
the province of landscape, for Swedish painting is
a predominantly salubrious, outdoor product. The
subtle decorative syntheses of Fjaestad, the grave,
dignified vision of Gottfrid Kallstenius, the sen-
sitively viewed forest or snow scenes by Anshelm
Schultzberg, and the subdued, lyric quietude of
Erik Hedberg's star-studded mountain tarns all
form a characteristic panorama of exterior motive.
It is with pleasure that one can include in this
category the work of a comparative newcomer,
Helmer Osslund, whose rich-toned, rhythmic studies
of northern waterfall form a significant accession
to a novel and interesting ensemble. You will in

18

addition not fail to note the vigorous Lofoten
Island colour-sketches of Anna Boberg, or the
delicate panels of Oskar Bergman whose gift of
decorative design is so highly developed, and who is
able to express so much with the slender means at
his disposal.

While the work of such established favourites as
Zorn, Larsson, and Liljefors speaks for itself,
mention should be made of Elsa Backlund-Celsing
and Wilhelm Smith, who combine upon fairly even
terms landscape and the figure, as well as Helmer
Mas-Olle, who devotes his energies to the portrayal
of the Dalecarlian peasant. The latter artist also
essays portraiture, though in scarcely so author-
itative and accomplished a manner as does his
colleague Emil Osterman. If the work of Mas-
Olle savours somewhat of the older school, the
same cannot be charged of Gabriel Strandberg,
who selects his types from the poorer quarters of
Stockholm and presents them with virile stroke and
penetrant intuition. You will in fact see nothing
in the exhibition comparable to these drink-
shattered outcasts sitting at shabby bar or sham-
bling along in mumbling, melancholy isolation.
Strandberg is a modern — modern in his luminous,
broken surfaces, modern in his mordant analysis
of the downtrodden. Those addicted to the pre-
carious habit of comparison will doubtless be
tempted to call him the Scandinavian van Gogh,

19

saving that the stressful and distressed subjects
of the one are urban, while those of the other are
chiefly rural.

As an exception to that modified conservatism
which obviously distinguishes the current offering,
Strandberg is ably seconded by Axel Torneman,
who in fact strikes the most progressive note of
the display. A Post-Impressionist he may safely
be called, the term being sufficiently flexible to
include any of the more recent manifestations of
aesthetic unrest. Others of the younger and more
advanced group are Gregori Aminoff, Emil Zoir,
and Hugo Carlberg, while among those of less
radical sympathy may be mentioned Gabriel
Burmeister, Wilhelm Behm, Alfred Bergstrom,
Olle Hjortzberg, Axel Fahlcrantz, Oscar Hullgren,
and Carl Johansson, the latter of whom finds his
inspiration in the Norrland where mountain and
forest slumber in the luminous twilight of the
subarctic summer.

The majority of the foregoing artists exhibit with
the society known as the Svenska Konstnarernas
Forenings, which holds its annual displays in
the Academy. Founded in 1890, the organization
occupies a middle position in the history of
contemporary Swedish art. Young men such as
Helmer Osslund and Hugo Carlberg are welcomed
within the fold, while one notes at the same time
those who, like Burmeister, still remain faithful

20

to the reposeful Barbizon tradition. Whatever
their official affiliations these men are, however,
seldom without that capacity for sound, veracious
observation which is typical of the art of their
country. Whether academy professors or in-
dependent spirits working out problems on their
own account in some remote district they are not
unmindful of the new and untried possibilities of
the modern palette. You will find in Sweden
substantially the same proportion of radicals and
conservatives as elsewhere. These equations sel-
dom vary. There are painters in the Konstnars-
forbundet whom one would expect to see in the
Konstnarernas Forenings and vice versa. And it
is this judicious balance of elements which adds
interest to the present exhibition.

Somewhat of a revelation to the general public
should prove the work of John Bauer and Ossian
Elgstrom, two young men who in different ways
typify the imaginative side of the Swedish tempera-
ment. Compared to the spontaneous creative
fertility of Bauer, the more deliberate concoctions
of Kay Nielsen or Dulac appear affected and arti-
ficial. These fragments from a far-off realm are
invariably convincing, and reflect that naivete of
feeling which is an essential feature of such com-
positions. Sweden already knows and loves the
author of Bland Tomtar och Troll, and it is to be
hoped that he may find ready acceptance in America.

21

Elgstrom, while falling into the same general
category, presents a different aspect. The northern
strain in him is complicated by a touch of the
Asiatic, an affinity with the Laplander and the
Japanese. Gifts such as these artists possess are
the special prerogative of youth. Their older
compeer of brush and pen, Albert Engstrom,
draws his inspiration from the well-springs of
human nature and character; they find theirs in a
wonder-world of awe and fancy.

Concurrently with the development of painting
in Sweden, and quite as definitely marked, has been
the progress of the plastic arts. Had it not been
for the sterile formalism so much in vogue during
his day, Sergei would have achieved notable results,
and the same may be said of Bystrom and Fogel-
berg. The ideals of the modern men are vastly
different from those of their predecessors. A
stark monumentality and a marked feeling for the
material in use be it plaster, bronze, stone, or wood
characterizes the production of the new school.
Carl Milles, David Edstrom, Christian Eriksson,
Carl Eldh, and Knut Jarn are all serious, vigorous
talents. Their work is as a rule glyptic rather than
fictile. They prefer granite to the ready tract-
ability of wax or clay and achieve effects which not
infrequently suggest the stylistic severity of the
early Assyrians or Egyptians. Milles and Ed-
strom are dominant figures, the former showing

22

astounding creative fertility, the latter tending
toward a certain archaism of feeling and in-
spiration. There is indeed nothing finer of its
kind than Milles's masterly eagles which adorn
the terrace of Prins Eugen's villa at Valdemarsudde.
The conceptions of Edstrbm, though more static,
are equally impressive, while the contribution of
Christian Eriksson is instinct with grace and
movement. Other sculptors who command at-
tention are Olof Ahlberg, Gottfrid Larsson,Teodor
Lundberg, Herman Neujd, and Ruth Milles, all of
whom figure in the present exhibition.

When however it becomes a question of down-
right, inherent individuality, the foregoing artists
must perforce give place to the simple, self-taught
peasant lad of Smaland, Axel Petersson. Starting
life as a joiner, he began carving for his own diver-
sion little figures of lean and shrewd, or jolly and
obese local types such as he found them ready
at hand in Doderhult. Weddings, christenings,
funerals, and the like have proved his favourite
subjects and it can only be said that for vigour of
conception and verity of characterization, these
statuettes are worthy to rank beside the drawings
of Daumier or Forain. Quite frankly the best
plastic work in Sweden is done in the two most
typically Swedish media, granite and wood. And
this is as it should be, for Greek art is incon-
ceivable save in terms of marble, nor could the

23

immobility of the Egyptian figures have been bet-
ter expressed than in basalt.

Surveying in sympathetic perspective the ex-
hibition as a whole you will doubtless concede the
fact that the art of Sweden is a virile, wholesome
manifestation, full of fresh, unspoiled observation
and revealing an almost pantheistic absorption in
nature and natural phenomena. There is little
pretence, little aesthetic pose in this work. Basing
itself frankly upon national interest and appeal
it has not strayed into tortuous bypaths where one
is apt to lose contact with actual life. Submitting
by turns to those larger influences which have
consecutively dominated artistic endeavour in
other countries, Swedish painting and sculpture
have not sacrificed that sturdy autonomy of temper
which must always remain a requisite characteristic
of aesthetic production. The classic, romantic,
realistic, and impressionistic impulses have each
left their stamp upon this art, yet you cannot
discover a Swedish David, Delacroix, Courbet, or
Claude Monet. The master currents typified by
the activities of these northerners have been
adapted to specific conditions. Though the lessons
taught upon the Continent have been aptly learned
you will here encounter more assimilation than
imitation.

Granting that this work displays a proper in-
tegrity of purpose, a distinctively national flavour,

24

it merely remains to be seen whether it fulfils
certain more general requirements which, after all,
constitute the test of enduring achievement. Is
the language, linear, chromatic, atmospheric, and
emotional, which these canvases speak merely
local, or does it attain the accent of universality?
The answer is one that may well be left to the
public, and, as far as the public is concerned, it
has already proved affirmative. The official ex-
hibitions of Swedish painting and sculpture which
have successively appeared at Chicago in 1893, at
St. Louis in 1904, at Rome in 1911, and at San
Francisco in 1915, have each won a generous
measure of critical as well as popular approval.
The same may also be said of the itinerant collec-
tion which toured the country in 1895-6, and of the
Swedish section of the memorable Scandinavian
exhibition of 1912-13.

The present offering, which comprises much of
the work recently on view at San Francisco, to-
gether with certain appropriate additions, makes
virtually the same appeal as did its predecessors.
It has been organized along similar lines and its
message to America is in no wise different. Fresh
names have been added and others have disap-
peared. The selection has in the main tended
more toward conservatism than toward radicalism ;
a point which has its disadvantages as well as its
advantages. While in no sense holding a brief for

25

Leander Engstrom, Einar Jolin, and other auda-
cious young Expressionister, it is nevertheless safer,
when it comes to modern issues, to be inclusive
rather than exclusive for, despite incidental exag-
gerations of mood and manner, the youngsters
have a disconcerting habit of turning out right.
It is manifest that Swedish art, like the art of
other countries, is to-day hesitating between the
old and the new, the calm of conservatism and the
troubled tides of revolution and reform. The
canvases you see upon these walls do not differ in
any essential respect from those of a decade or more
ago. They display verity of observation, vigour
of design, and a requisite regard for atmospheric
effect. Save in certain cases, as for example with
the work of Fjaestad, the element of synthesis is
conspicuous by its absence. There are in Sweden
painters who are able to organize as well as to
observe, and it is in their hands that the destiny
of Swedish art resides. If in brief Swedish painting
is to remain true to its traditions — true especially
to that stirring impetus which emanated from the
men of eighteen eighty — it cannot continue sta-
tionary. It must courageously advance into the
uncharted future where there will be found new
combinations, new colours, and a subtler sense of
that magic ambience in which all things visible
and invisible are steeped.

26

PAINTINGS

AMINOFF, Gregori, Stockholm

1 The Peacock

BACKLUND-CELSING, Elsa, Johannisber^

2 Skiing

3 Tobogganing

BAUER, John Albert, Grenna

4 Fairy Girl

5 Brother Martin

6 The Bogey is Furious

7 Goblins and Dogs

8 The Lady of the Wood

9 The Fairy and the Hulta Nymph

10 The Giant Boy who Slept for Fifteen Years

11 The Troll

27

12 Wingmor Opened

13 And so They Rode Day and Night

14 The Goblins Stealing Away

15 The Goblins and Bianca Maria

16 The Moose Watching Over Bianca Maria

17 The Little Tuvstarr by the Forest Pool

18 "Here are the rest of my clothes"

19 The Swan Messenger

20 And She Went to the Water's Edge

21 "Oh, what a little Pale-face!"

22 The Echo

BEHM, Wilhelm, Ronninge

23 Winter Evening

24 Autumn Day

25 Farmstead

26 Snowflakes

28

27 Sunset in the Forest

28 Spring Evening

BERGMAN, Oskar, Stockholm

29 Midsummer

30 Cliff and Snow

31 Apple Blossoms

32 Islands Outside of Stockholm

33 Fruit Trees in Blossom

34 Thaw

35 Pines and Snow

36 Winter (1)

37 Winter (2)

38 Winter (3)

39 Fiesole

40 Cypresses

41 Grey Weather

29

42 Ice after Storm

43 Fir Trees and Snow

BERGSTROM, Alfred, Tullinge

44 Summer Evening

45 Old House

46 Winter

BOBERG, Anna, Djurgarden

47 First Snow in the Mountains

48 Fisher Cemetery

49 Arctic Night

50 Glacial Lake

51 Fishing Fleet at Anchor

52 In the Harbour

53 Fishing Fleet off the Coast

54 Sunset, Lofoten

55 Spring Day

56 Fair Weather

30

BURMEISTER, Gabriel, Stockholm

57 Shepherd

58 Old Birch Tree

59 Evening

60 Oak Trees, Evening

61 Pine Trees, Lake Siljan

CARLBERG, Hugo, Wrigstad, Smaland

62 Spring Morning by the River

63 Winter Day at the River

64 March Day

65 In Smaland

ELGSTROM, Ossian, Norrviken

66 The Duel (1)

67 The Duel (2)

68 Tjudes Tales from Jakonga (1, 2, 3)

69 The Laplander Who Disbelieved his Master

(1, 2, 3, 4)

31

70 Northern Lights

71 Tarras or Five Gods

72 The Soul's Transmigration

73 The Return to Earth

FAHLCRANTZ, Axel, Stockholm

74 Approaching Storm

75 Moonlight and Mist

FJAESTAD, Gustav Adolf, Arvika

7(> The First Snow

77 Winter Afternoon

78 Summer Night Breeze

79 Cottage in the Forest

80 Winter Moonlight

81 Hoar-frost on the Mountains

82 Easter

83 Moonlight on the Mountain Lake

32

84 Summer Evening at the River

85 Pool in Winter

86 Meditation

GRANSTROM von KNAFFL, Edith, Bergvik

87 The First Day of Spring

88 Winter Day

HEDBERG, Erik, Tallbo, Jarbo

89 New-fallen Snow

90 Summer Night

91 Spring Evening

HESSELBOM, Johan Ottof

92 My Native Country

93 View Across Lake Arran

HJORTZBERG, Olle, Saltsjobaden

94 Italian

33

95 Study of Head
90 Forge in Terracina

HULLGREN, Oscar, PataHolni

97 The Sea

98 Winter Evening, Lofoten

99 Breakers

JOHANSSON, Carl, Molnl.o

100 Early Spring

101 Evening, Norrland

KALLSTENIUS, Gottf rid, Saltsjo-Storangen

102 Moonlight Along the Coast

103 Windy Evening

104 Old Church, Gotland

105 Pine Trees in Sunlight

106 The Sacred Grove

34

KUSEL, Ernst, Saltsjo-Dufnas

107 Calves

108 Ducks

109 Kids by the Fence

LARSSON, Carl, Sundborn

110 In the Birch Grove

111 Esbjorn on Skis

112 Summer Morning

113 The Dogs

114 The Laundry

115 The Bedroom

116 The Dining-room

LILJEFORS, Bruno Andreas, Jarna

117 Sea Eagles

MAS-OLLE, ITelmer, Siljansnas, Dalarne

118 Dalecarlian Girl

35

119 Dalecarlian Peasant

120 "Dalmas"

121 Rector Magnificus Henrik Schiick

OSSLUND, Helmer, Solleftea

122 Mullfjallet

123 Waterfall, Porjus (1)

124 Waterfall, Porjus (2)

125 Waterfall, Handolsforsen

126 Summer Evening, Haggviken

127 Evening, Angermanland

128 Waterfall, Elfkarleo

SCHULTZBERG, Anshelm L., Stockholm

129 Winter in the Forest, Dalecarlia

130 Winter Sunset in the Forest

131 Sunday in Winter, Filipstad

132 Midsummer Night in Dalecarlia

3G

133 Winter Sunset in the Mountains

134 Charcoal Burning

135 Swedish Summer Night

136 Winter

SMITH, Wilhelm, Carlshamn

137 Ploughing

138 Fisherfolk

139 Winter Afternoon

140 The Avenue

141 "It will be a windy night"

STRANDBERG, Gabriel, Stockholm

142 The Cripple

143 The Toper

144 Youthful Gangster
14.5 Tramp

37

TORSANDER, Gustaf, Brunsberg

146 Sawmill in the Moonlight

147 Lamplight in the Fog

TORNEMAN, Axel, Persberg

148 Torgny Lagman (Cartoon for decorative

panel in Riksdagshuset, Stockholm)

149 The Fantasist

150 Summer
1.11 The End

WRANGEL, Anna, Silfakra
152 Old Man

158 Fisherfolk

ZOIR, Emil, Stora Skar, Gotehorg
154 Potato Picking

38

ZOKN, Anders Leonard, Mora

155 Dalecarlian Girl in Winter Costume

OSTERMAN, Emil, Tullinge

156 The Late Professor Carl Curman

39

PRINTS

BERGSTROM, Sigge, Filipstad

157 Filipstad

158 At the Mouth of the River

159 Along the Shore

160 Hokberget

161 Winter

BEVE, Eva, Stockholm

162 Meditation

163 Prayer

164 Parrot

BOBERG, Ferdinand, Djurgarden

165 Ferryboat

166 Venetian Boats

40

167 Fog in the Harbour

168 Moonlight

169 Hedvig Eleonora Church, Stockholm

170 Ridderhuset, Stockholm

171 Karoline Chapel, Stockholm

172 Street Near Ridderhuset, Stockholm

BURMEISTER, Gabriel, Stockholm

173 Old House in Dalecarlia

174 The Silent Place

175 Adagio Pathetique

FJAESTAD, Gustav Adolf, Arvika

176 The First Snow

177 Portrait of the Artist

178 Gustaf Froding

179 April Morning

41

JOHANSSON-THOR, Th., Stockholm

180 Ploughed Field, Skane

181 Farm, Skane

182 Evening, Skane

LARSSON, Carl, Sundborn

183 The Curtsy

184 Nude (1)

185 Nude (2)

186 Martina

187 Anna Stina

188 Karin Dressing Kersti's Hair

189 Mother

190 Lisbeth

MAGNUSSON, Gustaf, Enskede

191 Portrait of the Artist

192 The Princess

42

193 Salome

194 Hanna

195 Finger Exercises

196 The Dancer

197 Her First Pose

MAS-OLLE, Helmer, Siljansnas, Dalarne

198 Rector Magnificus Henrik Schiick

199 G. Bernard Shaw

200 Old Dalecarlian Man

201 Dalecarlian Woman

202 My Wife

NORLIND, Ernst, Borgeby, Fladie

203 Rooks

204 Stork Family

205 Church, Skane

43

PETERSEN, Carl Olof, Dachau, Bayern

206 Cats

207 Fowls

208 Owl

209 Pepper Bird

210 In the Crinoline Time

PETRUS, Anna, Stockholm

211 Karin

212 Siri Smoking

213 Profile

RAMBERG, Gustaf, Helsingborg
21 t Croft in Skane
215 Milking-time

SAHLSTROM, Anna, Torsby
210 Youth
217 Oat Harvest

44

SCULPTURE

AHLBERG, Olof, Stockholm

218 In the Sun

BORJESON, JOHNf

219 Consolation

220 Music

221 Art and Craft

BORJESON, Lena, Stockholm

222 The Changeling

LARSSON, Gottfrid, Stockholm

223 The Brute

LUNDBERG, Johan Teodor, Stockholm

224 Orpheus

225 Siren

226 The Wave and the Shore

227 Mother's Joy

45

MILLS, Ruth, Lidingo Villastad

228 Young Peasant Woman

229 Old Peasant Woman

230 The Little Cripple

231 The Busy Little Girl

232 After Waiting in Vain

233 Fisherwife

NEUJD, Herman, Spagna

234 Stina

235 Head of Boy

23(> Fourteen Years Old

237 Little Dancing Girl

PETERSSON, Axel (Doderhultaren) ,

Oskarshamn

238 The Village Trial

239 A Game of Chess

240 A Troublesome Fly

WISSLER, Anders, Mariefred

241 Peasant Violinist

46

HELMER MAS-OLLE— Dalecarlian Peasant

47

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49

OLLE H JORTZ BERG — Italian

50

ELSA BACKLUND-CELSING— Tobogganing

51

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55

JOHN BAUER — The Little Tuvstarr by the Forest Pool

50

JOHN BAUER— "Oh, what a little Pale-face'

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EMU OSTERMAX— The Late Professor Carl Curaian

60

WILHELM SMITH — Fisherf oik

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63

AXEL TORNEMAX — The Fantasist

64

HELMER MAS-OLLE — Rector Magnificus Henrik Schiich

65

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LIST OF ILLUSTRATIONS

Page

Backlund-Celsing, Elsa: Tobogganing . . 51

Bauer, John Albert

The Little Tuvstarr by the Forest Pool 56

"Oh, what a little Pale-face!" ... 57

Boberg, Anna: Fishing Fleet at Anchor . 63

Carlberg, Hugo : Spring Morning by the River 59

Elgstrom, Ossian: The Duel 55

Fjaestad, Gustav Adolf

Summer Night Breeze 48

Moonlight on the Mountain Lake 49

Hesselbom, Johan Otto

My Native Country 62

Hjortzberg, Olle: Italian 50

Kallstenius, Gottfrid: The Sacred Grove 54

Larsson, Carl

Summer Morning 52

Esbjorn on Skis 53

Liljefors, Bruno Andreas: Sea Eagles . . 68

69

Mas-Olle, Helmer Page

Dalecarlian Peasant 47

Rector Magnificus Henrik Schiick . 65

Schultzberg, Anshelm Leonard

Swedish Summer Night .... 66

Winter in the Forest, Dalecarlia . . 67

Smith, Wilhelm: Fisherfolk ..... 61

Strandberg, Gabriel: The Cripple ... 6

Torsander, Gustaf : Sawmill in the Moonlight 58

Torneman, Axel: The Fantasist .... 64

Zorn, Anders Leonard

Dalecarlian Girl in Winter Costume 2

Osterman, Emil

The Late Professor Carl Curman 60

70

LIST OF ARTISTS

Ahlberg, Olof . .
Aminoff, Gregori .
Backlund-Celsing, Elsa
Bauer, John Albert
Behm, Wilhelm
Bergman, Oskar .
Bergs trom, Alfred
Bergstrom, Sigge .
Beve, Eva
Boberg, Anna
Boberg, Ferdinand
Borjeson, John
Borjeson, Lena
Burmeister, Gabriel
Carlberg, Hugo
Elgstrom, Ossian .
Fahlcrantz, Axel .
Fjaestad, Gustav Adolf
Grandstrom von Knaffl, Edith
Hedberg, Erik
Hesselbom, Johan Otto
Hjortzberg, Olle .
Hullgren, Oscar .
Johansson, Carl .
Johansson-Thor, Th.

Page

45

27

. 27, 51

27, 56, 57

28

29

30

40

40

. 30, 63

40

45

45

. 31, 41

. 31, 59

. 31,55

32

32, 41, 48, 49
33
33
. 33, 62
. 33, 50
34
34
42

71

Kallstenius, Gottfrid
Klisel, Ernst ....
Larsson, Carl ....
Liljefors, Bruno Andreas
Lundberg, Johan Teodor
Magnusson, Gustaf .
Mas-Olle, Helmer
Milles, Ruth . . .
Neujd, Herman
Norlind, Ernst
Osslund, Helmer .
Petersen, Carl Olof
Petersson, Axel
Petrus, Anna .
Ramberg, Gustaf
Sahlstrom, Anna .
Schultzberg, Anshelm Leonard
Smith, Wilhelm
Strandberg, Gabriel .
Torsander, Gustaf
Torneman, Axel
Wissler, Anders
Wrangel, Anna
Zoir, Emil

Zorn, Anders Leonard
Osterman, Emil

Page

. . 34, 54

. . 35

35, 42, 52, 53

. . 35, 68

. . 45

. . 42

35, 43, 47, Q5

. . 46

. . 46

. . 43

. . 36

. . 44

. . 46
44

. . 44

. . . 44

. 36, 66, 67

. . 37, 61
6, 37, 47

. . 38, 58

. . 38, 64

. . 46

. . 38

. . 38

. . 2, 39

. . 39, 60

72

SMITHSONIAN INSTITUTION LIBRARIES

3 ^Oflfl 002=171357 1

nmaa N7081.P415
Swedish art exhibition