DOI Heft:
No. 55 (October, 1897)
DOI Artikel:Mörner, Birger: Swedisch art at the Stockholm Exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18390#0066
Swedish Art
his colouring, and what others ran scarcely attain by
work is only play for him. Foremost among his
painting we notice Xatteffekt ("Night effect'-), a
(lemi monclaine clad in the reddest of red dresses,
w hoenters the street from one of the Tar is boulevard-
cafe's, and who is illuminated on the one: side by
the electric light from the street and on the other
by the light from the cafe. There is also exhibited
a portrait of himself, painted with excellent bra-
vura, with a nude model in the background.
After the Exhibition is over this picture will be-
come a part of the State collection.
Carl Larson has exhibited a number of pictures,
most of them reproducing interiors from his own
family life. As always, they are distinguished for
their elegance, trueness, and good humour. The
picture—Karin (the wife of the artist)—belongs
to H.R.H. Prince Eugen. Oscar Bjorck is re-
presented by several very good portraits. His
portrait of King Oscar in crown and robe is
monumental, and the one of a laughing young
lady dressed in light blue, reclining against a
light background, is delightful. There is sun and
gladness in it. Richard Bergh is one of our most
intelligent, perhaps one of our most reflecting,
artists. His great new work, Jungfrun och Rid-
daren ("The Damsel and the Knight"), is making
a great sensation. The knight, clad in armour,
and decked with red waving plumes, is kissing the
damsel farewell in a green meadow. She looks
down and seems to be trembling. There is some-
thing delightfully subtle in her appearance, but I
cannot say that the picture, with its somewhat
brassy tone, makes any deep impression on me.
Without an)- hesitation I give a higher place to his
much nobler work—Miii hustru (" My wife ")—
which portrait, with its sincerity and simplicity,
cannot help being attractive.
The great symphony of colours —■ Varen
("Spring")—by Julius Kronberg, is always seen
with pleasure. Kronberg was once our merriest
colour poet ; now he is discreet in colour, discreet
in the extreme. From his new period there is only
one work here exhibited—a portrait in tempera of
a man, who in his old age has become blind, and
is now trying to learn blind print. Kronberg, the
"THE EAGLES" FROM A PAINTING BY liKl'NO LILJEFORS
42
his colouring, and what others ran scarcely attain by
work is only play for him. Foremost among his
painting we notice Xatteffekt ("Night effect'-), a
(lemi monclaine clad in the reddest of red dresses,
w hoenters the street from one of the Tar is boulevard-
cafe's, and who is illuminated on the one: side by
the electric light from the street and on the other
by the light from the cafe. There is also exhibited
a portrait of himself, painted with excellent bra-
vura, with a nude model in the background.
After the Exhibition is over this picture will be-
come a part of the State collection.
Carl Larson has exhibited a number of pictures,
most of them reproducing interiors from his own
family life. As always, they are distinguished for
their elegance, trueness, and good humour. The
picture—Karin (the wife of the artist)—belongs
to H.R.H. Prince Eugen. Oscar Bjorck is re-
presented by several very good portraits. His
portrait of King Oscar in crown and robe is
monumental, and the one of a laughing young
lady dressed in light blue, reclining against a
light background, is delightful. There is sun and
gladness in it. Richard Bergh is one of our most
intelligent, perhaps one of our most reflecting,
artists. His great new work, Jungfrun och Rid-
daren ("The Damsel and the Knight"), is making
a great sensation. The knight, clad in armour,
and decked with red waving plumes, is kissing the
damsel farewell in a green meadow. She looks
down and seems to be trembling. There is some-
thing delightfully subtle in her appearance, but I
cannot say that the picture, with its somewhat
brassy tone, makes any deep impression on me.
Without an)- hesitation I give a higher place to his
much nobler work—Miii hustru (" My wife ")—
which portrait, with its sincerity and simplicity,
cannot help being attractive.
The great symphony of colours —■ Varen
("Spring")—by Julius Kronberg, is always seen
with pleasure. Kronberg was once our merriest
colour poet ; now he is discreet in colour, discreet
in the extreme. From his new period there is only
one work here exhibited—a portrait in tempera of
a man, who in his old age has become blind, and
is now trying to learn blind print. Kronberg, the
"THE EAGLES" FROM A PAINTING BY liKl'NO LILJEFORS
42