International studio (21.1903/1904(1904))

This is, however, the case in regard to two young
Swedish artists of repute and prominence in their
particular line of Art—portrait-painting. They are
the brothers Osterman (Emil and Bernhard), who
some littie while ago heid an exhibition of their
works at Stockholm.

The exhibition attracted a great deal of interest
from the art-loving public, and it is only fair to
say that several of the works exhibited were of a
quality that demanded even the rnost scrutinis-
ing art-expert's attention, and, in some instances,
rnuch more than that—perfect satisfaction and
even admiration. The Osterman portraits give,
all of them, unmistakable evidence of a truly
earnest and intelligent study, of a rare gift of
observation in regard to cbaracter as well as form,
and of a convincing and masterly ßrmness and
power in the handling of the material. Both
artists are excellent draughtsmen, and both are
colourists in the very best sense of that, nowadays,
not seldom lamentably misused word.
Emil Osterman is King Oscar's painter
He has painted the king in almost
every conceivable posture; in every uniform
he possesses; in evening dress and in "plain"

clothes; stern and smiling, solemn and "easy-
going." Mr. Osterman jocularly declares that he
" ought to know his king pretty well by now";


PORTRAIT HY BERNHARD OSTERMAN


PORTRAIT OF EDWARD ROSENBERG BY EMIL OSTERMAN

71