DOI issue:
No. 93 (November, 1904)
DOI article:Oliver, Maude I. G.: Swedish art at the St. Louis exposition
DOI Page / Citation link:https://doi.org/10.11588/diglit.26963#0073
Swedish Art at St. Louis
“THE EVENING STAR” BY GOTTFRIED KALLSTENIUS
sense of movement. His Eagte and Hare at St.
Louis is considered one of his strongest examples.
In the sculpture group in this section there is
one work by a young and comparatively unknown
artist—a lady—which proclaims, in its chaste,
beautiful lines, a message of dignity, of sweetness
and even grandeur. It is called The Annunciation,
and is executed by Miss Sigrid Blomberg. In
quite another style is the Caliban by David
Ekstrom, another of the younger sculptors. To
this class also belong the talented brother and
sister, Carl and Ruth Mills, who each exhibit a
number of admirable subjects. Stormy Day in
Holland by the brother, and Yvonne by the sister,
are both technically very fine. The three busts in
porcelain by Herman Neujd attract much attention.
Teodor Lundberg’s Ikaros and Wave and the Sea
are magnificent works, which well deserve the
admiration they are receiving; and the splendidly
executed bronzes by Gustaf Lindberg evince a
genial charm that is gratifying indeed. Then that
powerful piece of modelling, presented by Prof.
Borjeson, in a bronze representation of The Muser,
is only one out of eighteen superb contributions
by a man who has an intelligent and decisive
command of his craft. The Muser is a masterly
conception; it suggests the eternal problem of
existence, expressed in the meditative attitude of
the strong, sculptural figure resting effectively on
a large sphere. The composition also has been
so subtly managed as to collect the interest in a
cumulative manner, and finally to centre directly
in and about the head as the objective point.
The seriousness, the philosophic aspect of this
work are impressive in their spontaneous directness,
and in recognising these characteristics the earnest
student is reminded of but two of the many great
fundamentals belonging to the type of Swedish
art.
The opportunity of becoming better acquainted
with the inspiring style of present-day Swedish art
is an epoch in the history of art in America, and
for its privilege the art lovers of the United States
feel themselves deeply indebted to the St. Louis
Exposition of 1904.
M. I. G. 0.
[For the illustrations to the above article we are
indebted to the courtesy of the directors of the
Louisiana Purchase Exposition Company who have
kindly allowed us the use of their copyright photo-
graphs.—Editor, The Studio.]]
57
“THE EVENING STAR” BY GOTTFRIED KALLSTENIUS
sense of movement. His Eagte and Hare at St.
Louis is considered one of his strongest examples.
In the sculpture group in this section there is
one work by a young and comparatively unknown
artist—a lady—which proclaims, in its chaste,
beautiful lines, a message of dignity, of sweetness
and even grandeur. It is called The Annunciation,
and is executed by Miss Sigrid Blomberg. In
quite another style is the Caliban by David
Ekstrom, another of the younger sculptors. To
this class also belong the talented brother and
sister, Carl and Ruth Mills, who each exhibit a
number of admirable subjects. Stormy Day in
Holland by the brother, and Yvonne by the sister,
are both technically very fine. The three busts in
porcelain by Herman Neujd attract much attention.
Teodor Lundberg’s Ikaros and Wave and the Sea
are magnificent works, which well deserve the
admiration they are receiving; and the splendidly
executed bronzes by Gustaf Lindberg evince a
genial charm that is gratifying indeed. Then that
powerful piece of modelling, presented by Prof.
Borjeson, in a bronze representation of The Muser,
is only one out of eighteen superb contributions
by a man who has an intelligent and decisive
command of his craft. The Muser is a masterly
conception; it suggests the eternal problem of
existence, expressed in the meditative attitude of
the strong, sculptural figure resting effectively on
a large sphere. The composition also has been
so subtly managed as to collect the interest in a
cumulative manner, and finally to centre directly
in and about the head as the objective point.
The seriousness, the philosophic aspect of this
work are impressive in their spontaneous directness,
and in recognising these characteristics the earnest
student is reminded of but two of the many great
fundamentals belonging to the type of Swedish
art.
The opportunity of becoming better acquainted
with the inspiring style of present-day Swedish art
is an epoch in the history of art in America, and
for its privilege the art lovers of the United States
feel themselves deeply indebted to the St. Louis
Exposition of 1904.
M. I. G. 0.
[For the illustrations to the above article we are
indebted to the courtesy of the directors of the
Louisiana Purchase Exposition Company who have
kindly allowed us the use of their copyright photo-
graphs.—Editor, The Studio.]]
57