DOI issue:
Nr. 160 (June 1910)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.19866#0426
Studio-Talk
While Sparre's exhibition was on show in that give the Swedish art of our days the high
" Konstnarshuser," a rather miscellaneous collec- place it now takes, first appeared before the public,
tion of works by several Swedish, Norwegian and The originality of several of her fellow-artists, men
Danish artists were exhibited in the galleries of like Zorn, Carl Larsson, Bruno Liljefors, Nord-
"The Swedish'Art Union," in which some charm- strom, Josephson and many others, seemed to Miss
ing water-colours by Carl Larsson and some Bonnier so overwhelming that she quite lost all
paintings by Carl Wilhelms&n and Hanna Pauli faith in her own powers, and gave up painting to
were most prominent. become instead one of the most intelligent art
- patrons we have had in Sweden. It therefore was
In the Hallin Konsthandel's galleries a memorial a great surprise to the Swedish public to find in
exhibition of the works of Miss Eva Bonnier (1858 her a very solid artist, whose portraits and genre
—1909) showed that Sweden by her death lost a paintings bore witness to an almost manly talent
very talented artist, I dare say the only one who and a refined sense of colour. In many respects
could compete with the just mentioned Mrs. Pauli her pictures remind one of that very sympathetic
for first place among Swedish women-painters. American artist, Miss Mary Cassatt, in her early
Miss Bonnier was never a productive artist, and style. We may add that Miss Bonnier's exhibition
all her work was done during one decade, from also included some good objets d'art made during
1880—90, the years when nearly all the artists the years when she had already ceased to paint.
Her name will live long in
Sweden not only through
her work, but also through
her generous gift of a large
sum of money, the interest
of which is to be used for
the beautifying of Stock-
holm. _
In the same galleries
were exhibited a large
collection of landscapes
by a Swedish artist, whose
name is less known in
Stockholm than in Venice
or Munich, Otto Hessel-
bom. He is already a
man of sixty, but still
this was the first time that
a considerable number of
his works had been on
show in Sweden, a rather
remarkable fact when one
considers that Hesselbom
is represented in many
public and private collec-
tions on the continent.
Hesselbom's landscapes
are always decorative.
One never finds in his
works any real intense
study of the details, but
always a festive concep-
tion, rhythm and breadth
in the composition.
,'automnk" {Sec Brussels Studio-Talk, p. jsj) by paul dubois Hardly any of our land-
327
While Sparre's exhibition was on show in that give the Swedish art of our days the high
" Konstnarshuser," a rather miscellaneous collec- place it now takes, first appeared before the public,
tion of works by several Swedish, Norwegian and The originality of several of her fellow-artists, men
Danish artists were exhibited in the galleries of like Zorn, Carl Larsson, Bruno Liljefors, Nord-
"The Swedish'Art Union," in which some charm- strom, Josephson and many others, seemed to Miss
ing water-colours by Carl Larsson and some Bonnier so overwhelming that she quite lost all
paintings by Carl Wilhelms&n and Hanna Pauli faith in her own powers, and gave up painting to
were most prominent. become instead one of the most intelligent art
- patrons we have had in Sweden. It therefore was
In the Hallin Konsthandel's galleries a memorial a great surprise to the Swedish public to find in
exhibition of the works of Miss Eva Bonnier (1858 her a very solid artist, whose portraits and genre
—1909) showed that Sweden by her death lost a paintings bore witness to an almost manly talent
very talented artist, I dare say the only one who and a refined sense of colour. In many respects
could compete with the just mentioned Mrs. Pauli her pictures remind one of that very sympathetic
for first place among Swedish women-painters. American artist, Miss Mary Cassatt, in her early
Miss Bonnier was never a productive artist, and style. We may add that Miss Bonnier's exhibition
all her work was done during one decade, from also included some good objets d'art made during
1880—90, the years when nearly all the artists the years when she had already ceased to paint.
Her name will live long in
Sweden not only through
her work, but also through
her generous gift of a large
sum of money, the interest
of which is to be used for
the beautifying of Stock-
holm. _
In the same galleries
were exhibited a large
collection of landscapes
by a Swedish artist, whose
name is less known in
Stockholm than in Venice
or Munich, Otto Hessel-
bom. He is already a
man of sixty, but still
this was the first time that
a considerable number of
his works had been on
show in Sweden, a rather
remarkable fact when one
considers that Hesselbom
is represented in many
public and private collec-
tions on the continent.
Hesselbom's landscapes
are always decorative.
One never finds in his
works any real intense
study of the details, but
always a festive concep-
tion, rhythm and breadth
in the composition.
,'automnk" {Sec Brussels Studio-Talk, p. jsj) by paul dubois Hardly any of our land-
327