International studio (41.1910)

Carl Miiles, Swedish Sculptor

IA

eration of sculptors, Paris is still the
great goal. No wonder then that the
most Swedish of the present generation
of form artists, Carl Milles, has spent
nine long years of incessant toil in Paris
for the purpose of grasping the tech-
nical mastery of his art. Rodin was
the first to open his eyes to a new
world of expressive beauty, and under
this influence—not a wholesome one
perhaps for every youth—the young
Swede's talent blossomed forth in a
wonderfully short time. He is now
34 years of age, a typical blonde Swede,
young in mind and energy, and yet
with a long series of original and sound
works to his credit: historical monu-
ments, decorative statues and reliefs,
quaint animal sculptures, portrait busts
and diminutive statuettes, full of the
finest and airiest humour. In these
diverse works he exhibits a personal
power, a strongly marked virility and
anti-feminine taste, which mark him out
as the very antithesis of an eclectic.
The Parisian influence has, on the
whole, left very few impressions on his
strong northern nature.

carl milles at work in his studio Swedish sculptors have another com

mon trait that deserves to be noted,
pupils, Christian Eriksson—a man of much versa- i.e., their connection with handicraft. Per Hassel-
tility and fruitful talent—established for himself berg and Christian Eriksson both began their
a place amongst the leading men. And the ranks careers as carpenters, and have never quite lost
of good sculptors are con-
stantly receiving new
recruits; among the
younger ones being Carl
Milles, Carl Eldh, David
Edstr6m,Tore Strindberg,
and several others.

A common trait of
most of these sculptors
is their French schooling ;
even Sergei, Hasselberg
and Eriksson have re-
ceived their best impulses
from French sculpture.
Our painters have at last
been domesticated;
young and old, they have
found that the home
country is the natural
soil for a national art;

but for the younger gen- "dutch women" (bkonzk by carl milles

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