DOI Heft:
Nr. 166 (December, 1910)
DOI Artikel:Hedberg, Tor: Bruno Liljefors, a Swedish painter of animals
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19869#0158
Bruno Liljefors
"common curlew" (In the National Museum, Stockholm j by bruno liljefors
not demand any attention for itself, and only breast to breast, without weapons and without
exceptionally has anything specially attractive. As artifice. There is in his technique, as well as in
his knowledge of life is always direct and self- his conception, something of the power of the
acquired, so he also draws his means of expression primitive to delight and convince,
direct from Nature. This has sometimes, in my Invigorating and original, youthful and strong,
opinion, led him into experiments artistically un- the art of Bruno Liljefors has raised an im-
tenable, such as attempting to represent the move- perishable monument to Swedish nature and
ments of wings in flight, by simultaneously present- Swedish animal life. In Sweden it has won a
ing different instantaneous pictures. It sometimes popularity hardly to be equalled by that of any
also induces a certain dryness and conventionalism other of our great artists. That it has had a deep
in execution, namely, when he is tempted into effect is proved, among other things, by the fact
repeating a theme already used before, instead that it is doubtless one of the most important
of seeking his inspiration in Nature direct. Our sources of inspiration of Selma Lagerlof's " Nils
National Museum has a few specimens of these Holgerson's Journey," that unique geographical
studio pictures, fortunately so rare in his produc- saga-book. Pronounced Swedish and local (this is
tion. But in his best works (they can be counted its strength), his art has, nevertheless, such a rich
by the hundreds, for his inspiration is as rich and import and such a broad, generally acceptable
abundant as Nature itself), with what na'iveie and form, that it has an assured place in the common
honesty he interprets the vision such as it appeared culture of Europe, and this place it has now, for
to him, how he forgets himself and his skill in the some years, slowly but irresistibly been winning,
face of his new task, wrestling with it, so to speak, Tor Hedberg.
128
"common curlew" (In the National Museum, Stockholm j by bruno liljefors
not demand any attention for itself, and only breast to breast, without weapons and without
exceptionally has anything specially attractive. As artifice. There is in his technique, as well as in
his knowledge of life is always direct and self- his conception, something of the power of the
acquired, so he also draws his means of expression primitive to delight and convince,
direct from Nature. This has sometimes, in my Invigorating and original, youthful and strong,
opinion, led him into experiments artistically un- the art of Bruno Liljefors has raised an im-
tenable, such as attempting to represent the move- perishable monument to Swedish nature and
ments of wings in flight, by simultaneously present- Swedish animal life. In Sweden it has won a
ing different instantaneous pictures. It sometimes popularity hardly to be equalled by that of any
also induces a certain dryness and conventionalism other of our great artists. That it has had a deep
in execution, namely, when he is tempted into effect is proved, among other things, by the fact
repeating a theme already used before, instead that it is doubtless one of the most important
of seeking his inspiration in Nature direct. Our sources of inspiration of Selma Lagerlof's " Nils
National Museum has a few specimens of these Holgerson's Journey," that unique geographical
studio pictures, fortunately so rare in his produc- saga-book. Pronounced Swedish and local (this is
tion. But in his best works (they can be counted its strength), his art has, nevertheless, such a rich
by the hundreds, for his inspiration is as rich and import and such a broad, generally acceptable
abundant as Nature itself), with what na'iveie and form, that it has an assured place in the common
honesty he interprets the vision such as it appeared culture of Europe, and this place it has now, for
to him, how he forgets himself and his skill in the some years, slowly but irresistibly been winning,
face of his new task, wrestling with it, so to speak, Tor Hedberg.
128