DOI issue:
Nr. 176 (October, 1911)
DOI article:Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43447#0425
Studio- Talk
who paints strong winter scenes from the big
woods of Smaland; Axel Kulle, whose synthetic
landscapes from Skane are executed in a very
personal colour-scheme; and Oscar Bergman, who
exhibited some decorative small water-colours.
Good portraits by Torsten Schonberg and Lange
attracted attention. The sculpture was rather
unimportant, with the exception of Otto Strand-
man’s statuettes.
In Hultberg’s Galleries some of our best car-
toonists, Schonberg, Schwab, Oscar Andersson, and
a few others, arranged a “ Salon des humoristes ”
which was a great success. Schwab exhibited a
very amusing series of oil paintings in which he
represented how different well-known artists from
of Fredrika Bremer, the energetic fighter for women’s
rights, and a novelist much read in England and
America in the forties and fifties, though certainly
her artistic productions cannot compare with her
literary achievements. Among the modern Swedish
lady painters, Mrs. Hanna Pauli is by far the most
important. She filled a whole wall with many good
works, which showed an almost masculine power
of conception, and her biggest work, a portrait-
group called The Friends, representing a dozen
well-known literary and artistic people gathered
round Ellen Key, the essayist, reading her last
book to her admiring friends, was bought for the
Museum in Stockholm. Among the works of
applied art one noticed some really good book-
bindings by Countess Eva Sparre. T. L.
Zorn, Larsson, and Liljefors up to Matisse would
have painted the same subject, A Girl with an
Orange, the style of the different artists being
excellently characterised. Torsten Schonberg’s
caricatures of Zorn and other known Stockholm
types were good, but his own self-portrait, a big
charcoal-drawing, was simply excellent, though no
caricature. Ivar Arosenius’s small water-colours,
LEIPZIG.—The “ Leipziger Jahresausstellung,
1911 ” (Leipzig Annual Exhibition, 1911),
in union with the “ Deutsche Kiinstler-
bund,” gave a display of interesting work
of modern type, mostly paintings in oil, with a
small but interesting section of graphic art and
some sculpture.
humorous and fantastic,
cruel and poetic, aroused
a great deal of interest.
Axel Pettersson, a Swedish
peasant-sculptor from Do-
derhutt, who already last
year won many admirers at
the “Salon des humoristes”
in Paris, showed his Steeple-
chase (p. 333) and Peasant
Funeral, which latter work
has been exhibited at the
Swedish Art Exhibition in
Brighton, where, by the
way, also a really fine collec-
tion of Arosenius’s water
colours was to be seen.
The latest of many asso-
ciations of artists in Sweden
is the Society of Lady
Artists, which had a great
but not very carefully
selected exhibition in the
galleries of the Academy
of Fine Arts recently. In
the retrospective part of
this show Anglo-American
visitors might have been in-
terested to see the drawings
SELF-PORTRAIT
BY TORSTEN
( The property of Th. Laur'.n, Esq., Stockholmf
SCHONBERG
who paints strong winter scenes from the big
woods of Smaland; Axel Kulle, whose synthetic
landscapes from Skane are executed in a very
personal colour-scheme; and Oscar Bergman, who
exhibited some decorative small water-colours.
Good portraits by Torsten Schonberg and Lange
attracted attention. The sculpture was rather
unimportant, with the exception of Otto Strand-
man’s statuettes.
In Hultberg’s Galleries some of our best car-
toonists, Schonberg, Schwab, Oscar Andersson, and
a few others, arranged a “ Salon des humoristes ”
which was a great success. Schwab exhibited a
very amusing series of oil paintings in which he
represented how different well-known artists from
of Fredrika Bremer, the energetic fighter for women’s
rights, and a novelist much read in England and
America in the forties and fifties, though certainly
her artistic productions cannot compare with her
literary achievements. Among the modern Swedish
lady painters, Mrs. Hanna Pauli is by far the most
important. She filled a whole wall with many good
works, which showed an almost masculine power
of conception, and her biggest work, a portrait-
group called The Friends, representing a dozen
well-known literary and artistic people gathered
round Ellen Key, the essayist, reading her last
book to her admiring friends, was bought for the
Museum in Stockholm. Among the works of
applied art one noticed some really good book-
bindings by Countess Eva Sparre. T. L.
Zorn, Larsson, and Liljefors up to Matisse would
have painted the same subject, A Girl with an
Orange, the style of the different artists being
excellently characterised. Torsten Schonberg’s
caricatures of Zorn and other known Stockholm
types were good, but his own self-portrait, a big
charcoal-drawing, was simply excellent, though no
caricature. Ivar Arosenius’s small water-colours,
LEIPZIG.—The “ Leipziger Jahresausstellung,
1911 ” (Leipzig Annual Exhibition, 1911),
in union with the “ Deutsche Kiinstler-
bund,” gave a display of interesting work
of modern type, mostly paintings in oil, with a
small but interesting section of graphic art and
some sculpture.
humorous and fantastic,
cruel and poetic, aroused
a great deal of interest.
Axel Pettersson, a Swedish
peasant-sculptor from Do-
derhutt, who already last
year won many admirers at
the “Salon des humoristes”
in Paris, showed his Steeple-
chase (p. 333) and Peasant
Funeral, which latter work
has been exhibited at the
Swedish Art Exhibition in
Brighton, where, by the
way, also a really fine collec-
tion of Arosenius’s water
colours was to be seen.
The latest of many asso-
ciations of artists in Sweden
is the Society of Lady
Artists, which had a great
but not very carefully
selected exhibition in the
galleries of the Academy
of Fine Arts recently. In
the retrospective part of
this show Anglo-American
visitors might have been in-
terested to see the drawings
SELF-PORTRAIT
BY TORSTEN
( The property of Th. Laur'.n, Esq., Stockholmf
SCHONBERG