DOI Heft:
Studio-Talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43451#0272
Studio-Talk
“HORSES IN MOVEMENT”
FROM THE PAINTING BY NILS KREUGER
almost as much concentration of thought as the
purely technical details themselves.
A contrast as great as that just noted between
Wilhelmson and Richard Bergh as depicters of
men is that existing between the animal paintings
of the first-named artist and Nils Kreuger. Both
are excellent painters of the horse, but they see
their model from altogether different points of view.
For Wilhelmson the horse is the beast of burden,
the faithful helper and comrade of man in each
day’s toil. Nils Kreuger, on the other hand, sees
in the horse, not the most useful, but the noblest of
animals. He loves the horse, not beneath a heavy
yoke, but in proud and untrammelled freedom.
He seeks for him on the expanses of Oland and the
sea-strand slopes of Halland. Here, in the open
spaces where man’s hand is hardly seen, he has
caught the expressions for his sensitive and varying
moods, which, with a mere degree of difference in
the bearing of the head and neck, can show all the
scales of feeling between pride and humility, watch-
ful unrest and confiding calmness. So rich is this
theme for the artist that, beneath his hand, it is
always new, however unimportant the variations of
the motive may be.
The sculpture division of the exhibition was
dominated by two names—those of Christian
Eriksson and Carl Eldh. In all the range of
258
Swedish sculpture there can scarcely be found such
concentrated power as Eriksson’s Archer, in whose
iron muscles there is such a world of energy as
promises that the arrow shall fly far and sure when
the moment for action comes. The statue is a
well-known one, however, like most of those in
Eriksson’s magnificent collection. But there were
some new things, too, the most remarkable, un-
doubtedly, being the statuette of Johan Thuuri,
the celebrated Laplander. This is not merely a
portrait, it is a whole race that the sculptor has here
given us, with austere, slight forms, in the gleam-
ing, shadowy bronze. The bearing and the very
position of the body are so very characteristic of the
race. Carl Eldh has a gentler and more lightsome
nature. Sometimes it seems as if he wanted energy
to pursue an artistic conception to its final issue.
But feeling remains to the end, and this it is that
ennobles his best work ; this it is that makes Youth
his masterpiece, which, thanks to the generosity of
Zorn, will form part of the collection belonging to
the National Museum, for which another of the
sculptor’s best works, A Young Girl, has also been
acquired. A. G.
MADRID.—Eduardo Chicharro forms
one of that small band of artists who
do not thrust themselves and their
productions before the public, but who
work to satisfy their own private aesthetic ideals.
“HORSES IN MOVEMENT”
FROM THE PAINTING BY NILS KREUGER
almost as much concentration of thought as the
purely technical details themselves.
A contrast as great as that just noted between
Wilhelmson and Richard Bergh as depicters of
men is that existing between the animal paintings
of the first-named artist and Nils Kreuger. Both
are excellent painters of the horse, but they see
their model from altogether different points of view.
For Wilhelmson the horse is the beast of burden,
the faithful helper and comrade of man in each
day’s toil. Nils Kreuger, on the other hand, sees
in the horse, not the most useful, but the noblest of
animals. He loves the horse, not beneath a heavy
yoke, but in proud and untrammelled freedom.
He seeks for him on the expanses of Oland and the
sea-strand slopes of Halland. Here, in the open
spaces where man’s hand is hardly seen, he has
caught the expressions for his sensitive and varying
moods, which, with a mere degree of difference in
the bearing of the head and neck, can show all the
scales of feeling between pride and humility, watch-
ful unrest and confiding calmness. So rich is this
theme for the artist that, beneath his hand, it is
always new, however unimportant the variations of
the motive may be.
The sculpture division of the exhibition was
dominated by two names—those of Christian
Eriksson and Carl Eldh. In all the range of
258
Swedish sculpture there can scarcely be found such
concentrated power as Eriksson’s Archer, in whose
iron muscles there is such a world of energy as
promises that the arrow shall fly far and sure when
the moment for action comes. The statue is a
well-known one, however, like most of those in
Eriksson’s magnificent collection. But there were
some new things, too, the most remarkable, un-
doubtedly, being the statuette of Johan Thuuri,
the celebrated Laplander. This is not merely a
portrait, it is a whole race that the sculptor has here
given us, with austere, slight forms, in the gleam-
ing, shadowy bronze. The bearing and the very
position of the body are so very characteristic of the
race. Carl Eldh has a gentler and more lightsome
nature. Sometimes it seems as if he wanted energy
to pursue an artistic conception to its final issue.
But feeling remains to the end, and this it is that
ennobles his best work ; this it is that makes Youth
his masterpiece, which, thanks to the generosity of
Zorn, will form part of the collection belonging to
the National Museum, for which another of the
sculptor’s best works, A Young Girl, has also been
acquired. A. G.
MADRID.—Eduardo Chicharro forms
one of that small band of artists who
do not thrust themselves and their
productions before the public, but who
work to satisfy their own private aesthetic ideals.