Studio: international art (12.1898)

Studio- Talk

show the superiority of
honest, careful work over
that known as "power-
ful " or " striking," which,
oftener than not, is simply
a disguise for ignorance of
drawing and trickiness of
execution. F. K.

STOCKHOLM.
—In an article
in The Studio
for October
1897, the great-
est sculptor of Sweden, Per
Hasselberg, who died three
years ago in the prime of
life, was mentioned. I
should like, however, to
give some further details
of the work of this artist,
and I am pleased to be
able to refer to The Snow-
drop, which is recognised

. ° pottery by alf wallander

as his principal work, and
was the first that placed

him prominently before the public when he sent it belongs to the National Museum at Stockholm, the
home from Paris, where he had lived for years in artist has given form to all that is most charming
poverty. In this beautiful life-size statue, which in woman—innocence of heart and purity of mind.

The drooping snowdrops at
her feet are not whiter than
her soul, expressed in every
line, in every curve of her
graceful body, which makes
us think of the power of the
Greeks in filling marble with
the sublime repose of a
refined soul. In his works
in marble and bronze, Per
Hasselberg has left his
country an inheritance which
ought to bear abundant fruit
for generations to come.

Much of the imagination
observable in Mr. Hasscl-
berg's works is also traceable
in the ceramics of Mr. Wal-
• lander, the principal feature
of whose art is a keen ob-
servation of the poetry of
nature, combined with a very
skilful handling of his mate-
screen. "nigh-j dew am) si).\ rays " by a. a.n DicRsox rial. Various kinds of flowers,

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