DOI Heft:
No. 174 (September, 1907)
DOI Artikel:The Seventh International Exhibition of Art at Venice, 1907
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20775#0310
The Venice Exhibition, igoy
The Swedish room is one of the very best in graves. With Zorn, however, we seem to recover
the whole exhibition. Here we have Zorn in his touch with actuality, but actuality in another way
wonderful plein-air studies : we have Carl Larsson, idealized : he is the magician who reveals to us
whose Martina is included among our illustrations ; mysteries of light and form which were unknown to
we have the northern fauna, the birds and seals of us, though always within our reach. His Ruisseaux
Axel Sjoberg, and, above all, we have the work of here recalls the Reflets of the last exhibition ; like
that wonderful colourist, Anna Boberg. Anna that, it is a study of the reflections of water as
Boberg has here twenty-one paintings, among which affecting and affected by a nude figure in move-
I should specially mention The Modem Vikings, ot ment. In another nude the artist has studied the
which an illustration is given (p. 274), The Mysterious contrast (which often occupied that Venetian master
Moment between Day and Night, and the Cemeterv, of colour, G. B. Tiepolo) of the golden white of
which seems a rendering into colour of that scene flesh with the dead white of drapery. His Reve de
from Ossian, which Goethe has described " the Printemps is a really idyllic vision of a fair-haired
farthest Thule, where we wandered over grey, girl, bathed in sunlight, moving across a scene in
endless moors among moss-covered tombs, while which we seem to feel the stir of the summer wind
a terrible wind stirred the grass, and a heavy upon some northern coast.
clouded sky lowered upon us," and where, in Equal in interest to the Swedish Room is the
the dim moonlight, departed heroes and love-lorn English, and it is satisfactory to find the opinion of
maidens seemed to hover over the wind-swept the Venetians themselves placing these two rooms
The Swedish room is one of the very best in graves. With Zorn, however, we seem to recover
the whole exhibition. Here we have Zorn in his touch with actuality, but actuality in another way
wonderful plein-air studies : we have Carl Larsson, idealized : he is the magician who reveals to us
whose Martina is included among our illustrations ; mysteries of light and form which were unknown to
we have the northern fauna, the birds and seals of us, though always within our reach. His Ruisseaux
Axel Sjoberg, and, above all, we have the work of here recalls the Reflets of the last exhibition ; like
that wonderful colourist, Anna Boberg. Anna that, it is a study of the reflections of water as
Boberg has here twenty-one paintings, among which affecting and affected by a nude figure in move-
I should specially mention The Modem Vikings, ot ment. In another nude the artist has studied the
which an illustration is given (p. 274), The Mysterious contrast (which often occupied that Venetian master
Moment between Day and Night, and the Cemeterv, of colour, G. B. Tiepolo) of the golden white of
which seems a rendering into colour of that scene flesh with the dead white of drapery. His Reve de
from Ossian, which Goethe has described " the Printemps is a really idyllic vision of a fair-haired
farthest Thule, where we wandered over grey, girl, bathed in sunlight, moving across a scene in
endless moors among moss-covered tombs, while which we seem to feel the stir of the summer wind
a terrible wind stirred the grass, and a heavy upon some northern coast.
clouded sky lowered upon us," and where, in Equal in interest to the Swedish Room is the
the dim moonlight, departed heroes and love-lorn English, and it is satisfactory to find the opinion of
maidens seemed to hover over the wind-swept the Venetians themselves placing these two rooms