DOI Heft:
No. 199 (October, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20968#0099
Studio- Talk
initiative in arranging an
art exhibition in the gal-
leries of the Academy of
Fine Arts in Stockholm,
even if one could not
help feeling strongly the
absence of some of our
best men. Why were they
not represented ? Because
of the perfectly absurd
antagonism between the
different societies of artists
in Sweden. One of them,
" Konstnarsforbundet,"
the name of the Swedish
"Secession," formed
several years before the
corresponding secessionist
societies of artists in other
countries came into exist-
ence, still carries on war
with all non-members, and
refuses to take part in
exhibitions where other
Swedish societies exhibit.
This is the reason why a
really representative col-
lection of modern Swedish
art has never been shown
in ' any of the great art
centres of Europe, with,
perhaps, the exception of
the Swedish collections " the amber necklace" by mary curtis richardson
. .-, , t, • , •, • (See San Francisco Studio-Talk)
at the great rans exhibi-
tions of 1889 and 1900,
but only separate exhibitions of the works of certainly no one loves him so much as Hallstrom
prominent artists like Zorn, Carl Larsson, Liljefors does. His picture showing an old peasant singer
and others. This is also the reason why, at the ill in bed with some lovely wild flowers in a glass
exhibition in question, the society just named and on a chair near by, gives a stronger feeling of
the members of their artistic creed were missing. Swedish peasant life than many big paintings.
As this organization still includes very many of Hallstrom's landscapes faithfully interpret the
Sweden's best artists, this abstention materially character of the country. Personally, I like his
detracted from the interest of the exhibition, water-colours better than his oil-paintings — a
Nevertheless, there was much io enjoy. strong, manly, very careful drawing, filled in with
colour somewhat in the same way as Carl Larsson's
Some of the best of the exhibiting artists, like water-colours, but otherwise in no way influenced
Gunnar Hallstrom and Olle Hjortsberg, had special by Larsson's art.. Drawings for the illustrations
rooms. Hallstrom (born 1875) had never exhi- to Runeberg's famous poem, "The Elk-shots,"
bited so many pictures at once, nor had his original showed Hallstrom's talent from another side, as
art ever made so strong an impression as on this did his great panels with historical subjects, or his
occasion. He is in some ways the most Swedish beautiful pictures of young men skiing and skating.
of all our artists. Nobody, except perhaps -
Wilhelmson, knows how to render the charac- Olle Hjortzberg (born 1872) is just as exotic as
teristic traits of the Swedish peasant better, and Hallstrom is Swedish. He has travelled much in
77
initiative in arranging an
art exhibition in the gal-
leries of the Academy of
Fine Arts in Stockholm,
even if one could not
help feeling strongly the
absence of some of our
best men. Why were they
not represented ? Because
of the perfectly absurd
antagonism between the
different societies of artists
in Sweden. One of them,
" Konstnarsforbundet,"
the name of the Swedish
"Secession," formed
several years before the
corresponding secessionist
societies of artists in other
countries came into exist-
ence, still carries on war
with all non-members, and
refuses to take part in
exhibitions where other
Swedish societies exhibit.
This is the reason why a
really representative col-
lection of modern Swedish
art has never been shown
in ' any of the great art
centres of Europe, with,
perhaps, the exception of
the Swedish collections " the amber necklace" by mary curtis richardson
. .-, , t, • , •, • (See San Francisco Studio-Talk)
at the great rans exhibi-
tions of 1889 and 1900,
but only separate exhibitions of the works of certainly no one loves him so much as Hallstrom
prominent artists like Zorn, Carl Larsson, Liljefors does. His picture showing an old peasant singer
and others. This is also the reason why, at the ill in bed with some lovely wild flowers in a glass
exhibition in question, the society just named and on a chair near by, gives a stronger feeling of
the members of their artistic creed were missing. Swedish peasant life than many big paintings.
As this organization still includes very many of Hallstrom's landscapes faithfully interpret the
Sweden's best artists, this abstention materially character of the country. Personally, I like his
detracted from the interest of the exhibition, water-colours better than his oil-paintings — a
Nevertheless, there was much io enjoy. strong, manly, very careful drawing, filled in with
colour somewhat in the same way as Carl Larsson's
Some of the best of the exhibiting artists, like water-colours, but otherwise in no way influenced
Gunnar Hallstrom and Olle Hjortsberg, had special by Larsson's art.. Drawings for the illustrations
rooms. Hallstrom (born 1875) had never exhi- to Runeberg's famous poem, "The Elk-shots,"
bited so many pictures at once, nor had his original showed Hallstrom's talent from another side, as
art ever made so strong an impression as on this did his great panels with historical subjects, or his
occasion. He is in some ways the most Swedish beautiful pictures of young men skiing and skating.
of all our artists. Nobody, except perhaps -
Wilhelmson, knows how to render the charac- Olle Hjortzberg (born 1872) is just as exotic as
teristic traits of the Swedish peasant better, and Hallstrom is Swedish. He has travelled much in
77