Studio: international art (51.1911)

Studio-Talk

VIENNA.—It was a happy thought on the
part of the Hagenbund committee to
invite the leading artists of Sweden to
exhibit in their gallery. The exhibition,
which was held during the past autumn, was in
every way a success, and for once even the critics
were agreed as to the general high quality of the
work. Most of these artists, if not all of them, are
already known to the readers of The Studio,
prominent among them being Anders Zorn, who
contributed a collection of those etchings for which
he is celebrated ; Ferdinand Boberg, who was a
new-comer to Vienna ; Sigge Bergstrom, who sent
some characteristic wood-engravings, and Carl
Larsson, whose pictures are more familiar to the
Viennese, for there is something in them which
makes his work linger in the memory. The twin
brothers, Emil Oesterman and Gustav Bernhard
Oesterman, both portrait-
ists of repute, were well re-
presented. Emil’s double
portrait, After the Ban-
quet, attracted much atten-
tion by the fine quality
of the painting, the easy
pose and the general con-
ception. Both brothers
have a remarkable faculty
for catching the right
moment and the right
pose, which, coupled with
a reserve in treatment
and an absence of any-
thing pertaining to man-
nerism, makes their
portraits still more inter-
esting on closer observa-
tion. Otto Hesselbom’s
View over Lake Aerran
reminded one of the slow
and solemn tones of a
Beethoven adagio, and
his Winter Evening in
the Barest was another
impressive landscape.

Oscar Bergman, one of
the younger artists, though
evidently influenced by
Japanese art, is neverthe-
less original in his treat-
ment. He has an open
heart for nature, but
nature in her gentler
moods. He works in

water-colour, lead pencil, and coloured chalks, and
attains his effects without seeming effort. Gustaf
Fjaestad delights in portraying nature clad in that
snowy garb so familiar to inhabitants of northern lati-
tudes, and his pictures are very effective and show
a keen insight into nature. Anshelm Schultzberg
sent two excellent landscapes—both of them
evening effects in early Spring; and some capital
pictures came from Oscar Hullgren, Wilhelm
Behm, Gunnar Hallstrom, G. Kallstenius, E.
Norlind, Oscar Bjorck, Ecke Hedberg, Axel Fahl-
crantz, P. Svedlund, and Olle Hjortzberg. Save for
a bronze relief portrait of Prince Eugen, another
unnamed, and some medals by Erik Lindberg, the
sculpture was confined to the works of Carl Milles,
who was represented by numerous small objects,
portrait busts and monumental works, all showing
the mind and hand of a master. A. S. L.

PORTRAIT OF BARONESS D. BY ALBERT VON KELLER

(See Berlin Studio- Talk)

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