DOI Heft:
No. 225 (December 1911)
DOI Artikel:Gauffin, Axel: The landscape paintings of Prince Eugen of Sweden
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21155#0195
Prince Eugen of Sweden
THE LANDSCAPE PAINTINGS flicting characteristics in. the Stockholder will soon
OF PRINCE EUGEN OF discover that the side which is most prominently
SWEDEN BY AXEL GAUFFIN reflecte<3 in the temperament of the inhabitants of
„ , ' the capital is that of Lake Malar. It is the spirit
(Translated by Adams-Kay. j rT , , _. , . ' .
of Lake Malar that gives the Stockholmer his light,
Janus-like, the scenery around Stockholm has careless nature, thoughtless of the morrow, and
two faces. The one is lightsome and engaging, owning no very great sense of relationship with the
the least thought heedless, so to speak, and turns bloody memories of vanished national greatness,
to us with blue-eyed, winsome glances. This is And so when, in the summer, he flies to his
most characteristic of the Lake Malar side with its beloved skerries, the archipelago with its naked,
pretty, coquettish charm—its type, a little cottage water-worn rocks appears to him quite as smiling
whose encircling birches reflect their silver and and as cosy as the islands mirrored in a bay of
green in the still waters, or wave above the long Lake Malar. Just in the same way the Stock-
reeds that stand sentinel near the shore. holmian poet or painter of the second rank shows
The other countenance is hard and gloomy, with an inability to take the scenery of the skerries
cold, grey eyes. This face it is that is turned towards seriously. He sees naught but the picturesque
us when we approach the Swedish capital through features, the gleam of the sun over water and land,
the skerries that fill the sea east of Stockholm. The Prince Eugen has nothing in common with this
shorty low billows, that have never time to grow to everyday type. It is seriousness, it is earnestness,
height and strength amid these island-sheltered that has set its seal on his art; this it is that has
fiords, break impotently against the granite which made him one of the creators of the new world of
here rises above the waters in all its cold, sterile Swedish landscape painting.
nakedness. He is, by descent, a member of a family rich
But the stranger who expects to find these con- in artistic and mental gifts. His royal father, the
prince eugen's study at valdemar's udde, near stockholm
LIV. No. 225.—December 1911.
173
THE LANDSCAPE PAINTINGS flicting characteristics in. the Stockholder will soon
OF PRINCE EUGEN OF discover that the side which is most prominently
SWEDEN BY AXEL GAUFFIN reflecte<3 in the temperament of the inhabitants of
„ , ' the capital is that of Lake Malar. It is the spirit
(Translated by Adams-Kay. j rT , , _. , . ' .
of Lake Malar that gives the Stockholmer his light,
Janus-like, the scenery around Stockholm has careless nature, thoughtless of the morrow, and
two faces. The one is lightsome and engaging, owning no very great sense of relationship with the
the least thought heedless, so to speak, and turns bloody memories of vanished national greatness,
to us with blue-eyed, winsome glances. This is And so when, in the summer, he flies to his
most characteristic of the Lake Malar side with its beloved skerries, the archipelago with its naked,
pretty, coquettish charm—its type, a little cottage water-worn rocks appears to him quite as smiling
whose encircling birches reflect their silver and and as cosy as the islands mirrored in a bay of
green in the still waters, or wave above the long Lake Malar. Just in the same way the Stock-
reeds that stand sentinel near the shore. holmian poet or painter of the second rank shows
The other countenance is hard and gloomy, with an inability to take the scenery of the skerries
cold, grey eyes. This face it is that is turned towards seriously. He sees naught but the picturesque
us when we approach the Swedish capital through features, the gleam of the sun over water and land,
the skerries that fill the sea east of Stockholm. The Prince Eugen has nothing in common with this
shorty low billows, that have never time to grow to everyday type. It is seriousness, it is earnestness,
height and strength amid these island-sheltered that has set its seal on his art; this it is that has
fiords, break impotently against the granite which made him one of the creators of the new world of
here rises above the waters in all its cold, sterile Swedish landscape painting.
nakedness. He is, by descent, a member of a family rich
But the stranger who expects to find these con- in artistic and mental gifts. His royal father, the
prince eugen's study at valdemar's udde, near stockholm
LIV. No. 225.—December 1911.
173