DOI article:
Wettergren, Erik: Applied art in Sweden
DOI Page / Citation link:https://doi.org/10.11588/diglit.19430#0119
APPLIED ART IN SWEDEN
ing members of the Slojdforening as a result of the work shown at an
important exhibition in 1914. This criticism, undoubtedly well-deserved,
created amongst the manufacturers attacked considerable ill-feeling,
which found expression in written and oral protests, and at a stormy
meeting held to discuss the matter. But to show how opinions veered
round, it is sufficient to mention that the Rorstrand and Gustafsberg
China Works (the most important in Sweden) have, since then, not only
engaged two artists recommended to them by the Sldjdforening, but have
gone still further by requesting that body to nominate a jury to judge
their productions each year, and to affix a so-called “quality-mark” on
goods which it considers fully satisfy artistic and qualitative require-
ments. It should be mentioned that the artists just referred to are
Edward Hald, engaged by the Rorstrand, and Wilhelm Kage by the
Gustafsberg Works (see pages 116 and 117).
A still more remarkable development is that which has taken place at
the Orrefors Glassworks where, until quite recently, only window-glass
and soda-water bottles were turned out. Within a very short period this
firm has become one of the principal producers of artistic goods by virtue
of its beautiful engraved table glass, and that special form of cameo glass
which it calls “ Grail Glass.” Edward Hald is also associated with this
work, together with Simon Gate (see pages 118 and 119).
It is interesting and important to note that the artists just mentioned are
not only responsible for the design and decoration of the new models,
but they have also mastered the technicalities and secrets of the different
processes, and at their suggestion alterations and improvements have
been made in the machinery in order to assist them to render their artis-
tic effects. Experiments have been made which have led to the re-dis-
covery of delightful old glazes, forgotten for centuries; machinery has
been altered so that by a single manipulation a beautiful form is created
which, formerly, could only be produced by hand. Here, indeed, we
can truly speak of a real co-operation between art and industry.
Similar collaboration has been established in the wallpaper, textile, gold-
smith’s, printing and other trades. In the printing world the most note-
worthy development has taken place at the establishment of Messrs. P.
A. Norstedt and Sons, the largest printers and publishers in Sweden,
who have engaged Akke Kumlien. This distinguished artist, by his skill
in the designing of book-covers, the re-forming and standardizing of
types, and the arranging of harmonious pages, has already succeeded in
forming a School.
The leading manufacturers of furniture are also taking an active part in
the movement, and one of the largest amongst them, the Nordiska Kom-
paniet, some time ago placed the direction of their factory in the hands
109
ing members of the Slojdforening as a result of the work shown at an
important exhibition in 1914. This criticism, undoubtedly well-deserved,
created amongst the manufacturers attacked considerable ill-feeling,
which found expression in written and oral protests, and at a stormy
meeting held to discuss the matter. But to show how opinions veered
round, it is sufficient to mention that the Rorstrand and Gustafsberg
China Works (the most important in Sweden) have, since then, not only
engaged two artists recommended to them by the Sldjdforening, but have
gone still further by requesting that body to nominate a jury to judge
their productions each year, and to affix a so-called “quality-mark” on
goods which it considers fully satisfy artistic and qualitative require-
ments. It should be mentioned that the artists just referred to are
Edward Hald, engaged by the Rorstrand, and Wilhelm Kage by the
Gustafsberg Works (see pages 116 and 117).
A still more remarkable development is that which has taken place at
the Orrefors Glassworks where, until quite recently, only window-glass
and soda-water bottles were turned out. Within a very short period this
firm has become one of the principal producers of artistic goods by virtue
of its beautiful engraved table glass, and that special form of cameo glass
which it calls “ Grail Glass.” Edward Hald is also associated with this
work, together with Simon Gate (see pages 118 and 119).
It is interesting and important to note that the artists just mentioned are
not only responsible for the design and decoration of the new models,
but they have also mastered the technicalities and secrets of the different
processes, and at their suggestion alterations and improvements have
been made in the machinery in order to assist them to render their artis-
tic effects. Experiments have been made which have led to the re-dis-
covery of delightful old glazes, forgotten for centuries; machinery has
been altered so that by a single manipulation a beautiful form is created
which, formerly, could only be produced by hand. Here, indeed, we
can truly speak of a real co-operation between art and industry.
Similar collaboration has been established in the wallpaper, textile, gold-
smith’s, printing and other trades. In the printing world the most note-
worthy development has taken place at the establishment of Messrs. P.
A. Norstedt and Sons, the largest printers and publishers in Sweden,
who have engaged Akke Kumlien. This distinguished artist, by his skill
in the designing of book-covers, the re-forming and standardizing of
types, and the arranging of harmonious pages, has already succeeded in
forming a School.
The leading manufacturers of furniture are also taking an active part in
the movement, and one of the largest amongst them, the Nordiska Kom-
paniet, some time ago placed the direction of their factory in the hands
109