DOI article:
Wettergren, Erik: Applied art in Sweden
DOI Page / Citation link:https://doi.org/10.11588/diglit.19430#0120
APPLIED ART IN SWEDEN
of one of our most earnest young architects, Carl Bergsten; while the
Associated Cabinet-makers, a large furniture trust, has lately, through
the offices of the Svenska Slojdforening, arranged a competition for the
purpose of obtaining good models and collaboration with artists. The
most interesting figure in this branch of applied art, however, is the
young architect Carl Malmsten (pp. 112 and 115), who has devoted him-
self entirely to joinery, displaying a rare sense of the architectonic and
coloristic possibilities of wood. His art reveals a delightful combina-
tion of Swedish tradition (often with a decided leaning towards the
English) and modernity.
From earliest times Sweden has been an “iron” country, but it is only
of late years she has displayed refinement in the production of wrought
and cast iron goods, the latter being employed, inter alia, for cooking-
ranges and stoves for the house, and urns and seats for the garden.
Interest in the two latter articles was stimulated by the exhibition of
garden furniture arranged by the Svenska Slojdforening during the
summer of 1919 in the Kungstragarden, the principal public park in
Stockholm. Together with the Nafveqvarn Ironworks, the most promi-
nent figures in this branch of artistic industry are Ivar Jonsson, the sculp-
tor (p. 122), and the two architects, Folke Bensow (p. 122) and E. G.
Asplund. The last-mentioned, an imaginative and distinguished artist,
is also one of the leading spirits in the movement for beautifying our
burial grounds, which has been going on for the last few years.
But there is a third great power to be reckoned with in dealing with utili-
tarian art, namely, the retailer—he who has said that only the common-
place is saleable. He, too, is beginning to adopt a more friendly attitude
towards our efforts, and to acknowledge that the good and the beautiful
can often have a commercial value. Evidence that this conjecture is
correct is to be found in the fact that, in addition to some sporadic
efforts by the Nordiska Kompaniet and other firms, Messrs. Wikman
and Wiklund, of Stockholm, have opened two establishments where no
goods are sold which have not been approved by the Svenska Slojdfor-
ening, thus fulfilling the spirit of the Association’s watchword—“More
beauty in articles of everyday use.” I understand the firm is doing very
good business.
In such a brief survey as this the activities of many other vigorous
branches of applied art must necessarily be passed over. But if it is the
aim, as it should be, of all nations to attain, by noble rivalry, industrial
qualitative production, then it may profit even the greater nations to
learn, if only broadly, the lines along which a little country, sheltered
from the ravages of the Great War, has moved with searching gaze
towards the common end.
110
of one of our most earnest young architects, Carl Bergsten; while the
Associated Cabinet-makers, a large furniture trust, has lately, through
the offices of the Svenska Slojdforening, arranged a competition for the
purpose of obtaining good models and collaboration with artists. The
most interesting figure in this branch of applied art, however, is the
young architect Carl Malmsten (pp. 112 and 115), who has devoted him-
self entirely to joinery, displaying a rare sense of the architectonic and
coloristic possibilities of wood. His art reveals a delightful combina-
tion of Swedish tradition (often with a decided leaning towards the
English) and modernity.
From earliest times Sweden has been an “iron” country, but it is only
of late years she has displayed refinement in the production of wrought
and cast iron goods, the latter being employed, inter alia, for cooking-
ranges and stoves for the house, and urns and seats for the garden.
Interest in the two latter articles was stimulated by the exhibition of
garden furniture arranged by the Svenska Slojdforening during the
summer of 1919 in the Kungstragarden, the principal public park in
Stockholm. Together with the Nafveqvarn Ironworks, the most promi-
nent figures in this branch of artistic industry are Ivar Jonsson, the sculp-
tor (p. 122), and the two architects, Folke Bensow (p. 122) and E. G.
Asplund. The last-mentioned, an imaginative and distinguished artist,
is also one of the leading spirits in the movement for beautifying our
burial grounds, which has been going on for the last few years.
But there is a third great power to be reckoned with in dealing with utili-
tarian art, namely, the retailer—he who has said that only the common-
place is saleable. He, too, is beginning to adopt a more friendly attitude
towards our efforts, and to acknowledge that the good and the beautiful
can often have a commercial value. Evidence that this conjecture is
correct is to be found in the fact that, in addition to some sporadic
efforts by the Nordiska Kompaniet and other firms, Messrs. Wikman
and Wiklund, of Stockholm, have opened two establishments where no
goods are sold which have not been approved by the Svenska Slojdfor-
ening, thus fulfilling the spirit of the Association’s watchword—“More
beauty in articles of everyday use.” I understand the firm is doing very
good business.
In such a brief survey as this the activities of many other vigorous
branches of applied art must necessarily be passed over. But if it is the
aim, as it should be, of all nations to attain, by noble rivalry, industrial
qualitative production, then it may profit even the greater nations to
learn, if only broadly, the lines along which a little country, sheltered
from the ravages of the Great War, has moved with searching gaze
towards the common end.
110