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Still Lifes, Botanical Illustrations, and Garden Design in Seventeenth-Century Sweden: A

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Still Lifes, Botanical Illustrations, and Garden Design in Seventeenth-Century Sweden: A Still Lifes, Botanical Illustrations, and Garden Design in Seventeenth-Century Sweden: A Geo-History of Art Elisabeth Knall Department of Art History and Communication Studies McGill University, Montreal January 2020 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Elisabeth Knall, 2020 ii ABSTRACT This dissertation investigates how a growing interest in flowers and plants during the seventeenth century was shared and expressed by artists, scientists, horticulturists, patrons, and estate owners. The focus is on cultural production in Sweden and I argue that information on artistic developments as well as knowledge of botanical discoveries between this Scandinavian country and other parts of the world were shared more frequently and more extensively than has been generally suggested. The thesis’ premise is that both painters and patrons participated in multidirectional geographic travels, and that artistic exchanges were not dictated by national borders. This dissertation consequently contributes to an increased interest within the field of art history in widespread circulation of artistic forms and knowledge. In addition, topics traditionally considered marginal in art-historical discourse, such as scientific illustrations and garden design, are analyzed with the aim of bringing attention to the interactions between different areas of artistic production. This thesis does not subscribe to symbolic readings of still lifes or interpretive parameters based on a perceived domination by a few national schools of art. Instead, this dissertation brings attention to the exciting prospect of new insights obtained through an openness to alternative analytical approaches. The introduction explores the reasons behind a noticeable surge in cultural production in Sweden during the seventeenth and early eighteenth centuries, including the importance of Gothicism and the country’s participation in the Thirty Years’ War. Chapter one analyzes flower still lifes painted by Johan Johnsen, bringing the knowledge of this artist’s production forward for the first time since the mid-twentieth century. The first chapter also situates depictions of iii individual plants in a social context, as celebrations of rare or exotic specimens. In a discussion of the botanical research carried out by Olof Rudbeck the Elder and his son Olof the Younger, chapter two brings attention to significant and influential achievements by these professors of medicine that have traditionally received limited attention. Illustrations for their botanical texts were commissioned from a range of artists; my examination of the career of little-known draughtswoman, engraver, and painter Anna Maria Thelott highlights the working conditions for women artists in Sweden at the turn of the eighteenth century. Thelott’s production also illustrates the ease with which artists moved between different forms of artistic expression, which sheds light on common features between floral still lifes and botanical illustrations. Chapter three discusses mapping as a way to raise a country’s political status and includes Olof Rudbeck the Younger’s documentation of the unique flora and fauna in Sweden’s northernmost region, Lapland. Fortification officer Erik Dahlbergh’s promotional album, the Suecia Antiqua et Hodierna, is analyzed with a focus on the depicted gardens, a topic which has been omitted from most discussions of this collection of prints. Chapter four is devoted to André Mollet, an influential garden architect and a representative of the multidirectional travels taken by many artists during the seventeenth century. While Mollet’s garden designs elsewhere in Europe have been analyzed, this dissertation examines a little-known period in his career, the five years he spent in Sweden, thereby contributing to the understanding of this artist’s oeuvre. In addition, a treatise published in 1659 by Mollet is here reviewed for the first time. Chapter five discusses gardens created in Sweden in the late seventeenth century and the particular topographical and climatic challenges of transposing formal layouts to a Nordic environment. The conclusion provides a few iv eyewitness accounts in order to demonstrate the fluidity of artistic activities and confirm the ubiquitous fascination with flowers and plants in the seventeenth and early eighteenth centuries. v RÉSUMÉ Cette thèse examine comment l’intérêt croissant pour les fleurs et les plantes au XVIIe siècle a été partagé et exprimé par des artistes, des scientifiques, des horticulteurs, des mécènes, et des propriétaires de domaines. L’emphase est mise sur la production culturelle en Suède; je soutiens que les informations sur les développements artistiques ainsi que la connaissance des découvertes botaniques entre ce pays scandinave et d’autres parties du monde ont été disséminés plus souvent et plus largement que ce qui a été suggéré traditionnellement. La prémisse de cette thèse est que les peintres et leurs mécènes ont participé à des voyages multidirectionnels, et que ces échanges artistiques n’étaient pas limités par les frontières nationales. Par conséquent, cette thèse contribue à un intérêt accru dans le domaine de l’histoire de l’art pour la circulation des formes et des connaissances artistiques. De plus, des sujets traditionnellement considérés marginaux en histoire de l’art, tels que les illustrations scientifiques et la conception de jardins, sont analysés dans le but d’attirer l’attention sur les interactions entre des domaines de production artistique différents. Cette thèse n’adhère pas aux théories d’interprétation symbolique de natures mortes ou aux paramètres d’interprétation basés sur une domination perçue par quelques écoles d’art nationales. Au contraire, cette thèse suggère la possibilité stimulante d’arriver à de nouvelles réalisations grâce à une ouverture envers des approches analytiques alternatives. L’Introduction explore les raisons d’une augmentation remarquable de la production culturelle en Suède aux XVIIe et au début du XVIIIe siècles, y compris l’importance du Gothicisme et la participation du pays à la Guerre de Trente Ans. Le premier chapitre analyse les natures mortes florales peintes par vi Johan Johnsen, faisant progresser la connaissance de l’œuvre de cet artiste pour la première fois depuis le milieu du XXe siècle. Le premier chapitre situe également les images de plantes individuelles dans un contexte sociale, en tant que célébrations de spécimens rares ou exotiques. Dans une discussion sur les recherches botaniques menées par Olof Rudbeck l’Ancien et son fils Olof le Jeune, le deuxième chapitre attire l’attention sur les réalisations considérables et influentes par ces professeurs de médicine, des réalisations qui ont traditionnellement reçues un intérêt limité. Les illustrations destinées à leurs encyclopédies botaniques ont été commandées à un nombre d’artistes; mon analyse de la carrière de la dessinatrice, graveuse, et peintre peu connue, Anna Maria Thelott, met en lumière les conditions de travail des femmes artistes en Suède au tournant du XVIIIe siècle. L’œuvre de Thelott démontre également la facilité avec laquelle les artistes alternaient entre des médias différents, ce qui illustre les traits partagés entre natures mortes florales et illustrations botaniques. Le chapitre trois traite de la cartographie comme un moyen de rehausser le statut politique d’un pays et comprend la documentation par Olof Rudbeck le Jeune de la flore et faune uniques de la région la plus septentrionale de la Suède, la Laponie. L’album promotionnel créé par l’officier de fortification Erik Dahlbergh, le Suecia Antiqua et Hodierna, est analysé avec une emphase sur les jardins, un sujet qui a été omis de la plupart des discussions de cette collection de gravures. Le quatrième chapitre est dédié à André Mollet, un architecte de jardins influant et un représentant des voyages multidirectionnels de nombreux artistes au XVIIe siècle. Les conceptions de jardins par Mollet ailleurs en Europe ont été analysées; cette thèse examine une période peu connue de sa carrière, les cinq ans passés en Suède, contribuant ainsi à une compréhension plus globale de l’œuvre de cet artiste. De plus, un traité publiée vii par Mollet en 1659 est ici examiné pour la première fois. Le cinquième chapitre consiste d’une discussion des jardins créés en Suède à la fin du XVIIe siècle et les défis rencontrés au niveau de la topographie et du climat en cherchant de transposer des aménagements formels dans un environnement nordique. La conclusion fournit quelques témoignages afin de démontrer la fluidité des activités artistiques et de confirmer la fascination omniprésente pour les fleurs et les plantes au XVIIe et au début du XVIIIe siècles. viii CONTENTS Page ABSTRACT / RÉSUMÉ ii CONTENTS viii LIST OF ILLUSTRATIONS xi TERMINOLOGY AND NAMING CONVENTIONS xx ACKNOWLEDGEMENTS xxiv INTRODUCTION 1 Geography of Art: Sweden, the Baltic Region and Beyond 3 Political Progress and the Gothic Myth 10 Literature Review and Chapter Summaries 30 1 ARTISTS WITH AN EYE FOR FLOWERS 41 1.1 Locally Inspired Motifs and Imported Imagery 48 1.2 A Botanical Approach 60 1.3 The Chinoiserie Cabinet 66 1.4 Flower Paintings as Collectibles 73 1.5 Local Artists and Exotic Flowers 76 1.5.1 Flower Still Lifes in Outdoor Settings 76 1.5.2 Sleeping Beauty – the Agave at Noor Castle 82 2 SAME FLOWERS, DIFFERENT APPROACH: RUDBECK’S BOOK OF ix FLOWERS AND THE CAMPI ELYSII 92 2.1 Olof Rudbeck the Elder – Physician
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