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Art Bulletin of Nationalmuseum Stockholm Art Bulletin of Nationalmuseum Stockholm Volume 23 Art Bulletin of Nationalmuseum Stockholm Volume 23 2016 Art Bulletin of Nationalmuseum, Stockholm, © The National Library of Sweden, Stockholm Graphic Design is published with generous support from (Fig. 4, p. 38. Fig. 21, p. 211. Fig. 28, p. 215) BIGG the Friends of the Nationalmuseum. © Alte Nationalgallerie, Berlin (Fig. 2, p. 40) Layout Nationalmuseum collaborates with © Hamburger Kunsthalle, Hamburg Agneta Bervokk Svenska Dagbladet and Grand Hôtel Stockholm. (Fig. 3, p. 41) We would also like to thank FCB Fältman & © Neue Pinakothek, Munich Translation and Language Editing Malmén. (Fig. 5, p. 43) Gabriella Berggren, William Jewson, David Jones © The Morgan Library & Museum, New York and Martin Naylor Cover Illustration (Fig. 4, p. 109. Fig. 32–33, p. 217) Christoffer Wilhelm Eckersberg (1783–1853), © The Matthiesen Gallery, London Publishing Danish. “Ciociara”– Portrait of a Roman Country (Fig. 1, p. 108) Ludvig Florén, Magnus Olausson (Editors) and Girl, 1816. Oil on canvas, 52 x 46.5 cm. Purchase: © The Ashmolean Museum, Oxford Ingrid Lindell (Publications Manager) Wiros Fund. NM 7334. (Fig. 2, p. 122) © Minneapolis Institute of Art, Minneapolis Art Bulletin of Nationalmuseum is published Publisher (Fig. 3, p. 123) annually and contains articles on the history and Berndt Arell, Director General © Robilant + Voena theory of art relating to the collections of the (Fig. 4, p. 124) Nationalmuseum. Editor © The Swedish National Archives, Stockholm Ludvig Florén and Magnus Olausson (Fig. 3, p. 204) Nationalmuseum © The Nelson-Atkins Museum of Art, Kansas City. Box 16176 Editorial Committee Photo: Joshua Ferdinand SE–103 24 Stockholm, Sweden Janna Herder, Linda Hinners, Merit Laine, (Fig. 4, p. 205) www.nationalmuseum.se Lena Munther, Magnus Olausson, Martin Olin, © Musée du Louvre, Paris. RMN-Grand Palais/Art © Nationalmuseum, the authors and the owners of Maria Perers and Lidia Westerberg Olofsson Resource, NY the reproduced works (Fig. 5, p. 205) Photographs © Kunsthistoriches Museum, Vienna ISSN 2001-9238 Nationalmuseum Photographic Studio/ (Fig. 8, p. 207) Linn Ahlgren, Bodil Beckman, Erik Cornelius, © The J. Paul Getty Museum, Los Angeles. Anna Danielsson, Cecilia Heisser, Sofia Persson, Digital image courtesy of the Getty’s Open Content Per-Åke Persson and Hans Thorwid Program (Fig. 10, p. 208. Fig. 30, p. 216) Picture Editor © Rijksmuseum, Amsterdam Rikard Nordström (Fig. 11, p. 208) © The Metropolitan Museum of Art, New York Photo Credits (Fig. 18, p. 210. Fig. 23, p. 212. Fig. 31, p. 216) © Thorvaldsens Museum, Copenhagen © Philadelphia Museum of Art, Philadelphia (Fig. 5, p. 21. Fig. 1, p. 36) (Fig. 24, p. 213. Fig. 26, p. 214) © Amsterdams Historisch Museum, Amsterdam © Indianapolis Museum of Art, Indianapolis. (Fig. 2, p. 32) John Herron Fund. © Trustees of the British Museum, London (Fig. 25, p. 213) (Fig. 3, p. 33. Fig. 6, p. 38) © Stockholms auktionsverk © The Cleveland Museum of Art, Cleveland (Fig. 8, p. 136) (Fig. 2, p. 36) Art Bulletin of Nationalmuseum Volume 23, 2016 4 contents Art Bulletin of Nationalmuseum Stockholm Volume 23, 2016 Foreword The Editorial Committee acquisitions 2016 The Friends of the Nationalmuseum Eva Qviberg 11 Two Male Portraits by Dutch Artists Carina Fryklund 13 The Danish Golden Age and the Nationalmuseum Magnus Olausson 19 Herman Saftleven, A Sticky Nightshade, or Litchi Tomato Carina Fryklund 31 Two Paintings by Anne-Louis Girodet and Johann Heinrich Füssl Martin Olin 35 Three Paintings from Dresden and the New Concepts of Art of the Early 19th Century Carl-Johan Olsson 39 Two Examples of French Naturalism – the Primary Source of Inspiration for Swedish Art of the 1880s Carl-Johan Olsson 47 French Oil Studies in Italy Magnus Olausson 51 Portraits and Studies by Amanda Sidwall, Eva Bonnier and Hanna Hirsch Pauli Martin Olin 59 Portraits of Karl XIV Johan and Carl XVI Gustaf Magnus Olausson and Eva-Lena Karlsson 65 Acquisitions of Old Jewellery Magnus Olausson, Christopher Landstedt and Micael Ernstell 71 Materiality, Body and Culture – Contemporary Jewellery Cilla Robach 79 5 Art Bulletin of Nationalmuseum Volume 23, 2016 contents Ceramic Vitality in a Fragmented Field Cilla Robach 87 A Portrait Sculpted by Ida Matton Linda Hinners 97 The Adelborg Donation – A Collection of Drawings Wolfgang Nittnaus 99 A Portrait Drawing of Pope Paul V Attributed to Guido Reni Martin Olin 107 Four Beauvais Tapestries with Grotesque Motifs Merit Laine 111 Torbjörn Lenskog’s Industrial Design Collection to the Nationalmuseum Maria Perers 115 Self-portrait as Pictura by Amalia von Königsmarck Eva-Lena Karlsson 117 Guercino, Study for a “Hercules with the Club” Carina Fryklund 121 Fritz von Dardel’s Portrait of John Panzio Tockson Magnus Olausson 125 The Swedish Glass Poet Edward Hald’s Private Archive Emilia Ström 127 Eugen Napoleon Neureuther, View of the Pincio and Palazzo Zuccari, Rome Martin Olin 131 Acquisitions 2016: Exposé 133 tessin lecture “Cospetto! Che Bella Cosa!”, “My What a Beautiful Thing!” Boucher’s Triumph of Venus in the Nationalmuseum, Stockholm Colin B. Bailey 20 Staff Publications and Activities in 2016 22 6 foreword Foreword The Editorial Committee Art Bulletin of Nationalmuseum, Stockholm In parallel with the ongoing reno- with a view either to further enhancing disposal, but it is on the other hand able vation of the Nationalmuseum building existing areas of strength in the collec- to respond quickly, without convoluted from 1866, preparations have continued tions, or building up previously weak decision-making procedures. What is for the new regular display of the collec- holdings which nevertheless have poten- more, the Museum has chosen to think tions. Far-reaching changes are planned. tial. An important criterion has been that beyond well-known artists who are seen as The traditional arrangement according the works of art concerned must be part particularly iconic, and to focus instead to art forms and national schools is to be of a context, tell a story, or strengthen on qualitatively strong, but overlooked, abandoned. Instead, the public will be a body of work that already exists in the figures and works from art history. offered a chronological tour, beginning collection. Major artists and the mutual Additions to the Nationalmuseum’s on the top floor. Different forms of art relationships between them have been collections during the year have been will be shown in an integrated manner, important in guiding the choice of works. published monthly on the New Acquisitions with the possibility of rotating significant On the other hand, the Museum has not pages of the website, attracting attention parts of the display. The main survey of the primarily been looking for artistic “auto- both in Sweden and abroad. Of the new Museum’s holdings will be supplemented graphs”, in the sense of artists whose fame accessions, a set of four tapestries, later on the ground floor with two study collec- would in itself be enough to justify an known as “Grotesques de Bérain” and tions and a special display for children and acquisition or works that would hold their designed by Jean-Baptiste Monnoyer, was young people – to which admission will own independently of others on display nominated for the prestigious Apollo always be free. In addition, more public from our holdings. This is also a natural Acquisition of the Year Award 2016. space will be opened up for a range of consequence of the new presentation The tapestries, woven at Beauvais, were activities, including studios for creative of the collection being based on an commissioned in 1695 by Count Carl work, a sculpture courtyard, an auditorium integration of art forms and on clearly Piper (1647–1716) for his palace in space, a café and a restaurant. visible narratives and themes. Stockholm (see p. 111). They probably As already suggested, one aim at the A more active acquisition effort has left Sweden at the end of the 19th century reopened Nationalmuseum will be to show of course only been possible thanks to and ended up on the international art well-known works from the collections several major financial donations to the market. These unique and exceptionally in a new way, and at the same time to Nationalmuseum. These, combined with well-preserved tapestries, four of an rediscover others which, for one reason the Museum’s existing funds and a well- originally larger set, could recently be or another, have been overlooked. A oiled organisation, have produced results. acquired through the American art trade, review of our extensive collections has also Compared with many museums around thanks to a very generous bequest from revealed a number of gaps. The Museum the world, and in particular several in Gunnar (1924–2015) and Ulla Trygg has therefore invested considerable effort North America, the Nationalmuseum does (1924–2015). The Beauvais tapestries in a range of strategic new acquisitions, not have especially large resources at its are not the only example of an important 7 Art Bulletin of Nationalmuseum Volume 23, 2016 foreword part of Sweden’s cultural heritage that has It was in the same international artistic to a courtyard. A French work from the been returned to the country. Another is environment that the Swede Johan second half of the 19th century that has a pair of magnificent Medici-style vases Tobias Sergel met the Swiss artist Johann been added to the collections is a paint- made at the Älvdalen porphyry works in Heinrich Füssli (1741–1825). Despite ing by the Orientalist Jean-Raymond- the early 19th century and once belonging differences in temperament and Sergel’s Hippolyte Lazerges (1817–1887), called to Princess Sofia Albertina (1753–1829). initial scepticism of Füssli’s expressive and Young Man Distracted. Exhibited at the These, too, were acquired in New York theatrical style of painting, they became Salon of 1850, it is an interesting example using funds bequeathed by Gunnar and inseparable friends before the two of them of well-executed official painting.
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