Anna Nordgren – En Kosmopolit På Sekelskiftets Konstscen

Total Page:16

File Type:pdf, Size:1020Kb

Anna Nordgren – En Kosmopolit På Sekelskiftets Konstscen Department of Art History Uppsala University Author: Anders Lindkvist Title: Anna Nordgren – En kosmopolit på sekelskiftets konstscen Anna Nordgren – A cosmopolite on the art scene at the turn of the century Level: Thesis at Master level, 45 p Supervisor: Hedvig Brander Jonsson Date: March 2011 Abstract This thesis is about the Swedish artist Anna Nordgren (1847 - 1916). The purpose is to demonstrate that she not only became accepted and established in the emerging English art field during the late 19th century but also that she herself was active in the development of it. The thesis is based on analyzing the network that shaped the art market in England and show the active role Anna Nordgren had in it. Make clear her long and successful career. After five years study at the Royal Swedish Academy of Fine Arts she went to Paris in 1874 and became a student at Académie Julian. She stayed for eight years in Paris then moved to London. She was regularly represented at the Paris Salon and Royal Academy as well as at the well-known galleries in England such as Grosvenor Gallery, New Gallery, Walker Art Gallery i Liverpool, Royal Birmingham Society of Artists, Institute of Painters in Oil Colours, Royal Society of British Artists. Anna Nordgren was radical and independent and fought for women's rights. She founded a club for women artists, 91 Art Club and was one of the initiators of the Women's International Art Club. After returning to Sweden she was forgotten during her last years and has been so ever since. No solo exhibitions have taken place and in the art historical documentation she is mentioned only in passing. Keywords Anna Nordgren, female artist, Académie Julian, portrait painter, figure and landscape, genre, Paris Salon, Royal Academy, Womens International Art Club, 91 Art Club, pastellist Innehållsförteckning 1 Inledning...................................................................................................... 1 1.1 Bakgrund ................................................................................................................................... 1 1.2 Syfte och frågeställningar...........................................................................................................2 1.2 Teoretiska utgångspunkter..........................................................................................................3 1.3 Metod .........................................................................................................................................6 1.4 Forskningsöversikt och källmaterial ..........................................................................................7 1.4.1 Konstvärlden 1800-talets andra hälft..................................................................................7 1.4.2 Kvinnliga konstnärer ........................................................................................................ 9 1.5 Övriga tryckta och otryckta källor ..........................................................................................11 1.6 Disposition................................................................................................................................12 2 Tiden före Paris......................................................................................... 13 3 Till Paris .................................................................................................... 14 3.1 Svenskar i 1870-talets Paris......................................................................................................15 3.2 Elev på Académie Julian.......................................................................................................... 17 3.3 Parissalongen...........................................................................................................................20 4 I London ................................................................................................... 22 4.1 Förändringens tid......................................................................................................................22 4.2 Aktörer i nätverken................................................................................................................... 24 4.2.1 Konstnärskollektiv.............................................................................................................24 4.2.2 Gallerier och utställningslokaler........................................................................................27 4.2.3 Konstnärsföreningar och klubbar...................................................................................... 28 4.2.4 Konsthandeln.....................................................................................................................30 4.2.5 Kritikerna och pressen.......................................................................................................31 4.2.6 Aktiviteter i nätverken ................................................................................................... 31 4.3 Kosmopoliten Anna Nordgren, en resa i tid och rum ............................................................33 4.3.1 1880-talet och första tiden i London................................................................................. 33 Besök i Sverige.....................................................................................................................34 Skapa nätverk....................................................................................................................... 36 4.3.2 Etablerad ...........................................................................................................................37 Resandet .............................................................................................................................. 40 Mötet med Constance Gore-Booth.......................................................................................41 Ökade aktiviteter ................................................................................................................. 43 Hemfärden ........................................................................................................................... 45 4.3.4 Anna Nordgrens utställningsaktiviteter............................................................................. 46 4.3.6 Recensioner och bemötande.............................................................................................. 47 Utställningar på Grosvenor Gallery..................................................................................... 47 Bemötandet av målningen A Mother ...................................................................................47 Konstnärsklubben 91 ArtClub .............................................................................................48 Separatutställning på Cliffords Gallery 1897 ......................................................................48 Sista åren i London...............................................................................................................48 4.3.7 Ekonomin.......................................................................................................................... 49 Försäljning ...........................................................................................................................49 Aktieinnehavet .....................................................................................................................50 Bouppteckningen .................................................................................................................51 5 Vem var Anna Nordgren ?........................................................................ 52 5.1 Personen Anna Nordgren..........................................................................................................52 5.1.1 Hennes uppväxt ................................................................................................................ 52 5.1.2 Den radikala ......................................................................................................................54 5.1.3 Hennes empati med de fattiga........................................................................................... 55 5.1.4 Finsmakaren ..................................................................................................................... 56 5.1.5 Mån om familjen .............................................................................................................. 57 5.1.6 Entreprenören ................................................................................................................... 59 5.2 Anna Nordgrens måleri.............................................................................................................60 5.2.1 Kvinnliga konstnärers motivval i 1800-talets England och Frankrike..............................60 5.2.2 Anna Nordgrens förhållande till den engelska motivtraditionen.......................................61 Hur beskrivs Anna Nordgrens motivval ..............................................................................61 Hur placeras Anna Nordgren in i en engelsk motivtradition ?............................................. 62 5.2.3 Influenser..........................................................................................................................66 6 Hemkomsten..............................................................................................77 6.1 Den svenska konstvärlden vid sekelskiftets början.................................................................
Recommended publications
  • Results Autumn Classic Sale 559
    Results Autumn Classic Sale 559 No. Item Hammer price 1 Carl Johansson, Spring landscape. 22 000 SEK 2 Alfred Bergström, Summer landscape, Concarneau. 17 000 SEK 3 Georg Pauli, "Franskt landskap" (French landscape). 20 000 SEK 4 Georg Pauli, French landscape. Unsold 5 Carl Skånberg, Boats on the shore, coastal scene from the north of France. 16 000 SEK 6 Per Ewert, The harbour in Concarneau, Brittany. Unsold 7 Bror Oscar Eugen Börjeson, Still life. 25 000 SEK 8 Mina (Vilhelmina) Carlsson-Bredberg, Still life. 17 000 SEK 9 Emma Löwstedt-Chadwick, Angling boy. 14 500 SEK 10 Carl Trägårdh, Elegant lady by the sea. 72 000 SEK 11 Nils Kreuger, "Gråväder", Knapegård (Grey weather, Knapegård). 330 000 SEK 12 Nils Kreuger, "Tjur och ko vid Snärjebäcken", Knapegård (Bull and cow by 160 000 SEK Snärjebäcken, Knapegård). 13 Nils Kreuger, "Bessie vid krysantemumträdet" (Bessie by the chrysanthemum). Unsold 14 Nils Kreuger, Spring evening. 68 000 SEK 15 Nils Kreuger, "Vårafton" (Spring evening). 105 000 SEK 16 Helmer Osslund, "Hösttavla från Abisko" (Autumn painting from Abisko). 32 000 SEK 17 Helmer Osslund, "Niporna i Ångermanälven" (Sandbanks in the Ångerman river). 17 500 SEK 18 Helmer Osslund, Autumn landscape with dark skies. 25 000 SEK 19 Helmer Osslund, River landscape with darkening skies. 15 000 SEK 20 Helmer Osslund, Autumn landscape from Torne träsk with Lapporten. 410 000 SEK 21 Thure Wallner, Osprey in nest. 21 000 SEK 22 Thure Wallner, Winter landscape with partridges. 31 000 SEK 23 Thure Wallner, "Lövsångare i vårsol" (Willow warbler in spring sun). 19 000 SEK 24 Mosse Stoopendaal, "Rödhakar" (Redbreasts).
    [Show full text]
  • Georg Pauli – En Kulturpolitisk Skribent Och Debattör
    Georg Pauli – en kulturpolitisk skribent och debattör Per Ljungberg Ämne: Litteraturvetenskap Nivå: Master Poäng: 15 hp Ventilerad: VT 2012 Handledare: Björn Sundberg Litteraturvetenskapliga institutionen Uppsatser inom litteraturvetenskap Uppsatser inom retorik 1(47 ) Innehåll Inledning ................................................................................................................................................ 3 Teoretiska och metodologiska utgångspunkter .................................................................................. 6 Forskningsöversikt ............................................................................................................................. 8 Historisk bakgrund ............................................................................................................................. 9 Georg Pauli ...................................................................................................................................... 12 Georg Paulis estetiska idévärld. ........................................................................................................... 16 Vi äga ej Konstpolitik i mening af ESTETISK EKONOMI!! ........................................................ 17 Det moderna museiväsendet ............................................................................................................ 21 Reduktion och syntes! ...................................................................................................................... 25 flamman ..............................................................................................................................................
    [Show full text]
  • Nationalmuseum Stockholm
    Art Bulletin of Nationalmuseum Stockholm Volume OM Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP Art Bulletin of Nationalmuseum, Stockholm, Picture Editor Every effort has been made by the publisher to is published with generous support from the Rikard Nordström credit organizations and individuals with regard Friends of the Nationalmuseum. to the supply of photographs. Please notify the Photo Credits publisher regarding corrections. The Nationalmuseum collaborates with © Herzog Anton Ulrich-Museum, Braunschweig Svenska Dagbladet, Fältman & Malmén (p. NQ ) Graphic Design and Grand Hôtel Stockholm. © The Gothenburg Museum of Art/Hossein BIGG Sehatlou (p. NU ) Items in the Acquisitions section are listed © Malmö Art Museum/Andreas Rasmusson Layout alphabetically by artists’ names, except in the case (p. OO ) Agneta Bervokk of applied arts items, which are listed in order of © Wildenstein & Co., Inc., New York (p. OV ) their inventory numbers. Measurements are in © RMN Grand Palais/Musée du Louvre, Translation and Language Editing centimetres – Height H, Breadth B, Depth D, Paris/Hervé Lewandowski (p. PMF Gabriella Berggren and Martin Naylor. Length L, Width W, and Diameter Diam. © The J. Paul Getty Museum, Los Angeles – except for those of drawings and prints, which (Fig. QI p. PN ) Publications are given in millimetres. © RMN Grand Palais/Musée du Louvre, Ingrid Lindell (Publications Manager), Paris/René-Gabriel Ojéda (Fig. RI p. PN ) Janna Herder (Editor). Cover Illustration © Guilhem Scherf (p. PO ) Alexander Roslin ( NTNU ÓNTVP ), The Artist and his © Bridgeman/Institute of Arts, Detroit (p. PP ) Art Bulletin of Nationalmuseum is published Wife Marie Suzanne Giroust Portraying Henrik © Musée des Arts décoratifs, Paris/Jean Tholance annually and contains articles on the history Wilhelm Peill, NTST .
    [Show full text]
  • Swedish Immigrant Artists' Patronage Systems, 1880-1940 Mary Towley Swanson University of St
    University of St. Thomas, Minnesota UST Research Online Art History Faculty Publications Art History 2004 A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880-1940 Mary Towley Swanson University of St. Thomas, Minnesota Follow this and additional works at: http://ir.stthomas.edu/arthistory_pub Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Swanson, Mary Towley, "A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880-1940" (2004). Art History Faculty Publications. 9. http://ir.stthomas.edu/arthistory_pub/9 This Paper is brought to you for free and open access by the Art History at UST Research Online. It has been accepted for inclusion in Art History Faculty Publications by an authorized administrator of UST Research Online. For more information, please contact [email protected]. A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880‐1940 An unpublished manuscript by Mary Towley Swanson, emeritus Professor of Art History, University of St. Thomas © 2004 Table of Contents: CHAPTER 1. Overview: Towards a Definition of Swedish‐American Artistic Patronage CHAPTER 2: Official Swedish Art Exhibitions in America Lend Support to Ethnic Artists CHAPTER 3: Early Immigrant Artists Create Template for Success CHAPTER 4. Ethnic Periodicals Help Artists Sustain Careers CHAPTER 5: Exhibitions Create a Catalyst for Artists’ Ethnic Sustainability and Support CHAPTER 6: Diverse American Systems of Patronage Provide Broad Support CHAPTER 7: Swedish Patronage Networks Encourage Artists’ Careers and Ethnic Collections APPENDIX A: Art Exhibitions: American Swedish Institute APPENDIX B: Art Exhibitions, American Swedish Historical Museum APPENDIX C: Swedish –American Artists’ Index A Tangled Web: Swedish Immigrant Artists’ Patronage Systems, 1880-1940 Ch.
    [Show full text]
  • DETTA ÄR DET FEMTE NUMRET AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope
    GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET FEMTE NUMRET AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope Namnet är hämtat från ett instrument som den inflytelserike museimannen Benjamin Ives Gilman utvecklade i början av 1900-talet för att ge betraktaren möjlighet att fokusera på konsten i de, enligt ISBN 978-91-87968-79-2 upphovsmannen, ofta alltför stora och tätt hängda museisalarna. Ett finns på Göteborgs konstmuseum, sannolikt inköpt av Axel L Romdahl. FÅDDA OCH FÖRSMÅDDA SAMLINGARNAS HISTORIA VID GÖTEBORGS KONSTMUSEUM REDAKTÖRER / EDITORS KONSTINSPEKTION I SKYDDSRUM. MUSEIINTENDENTEN AXEL L Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom ROMDAHL TILLSAMMANS MED EN VAKTMÄSTARE, SOM HÅLLER UPP att en glesare hängningsideologi vann mark under mellankrigstiden. KRISTOFFER ARVIDSSON & JEFF WERNER ALEXANDER ROSLINS PORTRÄTT AV GREVE GUSTAF PHILIP CREUTZ Ändå kan nog många museibesökare känna igen sig i det som (1764). UNDER ANDRA VÄRLDSKRIGET FLYTTADES SAMLINGARNA Gilman beskriver som ett av museiväsendets grundproblemen: den PERIODVIS TILL SKYDDSRUM. BILDEN PUBLICERADES TILL ARTIKELN museitrötthet som infinner sig edanr efter ett par salar. Redan vid ”KONSTMUSEET ÖPPNAS ÅTER I NYRENOVERADE LOKALER” I GÖTEBORGS HANDELS- OCH SJÖFARTSTIDNING 28 MAJ 1941. sekelskiftet stod det klart att museernas själva essens – att samla FOTO: KAMERAREPORTAGE. och ställa ut – hotade att göra dem alltför omfattande och omöjliga för besökarna att ta till sig. Sovring blir med tiden lika viktigt som ART INSPECTION IN AIR-RAID SHELTER. THE MUSEUM CURATOR DEMONSTRATION AV ETT SKIASCOPE DEMONSTRATION OF A SKIASCOPE samlande. UR BENJAMIN IVES GILMANS FROM BENJAMIN IVES GILMAN’s AXEL L. ROMDAHL TOGETHER WITH AN ATTENDANT, HOLDING UP Museum Ideals of Purpose and Methods Museum Ideals of Purpose and Methods ALEXANDER ROSLIN’S PORTRAIT OF COUNT GUSTAF PHILIP CREUTZ CAMBRIDGE CAMBRIDGE (1764).
    [Show full text]
  • Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880S (Diss
    Carina Rech, Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s (diss. Stockholm 2021) Edition to be published electronically for research, educational and library needs and not for commercial purposes. Published by permission from Makadam Publishers. A printed version is available through book stores: ISBN 978-91-7061-354-8 Makadam Publishers, Göteborg & Stockholm, Sweden Upplaga för elektronisk publicering för forsknings-, utbildnings- och biblioteksverksamhet och ej för kommersiella ändamål. Publicerad med tillstånd från Makadam förlag. Tryckt utgåva finns i bokhandeln: ISBN 978-91-7061-354-8 Makadam förlag, Göteborg & Stockholm www.makadambok.se becoming artists CARINA RECH Becoming Artists Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s makadam makadam förlag göteborg · stockholm www.makadambok.se This book is published with grants from Gunvor och Josef Anérs stiftelse Gerda Boëthius’ minnesfond Stiftelsen Konung Gustaf VI Adolfs fond för svensk kultur Kungl. Patriotiska sällskapet Torsten Söderbergs stiftelse Berit Wallenbergs stiftelse Åke Wibergs stiftelse Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s Academic dissertation for the Degree of Doctor of Philosophy in Art History at Stockholm University, to be publicly defended on Friday 4 June 2021 © Carina Rech 2021 Cover image: Bertha Wegmann, The Artist Jeanna Bauck, 1881, detail of fig. 60. Photo: Nationalmuseum. © for illustrations, see list of figures on p. 436 isbn 978-91-7061-854-3 (pdf) table of contents Acknowledgments 7 Introduction 11 Aim and Research Questions 13 Artists, Locations and Social Fabric 15 Material 21 The 1880s in Nordic Art – Professionalization, Mobility and Transnational Encounters 28 Theories and Methods 34 Previous Research 54 Outline 62 I.
    [Show full text]
  • Modern Swedish Design
    Creagh Kåberg Modern Swedish Design Lane Three Founding Texts Lucy Creagh (coauthor and coeditor) is an architect and PhD candidate in Architectural History and Theory at Columbia University, specializing in twentieth- century Swedish architecture and consumer culture. Her dissertation on the archi- tecture of Kooperativa Förbundet was awarded the Graham Foundation’s Carter Manny Award for 2004. Her work has been published in Domus M, Transitions, and Architecture Australia, and her essay on Asger Jorn and Swedish architectural debate in the 1940s is included in Art + Architecture: New Visions, New Strategies (Alvar Aalto Foundation, 2007). Modern Swedish Design: Three Founding Texts Modern Swedish Design: Three Founding Texts Helena Kåberg (coauthor and coeditor) is a curator at the National Museum of Edited and with introductions by Lucy Creagh, Fine Arts, Stockholm. She holds a PhD in Art History from Uppsala University, which Edited and with introductions by Lucy Creagh, Helena Kåberg, and Barbara Miller Lane Helena Kåberg, and Barbara Miller Lane published her dissertation, Rationell arkitektur: Företagskontor för massproduktion och Modern Swedish Design masskommunikation (Rational Architecture: Corporate Offices for Mass Production Essay by Kenneth Frampton and Mass Communication), in 2003. She has lectured on the history of architecture Essay by Kenneth Frampton and design at institutions including Uppsala University, Konstfack, and the Cooper- 352 pages; 14 color and 246 black-and-white illustrations Hewitt National Design Museum.
    [Show full text]
  • 307468 Nr1 OMSLAG Robert Vers 2.Indd
    Nationalmuseum som konsekrerande institution 1890–1920 Thavenius, Robert 2021 Document Version: Manuskriptversion, referentgranskad och korrigerad (även kallat post-print) Link to publication Citation for published version (APA): Thavenius, R. (2021). Nationalmuseum som konsekrerande institution 1890–1920. (1 uppl.). Printed in Sweden by Media-Tryck, Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 ROBERT THAVENIUS ROBERT AN ECOLABEL 3041 0903 Nationalmuseum som konsekrerande NORDIC SW institution 1890–1920 Nationalmuseum konsekrerande som institution 1890–1920 Nationalmuseum som konsekrerande I Stockholm öppnades Nationalmuseum år 1866 i den imposanta byggnaden ryck, Lund 2021 mitt emot det kungliga slottet. Museet utgjorde ett nationalistiskt färgat och institution 1890–1920 normskapande projekt, väl i linje med vad som tog plats i de framväxande nationalstaternas huvudstäder ute i Europa.
    [Show full text]