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Cat in a Summer Meadow Cat in a Summer Meadow Carl-Johan Olsson Curator, Paintings and Sculpture Art Bulletin of Nationalmuseum Stockholm Volume OM 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 . Oil on canvas, NPN ñ VUKR cm. (p. PQ ) and theory of art relating to the collections of Donated by the Friends of the Nationalmuseum, © RMN Grand Palais/Musée du Louvre, Paris the Nationalmuseum. Sophia Giesecke Fund, Axel Hirsch Fund (p. PR ) and Mr Stefan Persson and Mrs Denise Persson. © Accademia Nazionale di San Luca, Nationalmuseum Nationalmuseum, åã TNQNK Rome/Mauro Coen (Figs, SI NM and NO , Box NSNTS pp. NNQ ÓNNS ) ëÉ ÓNMP OQ Stockholm, Sweden Publisher © Mikael Traung (Fig. T, p. NNQ ) www.nationalmuseum.se Magdalena Gram © Stockholm City Museum (p. NOP ) © Nationalmuseum and the authors http://www.stockholmskallan.se/Soksida/Post/?n Editor id=319 ISSN OMMNJVOPU Janna Herder © Stockholm City Museum/Lennart af Petersens (p. NOQ ) Editorial Committee © http://www.genealogi.se/component/ Mikael Ahlund, Magdalena Gram, Janna Herder, mtree/soedermanland/eskilstuna/ Helena Kåberg and Magnus Olausson. a_zetherstroem_/22850?Itemid=604 (p. NOR ) © http://www.genealogi.se/component/ Photographs mtree/bohuslaen/marstrand/robert-dahlloefs- Natinalmuseum Photographic Studio/Linn atelier/22851?Itemid=604 (p. NOT ) Ahlgren, Erik Cornelius, Anna Danielsson, Cecilia Heisser, Bodil Karlsson, Per-Åke Persson, Sofia Persson and Hans Thorwid. ~ÅèìáëáíáçåëLÅ~í áå ~ ëìããÉê ãÉ~Ççï Cat in a Summer Meadow Carl-Johan Olsson Curator, Paintings and Sculpture Fig. N Bruno Liljefors ( NUSMÓNVPV ), Cat in a Summer Meadow, NUUT . Oil on canvas, SN ñ TS cm. Purchase: Sophia Giesecke Fund. Nationalmuseum, åã TNOUK OP Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP ~ÅèìáëáíáçåëLÅ~í áå ~ ëìããÉê ãÉ~Ççï få NVVO the Nationalmuseum acquired five paintings by Bruno Liljefors. Four of them – Red-Backed Shrike, Corncrake, Chaffinches and Willow Warbler – were mounted togeth - er, while the fifth, Nestlings of Red-Backed Shrike (Fig. Q), was purchased separately. Originally though, the last-mentioned painting was framed together with the new - ly acquired Cat in a Summer Meadow and the composition of four bird studies. To begin with, these six paintings constituted the largest known set of the kind of animal studies, mounted together, which Liljefors executed in the NUUM s, and of which only a few intact examples now exist. The acquisi - tion of Cat in a Summer Meadow (Fig. N) is also important in the sense that it means that the painting Nestlings of Red-Backed Shrike (Fig. O) can now be experienced in the way Liljefors intended (Fig. P). Cats and dogs are the only domesticat - ed animals given a prominent place in Lil - jefors’ pictorial world. There are clear dif - ferences, though, between his images of the two. Dogs figure primarily in scenes re - lated to hunting, and act at the hunter’s command. Cats, on the other hand, usually appear as independent predators. Liljefors’ love of felines is well documented, and the way he depicts them seems to reflect a painstaking process of observation that gives his representations of cats a subtle sensitivity compared with those of dogs. From its position in the lower right- hand corner of the painting, our Cat in a Summer Meadow appears to have its gaze locked on a quarry outside the picture. Judging from its posture, it is moving very slowly. Although unconventional perspec - tives were something very much associated Fig. Bruno Liljefors ( ), Nestlings of Red-Backed Shrike, . Oil on canvas, cm. O NUSMÓNVPV NUUT SMKR ñ QS with Liljefors in the s, it is difficult to Purchase: Axel Hirsch Fund. Nationalmuseum, åã SUTQK NUUM find compositions from that period which place the most meaning-bearing element so far from the centre of the image. 1 What, then, can Liljefors’ intention with this arrangement have been? Allan Ellenius, in Liljefors: Naturen som livsrum (Nature as Liv - ing Space), recounts how the commissioner of another cat subject ( Cat in a Flowering Summer Meadow, NUUQ ) complained that Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP OQ ~ÅèìáëáíáçåëLÅ~í áå ~ ëìããÉê ãÉ~Ççï Fig. P Bruno Liljefors ( NUSMÓNVPV ), Cat in a Summer Meadow and Nestlings of Red-Backed Shrike, NUUT . Oil on canvas, VP ñ NRS cm. Nationalmuseum, åã TNOU and åã SUTQK “there was ‘too little’ in the picture, making strike us as unconventional. The young periphery in a painting like Cat in a Summer the surroundings desolate”. 2 Ellenius adds birds are perched high up in the picture, Meadow may be comprehensible to the view - that “Liljefors commented on this criticism and below them we see a sandy bank over er. But if the lower part of Nestlings were to in a letter to Zorn, explaining that the cat which a plant spreads its green leaves. The be taken out of context, it is uncertain stalking its prey makes a ‘better impression’ five nestlings are painted in great detail, whether that would be the case. A conceiv - without a lot of unnecessary details.” 3 In the while the vegetation is characterised by able explanation for the way the focus is newly acquired painting, which is dated more economical brushwork. In the lower made to dissolve downwards through the three years later, the artist has taken this part of the canvas, the artist has used sug - picture is that Liljefors wanted to use the op - idea a step further. In the NUUQ painting, he gestive brushstrokes to represent an intri - tical disposition of the human field of vision placed the flowers in an even pattern across cate mass of foliage. as a starting point for both viewing and rep - the entire picture surface. In the later one, Scanning the whole of the picture sur - resenting the subject. A simple test shows the vegetation is painted with less emphasis face with our gaze, we notice a striking con - that, if that was his intention, he has suc - on the representation of individual details trast between the birds, with the area ceeded. Focus on the birds and note at the and with no evident thought for the decora - around them, and the lower portion with same time how, without lowering your gaze tive effect that informed the earlier picture. the leaves. I have found no other example in the slightest, you perceive the foliage be - As in Cat in a Summer Meadow, the per - of Liljefors’ work from the NUUM s in which low them. In all probability, your perception spective of Nestlings of Red-Backed Shrike and the focus fades away as markedly as in of the lower part of the image would have the arrangement of its different elements Nestlings . Even on its own, a segment of the been identical even if the artist had painted OR Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP ~ÅèìáëáíáçåëLÅ~í áå ~ ëìããÉê ãÉ~Ççï degrees of focus. The meaning which these have when we examine each picture on its own remains when we view the two togeth - er, but now an additional explanation also emerges. The passages painted least sharply in the pictures turn out to be immediately to the right of the cat and to the left of the birds. Liljefors has thus made the images dependent on one another, without allow - ing them to encroach on each other. As far as the nestlings are concerned, the simply painted area in the upper right of the cat picture shifts the focus onto them. Even more importantly perhaps, this virtually “empty” area allows the branch the birds are perched on to seem to reach in across the other painting. Fig. Bruno Liljefors ( ), Four Bird Studies in one Frame . Oil on canvas and wood, cm Q NUSMÓNVPV VV ñ NSS With the acquisition of Cat in a Summer (frame). Nationalmuseum, åã SUTPK Meadow, a work of art has been recreated and the two pictures now appear in a very different light. The ideas behind the com - positions become clear, and the whole the leaves with great attention to detail. of them incorporate at least one fox, cat or which they form constitutes perhaps the Such an intention possibly also explains the bird of prey. Such a relationship can also be most interesting example of how Bruno Lil - arrangement of the picture.
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