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The Canon Perspectives on Swedish Art Historiography Kanon PETER DAHL, EPISTEL NR 23, UR PORTFÖLJEN FREDMANS EPISTLAR, ISBN 978-91-984601-5-5 GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET TIONDE NUMRET GÖTEBORGS KONSTMUSEUM, FOTO: HOSSEIN SEHATLOU, © PETER DAHL/BILDUPPHOVSRÄTT 2021. AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope PETER DAHL, EPISTEL NO. 23, FROM THE PORTFOLIO FREDMAN’S EPISTLES, GOTHENBURG MUSEUM OF ART, PHOTO: HOSSEIN SEHATLOU, © PETER DAHL/BILDUPPHOVSRÄTT 2021. 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 upphovsmannen, ofta alltför Kanon stora och tätt hängda museisalarna. Ett finns på Göteborgs konstmuseum, Konsthistorien, som den presenteras i översiktsverk och musei- sannolikt inköpt av Axel L. Romdahl. hängningar, uppfattades länge som ett självklart urval av de främsta Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom att en och mest förebildliga konstverken. Under senare decennier har inte Perspektiv på svensk glesare hängningsideologi vann mark under mellankrigstiden. Ändå kan nog bara frågan om vilka konstnärer och konstverk som ska inklud- många museibesökare känna igen sig i det som Gilman beskriver som ett av eras, utan också själva den konsthistoriska berättelsen utmanats. konsthistorieskrivning museiväsendets grundproblemen: den museitrötthet som infinner sig redan Kanon. Perspektiv på svensk konsthistorieskrivning undersöker kanoniser- efter ett par salar. Redan vid sekelskiftet stod det klart att museernas själva ingsprocesser i svensk konsthistoria med utgångspunkt i Göte- essens – att samla och ställa ut – hotade att göra dem alltför omfattande och borgs konstmuseums och Norrköpings Konstmuseums samlingar omöjliga för besökarna att ta till sig. Sovring blir med tiden lika viktigt som och historia. Med nedslag i några belysande exempel diskuteras samlande. svensk konsthistorisk kanon och dess gränser. Till dessa exempel Denna skriftseries ledstjärna är just fokusering. Liksom Gilmans instru- hör en konstsamlare och mecenat, två inflytelserika museichefer, The Canon m ent vill vi bidra till att rama in, lyfta fram och intensivt studera frågor som en Düsseldorfmålare, naivismens och det traditionella figurativa vi ser som betydelsefulla. Det kan vara enskilda verk, konstnärskap eller måleriets ställning i modernismen. Studierna erbjuder skiftande Kanon tidsperioder. perspektiv på svensk kanon och museernas roll i skapandet och upprätthållandet av densamma. Art history, as presented in encyclopaedic works and museum dis- plays, was long regarded as a self-evident selection of the pre-em- inent and most outstanding works of art. In recent decades, not only the question of which artists and works should be included, THIS IS THE TENTH ISSUE OF Skiascope but the very concept of the art historical narrative have been called GOTHENBURG MUSEUM OF ART PUBLICATION SERIES into question. The Canon: Perspectives on Swedish Art Historiography in- vestigates the canonization process in Swedish art history with a Skiascope takes its name from a contraption invented in the early twentieth focus on the collections and history of the Gothenburg Museum of century by the influential museum curator, Benjamin Ives Gilman. Concerned Art and Norrköpings Konstmuseum. The study relies on various that art was hung too close together in over-large galleries, he designed the illuminating examples to discuss the Swedish art historical canon skiascope to help visitors focus on individual works of art. The Gothenburg and its parameters. These include an art collector and a donor, two Museum of Art owns one, probably bought by Axel L. Romdahl. influential museum directors, a Düsseldorf painter and the position The skiascope was never much of a success. Obsolescence was certain of naïvism and traditional figurative painting within modernism. once the idea gained ground in the inter-war period that galleries should be These separated studies provide a range of perspectives on the more sparsely hung. Still, many today will recognize what Gilman saw as a Swedish canon and the role of museums in the creation and main- fundamental problem: the museum fatigue that sets in after only a couple of tenance of the same. The Canon rooms. Even in his day it was clear that the museums’ identity – their mission to collect and exhibit – threatened to make them too comprehensive, and overwhelming for visitors. In time, selection would become almost as import- ANNA BERG, DEN VITA KATTEN, 1942, KARL JOHAN-RUMMET (SAL 8) I GÖTEBORGS KONSTMUSEUM, CA 1925, Perspectives on Swedish ant as collection. Like Gilman’s device, the guiding principle of Skiascope is NORRKÖPINGS KONSTMUSEUM, FOTO: PER MYREHED. FOTO: GÖTEBORGS KONSTMUSEUMS ARKIV. focus. We will bring select topics to public attention and study each issue in ANNA BERG, THE WHITE CAT, 1942, KARL JOHAN-ROOM (ROOM 8) IN THE GOTHENBURG MUSEUM OF ART, C.1925, NORRKÖPINGS KONSTMUSEUM, PHOTO: PER MYREHED. PHOTO: ARCHIVE OF THE GOTHENBURG MUSEUM OF ART. Art Historiography depth, be it a single work of art, an artist’s oeuvre, or an entire period. GOTHENBURG MUSEUM OF ART PUBLICATION SERIES ISAAC GRÜNEWALD, TJURFÄKTNING, 1917, AMALIA LINDEGREN, SPRATTELGUBBEN, 1879, NORRKÖPINGS KONSTMUSEUM, FOTO: PER MYREHED. GÖTEBORGS KONSTMUSEUM, FOTO: HOSSEIN SEHATLOU. ISAAC GRÜNEWALD, BULLFIGHT, 1917, AMALIA LINDEGREN, JUMPING JACK, 1879, NORRKÖPINGS KONSTMUSEUM, PHOTO: PER MYREHED. GOTHENBURG MUSEUM OF ART, PHOTO: HOSSEIN SEHATLOU. SKIASCOPE 10 SKIASCOPE Kanon The Canon Perspektiv på svensk konsthistorieskrivning Perspectives on Swedish Art Historiography Föregående sida / Previous page: Göteborgs konstmuseum sommaren 1923, FOTO: BRUCE FOTO, Göteborgs konstmuseums fotoarkiv. Gothenburg Museum of Art, in the summer of 1923, PHOTO: BRUCE FOTO, photo archive of the Gothenburg Museum of Art. 2021 SKIASCOPE 10 10 ISBN Redaktörer/editors 978-91-984601-5-5 Kristoffer Arvidsson & Martin Sundberg Skriftserien startades genom medel från Sten A Olssons Stiftelse för Forskning och Kultur. Detta nummer ges ut med stöd av Gunvor och Josef Anérs stiftelse, Herbert & Karin Jacobsons Stiftelse, Kungliga Patriotiska Sällskapet, Stiftelsen Anna Ahrenbergs fond för vetenskapliga m.fl. ändamål,Stiftelsen Fru Mary von Sydows, född Wijk, donationsfond och Åke Wibergs Stiftelse. The publication series was started with funds from the Sten A. Olsson Foundation for Research and Culture. This issue is published with the support of the Gunvor and Josef Anér Foundation, the Herbert & Karin Jacobsons Foundation, the Royal Patriotic Society, the Anna Ahrenberg Foundation for scientific and other purposes, Fru Mary von Sydows, née Wijk, Foundation and Åke Wiberg Foundation. GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE GOTHENBURG MUSEUM OF ART PUBLICATION SERIES Författare/authors Design: Plaquette Tryck/Printing: Lenanders, Kalmar Kristoffer Arvidsson, Per Dahlström, Göteborgs konstmuseum/Gothenburg Museum of Art Göteborg/Gothenburg 2021 Alexandra Herlitz, Tintin Hodén, Patrik Steorn, Martin Sundberg KANON THE CANON SKIASCOPE 10 SKIASCOPE 10 Innehåll Table of Contents PATRIK STEORN PATRIK STEORN FÖRORD 8 FOREWORD 9 KRISTOFFER ARVIDSSON KRISTOFFER ARVIDSSON INLEDNING 18 INTRODUCTION 19 PER DAHLSTRÖM PER DAHLSTRÖM AMALIA LINDEGREN AMALIA LINDEGREN UT UR KONSTHISTORIEN OCH TILLBAKA 82 OUT OF ART HISTORY AND BACK AGAIN 83 ALEXANDRA HERLITZ ALEXANDRA HERLITZ KLIVET IN I KONSTHISTORIEN STRIDING INTO ART HISTORY PONTUS OCH GÖTHILDA FÜRSTENBERGS GÄRNING PONTUS AND GÖTHILDA FÜRSTENBERGS’ CONTRIBUTIONS FÖR KONSTENS GÖTEBORG 140 TO ART IN GOTHENBURG 141 KRISTOFFER ARVIDSSON KRISTOFFER ARVIDSSON DET LEVANDE OCH ÄKTA THE LIVELY AND AUTHENTIC AXEL L. ROMDAHL SOM KONSTHISTORIKER 200 AXEL L. ROMDAHL AS ART HISTORIAN 201 MARTIN SUNDBERG MARTIN SUNDBERG ATT SKRIVA FRAM EN SAMLING WRITING A COLLECTION ARON BORELIUS SOM MUSEIMAN OCH KRITIKER UNDER ÅREN ARON BORELIUS, MUSEUM DIRECTOR AND CRITIC, AND HIS TIME VID NORRKÖPINGS MUSEUM 272 AT NORRKÖPINGS MUSEUM 273 TINTIN HODÉN TINTIN HODÉN EN GENUINT SVENSK KONST A GENUINELY SWEDISH ART NAIVISMENS ROLL I SVENSK KONSTHISTORIA 334 THE ROLE OF NAÏVISM IN SWEDISH ART HISTORY 335 KRISTOFFER ARVIDSSON KRISTOFFER ARVIDSSON VID SIDAN AV MODERNISMEN ON THE SIDELINES OF MODERNISM TRADITIONELLT FIGURATIVT MÅLERI I SVENSK KONSTHISTORISK KANON TRADITIONAL FIGURATIVE PAINTING IN THE SWEDISH ART HISTORICAL CANON ÖVER 1900-TALET: EXEMPLET PETER DAHL 392 IN THE TWENTIETH CENTURY: THE EXAMPLE OF PETER DAHL 393 KANON THE CANON FÖRORD FOREWORD Konsthistoria finns på många platser, även vid sidan av de bildrika Art history is found in many places, even outside the richly illustrated översiktsverken med ett urval av allt från grottmålningar till sam- overviews with a selection of works ranging from cave paintings to con- tidskonst. Konsthistorien skrivs inte bara i böcker, den formas i en temporary art. Art history is written not only in books, it is shaped in an ständig växelverkan med museisamlingar, utställningar, forskning, ongoing interaction between museum collections, exhibitions, criticism kritik och även i vidare förmedling genom filmer, biografier och po- and, in mediated form, through films, biographies and popular culture as well. It is an ongoing process, even if the tempo varies. Artists and art- pulärkultur. Det är en pågående process, även om takten kan variera. works are re-evaluated; some are banished to the margins, while others Konstnärskap och konstverk omvärderas och vissa försvinner ut i are dusted off and elevated
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