The

Swedish A rt E xhibiti on

Chri sti an Bri nton

City A rt Museum Saint Louis 1 91 6 Cover by BB YNJULF STRANDENA ES

After Design by GUNNAR HA LLS TRfiM

o ri ht 1 6 C py g , 1 9

First Impressi on

Copies

Sec ond Impression

C opies

Redfield -Kendrick-Odell Co Inc . E x hibiti on of

C ontem porary Sw edi sh A rt

I91 6

Under the A uspi ces of

The Brooklyn Museum

The Copley Soc iety of Boston

The Pennsylvania Academy of the Fine Arts

The Carnegie Institute , Pittsburgh

The Detroit Museum of Art The Art Institute of Chicago

‘ The Minneap olis Institute of Arts

Art M use um . The City . , St Louis H t i The John erron Art Insti ute , Ind anapolis The Toledo Museum of Art

Th e C ommittee desires t o ex press its apprec iation of the f M r A l z r ser i es . nshe m the mmissi ner v c o Sc h ul t b e g , Art C o o from Sweden t o the Panama -Pac ifi c International Exposi i h d i i l i i i t on , W o has ma e t poss b e t o ex h b t the Swed sh e ti in the nit t tes C oll c on U ed S a . — GABRIEL STRANDBERG The Cripple INTRO DUCTIO N

HE art of the Scandinavian countries is the i i youngest , n the matter of actual date , n all

s Europe . It is but a scant century ince Sweden ,

Denmark , and Norway could boast what may be re termed a native school . The comparative moteness of the Peninsula from the Continent , the barrier of unfamiliar language , and kindred causes conspired for a considerable period to keep these nations isolated from the main cultural cur rents of the age . It was the Swedes who , through the restless lust of conquest , first came into con tact with the outside world , and it is Swedish art i m which , in point of priority as well as general portance , claims initial consideration from the

student of Scandinavian aesthetic development .

Just as it was a German , Holbein , who may be

said to have founded English painting , so it was the Hamburger Ehrenstrahl who has been rightly called i i re the father of paint ng in Sweden . It was n sponse to the desire for magnificence following the pillage and plunder of the Thirty Years War that such men as the architect Tessin and the portrait and decorative painter Ehrenstrahl placed their

respective talents at the service of king and court .

The art of the day was regal and pompous . The impressive royal palace and the baroque likenesses of the three Swedish monarchs whom Ehrenstrahl limned alike reflect the pretence of late Renaissance standards of taste . They eloquently typ ify that militant pride which had been inflated by brilliant V - ictories upon foreign battle fie ld .

There was however nothing racial , nothing i i r ndigenous , in the art of th s period any mo e than there was in that of the epoch which followed .

e G st avi an The gay , sparkling eleganc of the u regime was Gallic , not Swedish in spirit , and such

Lafrensen artists as Lundberg , Roslin , , and Hall e i i wer more Par s an than Peninsular . Gracious and refined as was their Franco -Swedish rococo i n spiration , it was of exotic origin , a product of superficial conditions . And so also may be characterized the British influence , chiefly that of

Reynolds and Gainsborough , which made itself felt in the portraits of von Breda and the land scapes of Elias Martin . It is indeed not difficult to account for the pessimism of that engaging cosmopolitan Egron Lundgren who , during the a early dec des of the last century , could see scant hope for the future of Swedish painting . And yet matters were not so bad as they seemed . The sweeping aside of the arid formalism of the classic era was followed by the rise of a romanticism x which , despite manifest e aggerations , possessed the sovereign quality of feeling , of emotion . While it is true that most of the Swedish artists

8 of the day were virtual expatriates who resided for long periods abroad and devoted themselves to foreign type and sce ne , still the glow of colour and cult of character foun d place upon their can vases . They flocked to Rome , Dusseldorf , Munich , i un or Paris as the case m ght be . Consciously or e n consciously they imitated L opold Robert , A dreas

Achenbach , Rottmann , or the Frenchmen Dela r r i croix and Couture . Neve theless , the e was n their work a striving for independence of vision li n . Fa er and treatment g , Jernberg , and above all

Hoc ker t , were the leading exponents of peasant genre , while in Blommer and Malmstrom you meet flashes of genuine northern imagination .

Hoc ker t , who lived and painted for several years in Paris , excelled both as an interpreter of popular life and as an historical painter , his Burning of the ’ 1 6 97 a i Royal Palace , , t k ng rank beside Pilo s

Coronation of Gustaf III . Veritable precursors of n the modern moveme t , these men fostered as best they knew that spirit of nationalism which was in due course to redee m and revivify the art of the North . The task so ably undertaken by Hoc kert and his associates was continued by Edvard Bergh ,

l or Per Daniel Ho m , Alfred Wahlberg , Reinhold N

o . stedt , Georg von Rosen , and Gustaf Cederstr m With Bergh and Norstedt you note the increasing i importance of landscape as an independent mot ve .

9 With von Rosen and Cederstrom you are face to face with competent portraiture and highly pro fessi onal , if somewhat pretentious , historical com position . With Wahlberg you witness for the first time in Swedish art that unity of mood and lyric — beauty of sentiment stdmni ng the Swedes call it —which presaged the coming of true outdoor treatment . It was in fact such men as Wahlberg ,

Ha b or Salmson d emol August g g , and Hugo who i sh ed the prestige of Dusseldorf and identified themselves with the contemporary French school . The grey -green landscape setting of ‘ Bastien Lepage and the sober peasant who appealed to ’ one s sense of social pity , entered Swedish art with the work of these men . Sincere observers of

efle atmospheric c t , and close students of character , they stand upon the threshold of modernism . After this date there could be no turning back . Light once and for all began to shed its shimmering

glory over nature and man . It has been necessary to sketch with a certain particularity the unfolding of Swedish painting in order that you may fully grasp its general out ’ an e flete lines . At first and aristocratic product

catering to a limited section of society , it ultimately

became democratic , not to say universal , in aim a and application . It submitted in limited though not less specific degree to those same influences

which moulded pictorial taste on the Continent .

10 Classic , romantic , and subsequently realistic , it was preparing to accept in robust , straightforward fashion the programme of the modern school .

c In deferen e to those who cling to dates , it may be well to recall 1 880 as the year when these newer ideas began to assume definite form in the minds of the Swedish painters . It was at this epoch

Lil efors o that Zorn , Larsson , j , Nordstr m , and the talented but ill—fated Ernst Josephson were living and studying in France . They logically became apostles of aesthetic progress , ardent disciples of

Puvis Manet , Cazin , de Chavannes , and their colleagues . Restless of temperament and thirsty for the picturesque , Zorn and Josephson posted off to Spain and the Mediterranean coast , but five years later they all forgathered in Stockholm , u la nched an exhibition of their work , and made their first bid for public approval . While the

approval was by no means unanimous , they

managed to arouse considerable interest and , after

a spirited contest , succeeded in enlisting a certain 1 885 measure of support . The exhibition of led to the founding the following year of the society

' a Konst narsforb undet known s the , an organ

a ut o i zati on which , despite its tendency toward c

racy , has largely shaped the destiny of the con

temporary Swedish school .

It was this revolt against academic ascendancy , coupled with a spontaneous return to native

1 1 scene and inspiration which proved the salvation of Swedish art . Unlike their predecessors the men of this particular period did not remain abroad , but returned home to continue the fight upon

Scandinavian soil . The note of nationalism soon made itself felt in their work , and it is this element of nationalism , sturdy and forthright , which is the dominant characteristic of latter-day Swedish painting . Bold or delicate , brilliant or subdued , the art of these men is a song in praise of Sweden . There is no corner of the country where the painter has not penetrated , no class or condition of society Sveri e enom konat which he has not portrayed . g g

’ ’ ’ nci rsri on— — g Sweden through the artist s eye is , in the words of our friend and confrere , Carl G .

Laurin , what these painters have given us , and nothing could be more welcome or appropriate . Although bound together by a manifest com munity of aim and idea , each man worked along individual lines . After achieving a reputation as a successful mural decorator , Carl Larsson settled

- at Falun , where he built himself the bright tinted home which is famous the world over . Everyone

r . i knows and love—s Sundbo n In these spir ted , sparkling water colours we see it winte r and summer , outside and within . Conceived in a vein of Swedish rococo with a basis of substantial

Dalecarlian motive , this series constitutes a domes tic cycle the like of which you can meet nowhere

12 And i n else in art . just as Larsson found his spiration amid the endearing associations of family life and became the foremost Swedish intimist , so

Lil e or Bruno j f s, the son of a powd ermaker and - r himself a born sportsman painte , ranks as the leading exponent of naturalism . First in Uppland , and later among the wave -washed skerries of

’ B uller sodra skd r fzrd o in the g , or Stockholm archipelago , he studied on the scene , as no other artist has , the secrets of bird and animal life . The canvases of Lilj efors present to us in their primal spontaneity of play or hungry passion a family of foxes , a pair of great sea eagles , or a flock of wild geese feeding in the lush marshland . At the out set perhaps a trifle over -faithful to certa in purely Lil e objective aspects of his subject , j fors later broadened his style . With succeeding years he has learned to offer something more than a mere analysis of the world of outdoor nature . His recent canvases indeed prove that he is fully abreast of the modern movement . While it cannot be denied that Anders Zorn has always been cosmopolitan in his proclivities , he , too , was unable to resist the call of his native country , and after a few years constructed at i Mora , near his humble birthplace , a spac ous timber house where he devotes himself to the depiction of peasant type and scene . You may

have met Zorn many times and in many places ,

13 yet you do not know him until you have tracked him to this forest -screened retreat by the silver rim of Lake Siljan , which material success has enabled him to embellish after the fashion of a true prince of art . And however much you may admire his likenesses of society queen or captain of industry , there is no gainsaying the fact that it is at Mora , and still farther up country at Gops moor, where his finest things have been aecom

l - p i shed . The pull of deep rooted natural forces here draws him toward the very essence of local life and character as they obtain in this still un spoiled communi ty . These canvases i n short constitute not alone a precious series of documents relative to the customs and costumes of the sturdy denizens of Dalecarlia ' they also chant a joyous hymn to bodily health and beauty . They are frankly pagan and Dionysian in spirit . They hark back to days when the world was younger

and freer than it now is . You have only to glance at them in order to be convinced that the antique devotees of wine , dance , and tuneful pipe flourish even in subarctic forest . Each section of Sweden has in fact found its ’ chosen interpreter . Not far from La rsson s de lec t ab le domicile at Falun lives and paints

Sc hult zb e r Anshelm g , whose work is year by year acquiring subtler colour and a more concise

mastery of form . At Arvika , near Lake Vanern,

14

r r the humo ous and incisive Albe t Engstrom , the austere Nordstrom , and Nils Kreuger , the painter

- of horses seen among the sparse , close cropped hill pastures of Oland . The production of these men and their associates , characteristic though it be , nevertheless offers but an incomplete picture l of that inspiring nationa ist movement , that awakening of race consciousness which was at this period making itself felt along all lines of Swedish endeavour . You will recognize the same forces at play in the early novels of Strindberg—veritable masterpieces of penetrant observation , and in the more lyrical and colourful periods of Verner von

Heidenstam . Alike in letters and in art the study of mi li eu became the watchword of the younger generation . The foc al poi nt of this activity is to be found - H ze li in the life work of the late Artur a us . It was he who rediscovered for the Swedish peopl e their national birthright . With indefatigable energy and enthusiasm he gathered from all parts of the Peninsula the records of a vanishing culture and i displayed them with accuracy and effect veness . You may assume that you know Swedish art if you have visited the leading painters in their r homes , o are familiar with the National Museum and the more comprehensive contents of the

Goteborg Museum . You may have inspected the o private collections of Prins Eugen , Direkt r Thiel ,

16 Herr C . R . Lamm , and Direktor Thorsten Laurin yet something will be lacking unless you have studied the treasure troves of past and present in n r the Norther Museum and at Skansen , o better , at

first hand among the country folk themselves .

-e Sweden is pre minently a peasant nation , and the basis of Swedish art is to be found in that primal i i ri love of pure , br ll ant colour and integ ty of structure which are the essential characteristics of i i peasant ach evement . Collec t ve rather than individualistic , this art expresses in eloquent fashion that community of aesthetic interest which produces the most significant and enduring results . While recognizing the ready response to foreign n influence , the attainment of a refi ed eclecticism such as you note in Swedish painting for the past century or more , there can be no question but that the best work of these artists is that which is the most fundamentally national in theme and l treatment . Axel Petersson is a greater scu ptor than was Molin , and the drawings of Albert o a Engstr m , also a native of Sm land , outvalue the delicate aquarelles of Egron Lundgren . It was not until Sweden discovered her innate , indigenous possibilities that art began to develop in convincing , healthy fashion . This is the lesson which each successive exhibition of Swedish painting and

1 7 sculpture teaches . And this is the lesson you will i r find embodied n the cur e nt undertaking . It is not our intention to review in detail the comprehensive display of graphic or plastic produc tion which you find within these walls . The ex hibiti on , though in no sense advanced in character , is representative of present-day aesthetic activity

in Sweden . You will not here observe any work by members of the autonomous and exclusive

Konstnarsf r u d o b n et . It is a fixed principle of this body to appear alone , in isolated glory , or not

at all . As usual it was in thi s instance a case of

' Konstnarsforb und et the or the rest of Sweden , you therefore having before you what is virtually the

rest of Sweden . i i The collection s strongest , t would appear , in

the province of landscape , for Swedish painting is

a predominantly salubrious , outdoor product . The

i aes a subtle decorat ve syntheses of Fj t d , the grave ,

i Go tfri d Kallst eni us d gnified vision of t , the sen siti vely viewed forest or snow scenes by Anshelm

Sc hult zb er g, and the subdued , lyric quietude of ’ Erik Hedberg s star -studded mountain tarns all

form a characteristic panorama of exterior motive . It is with pleasure that one can include in this r catego y the work of a comparative newcomer ,

Osslund - Helmer , whose rich toned , rhythmic studies of northern waterfall form a significant accession

to a novel and interesting ensemble . You will in

18 addition not fail to note the V igorous Lofoten

- Island colour sketches of Anna Boberg , or the delicate panels of Oskar Bergman whose gift of

decorative design is so highly developed , and who is able to exp ress so much with the slender means at

his disposal . While the work of such established favourites as

Lil efors Zorn , Larsson , and j speaks for itself , mention should be made of Elsa Backlund -Celsi ng

and Wilhelm Smith , who combine upon fairly even

terms landscape and the figure , as well as Helmer

- Mas Olle , who devotes his energies to the portrayal of the Dalecarlian peasant . The latter artist also

r essays po traiture , though in scarcely so author it ati ve and accomplished a manner as does his O colleague Emil sterman . If the work of Mas

Olle savours somewhat of the older school , the

same cannot be charged of Gabriel Strandberg , who selects his types from the poorer quarters of Stockh olm and presents them with virile stroke and

penetrant intuition . You will in fact see nothing in the exhibition comparable to these drink shattered outcasts sitting at shabby bar or sham n bling along in mumbli g , melancholy isolation . — i Strandberg is a modern modern in h s luminous ,

‘ broken surfaces , modern in his mordant analysis

of the downtrodden . Those addicted to the pre carious habit of compari son will doubtless be i tempted to call him the Scand navian van Gogh ,

19 saving that the stressful and distressed subject s r r i s th e r of the one a e u ban , wh le tho e of other a e chiefly rural . As an exception to that modified conservatism ff which obviously distinguishes the current o ering , Tom eman Strandberg is ably seconded by Axel , who in fact strikes the most progressive note of - r the display . A Post Imp essionist he may safely x be called , the term being sufficiently fle ible to include any of the more recent manifestations of aesthetic unrest . Others of the younger and more min fl i Zoi r advanced group are Gregori A o , Em l , and Hugo Carlberg , while among those of less radical sympathy may be mentioned Gabriel

Burmeister , Wilhelm Behm , Alfred Bergstrom ,

H ort zb er Fahl rant z Hull ren Olle j g , Axel c , Oscar g , and Carl Johansson , the latter of whom finds his inspiration in the Norrland where mountain and forest slumber in the luminous twilight of the

subarctic summer . The majority of the foregoing artists exhibit with the society known as the Svenska Konstnarernas

Forenin s g , which holds its annual displays in 1 8 90 the Academy . Founded in , the organization occupies a middle position in the history of

contemporary Swedish art . Young men such as Helmer Osslund and Hugo Carlberg are welcomed

within the fold , while one notes at the same time

those who , like Burmeister , still remain faithful

20 to the reposeful Barbizon tradition . Whatever their official affiliations these men are , however , seldom without that capacity for sound , veracious observation which is typical of the art of their i n country . Whether academy professors or dependent spirits working out problems on their own account in some remote district they are not unmindful of the new and untried possibilities of the modern palette . You will find in Sweden substantially the same proportion of radicals and conservatives as elsewhere . These equations sel

' Konstnars dom vary . There are painters in the forb und et whom one would expect to see i n the

‘ Kon nar rna F reni n s st e s o g and vice versa . And it is this judicious balance of elements which adds interest to the present exhibition . Somewhat of a revelation to the general public should prove the work of John Bauer and Ossian

' ’ El st rom diflerent g , two young men who in ways typify the imaginative side of the Swedish tempera

ment . Compared to the spontaneous creative fertility of Bauer , the more deliberate concoctions of Kay Nielsen or Dulac appear affected and arti -off fici al. These fragments from a far realm are i invariably convincing , and reflect that na vete of feeling which is an essential feature of such com

positions . Sweden already knows and loves the omt ar h author of Bland T oc Troll , and it is to be a m hope d that he mayfind re dy acceptance in A erica .

21 El r m gst o , while falling into the same general f category , presents a di ferent aspect . The northern strain in him is complicated by a touch of the

Asiatic , an affinity with the Laplander and the

Japanese . Gifts such as these artists possess are the special prerogative of youth . Their older o compeer of brush and pen , Albert Engstr m , draws his inspiration from the well -springs of human nature and character 'they find theirs in a

- wonder world of awe and fancy . Concurrently with the development of painting in Sweden , and quite as definitely marked , has been the progress of the plastic arts . Had it not been for the sterile formalism so much in vogue during his day , Sergel would have achieved notable results , and the same may be said of Bystro' m and Fogel berg . The ideals of the modern men are vastly different from those of their predecessors . A stark monumentality and a marked feeling for the material in use be it plaster , bronze , stone , or wood characterizes the production of the new school . o Carl Milles , David Edstr m , Christian Eriksson , Eld Carl h , and Knut Jarn are all serious , vigorous talents . Their work is as a rule glyptic rather than l fic ti e . They prefer granite to the ready tract ability of wax or clay and achieve eflec t s which not infrequently suggest the stylistic severity of the early Assyrians or Egyp tians . Milles and Ed strom are dominant figures , the former showing

22 immobility of the Egyptian figures have been bet ter exp ressed than in basalt . Surveying i n sympathetic perspective the ex hibiti on as a whole you will doubtless concede the fact that the art of Sweden is a virile , wholesome manifestation , full of fresh , unspoiled observation and revealing an almost pantheistic absorption in nature and natural phenomena . There is little

i . pretence , little aesthetic pose n this work Basing itself frankly upon national interest and appeal it has not strayed into tortuous byp aths where one is apt to lose contact with actual life . Submitting by turns to those larger influences which have consecutively domi nated artistic endeavour in i other countr es , Swedish painting and sculpture have not sacrificed that sturdy autonomy of temper which must always remain a requisite characteristic of aesthetic production . The classic , romantic , realistic , and impressionistic impulses have each left their stamp upon this art , yet you cannot discover a Swedish David , Delacroix , Courbet , or

Claude Monet . The master currents typified by the activities of these northerners have been adapted to specific conditions . Though the lessons ta ught upon the Continent have bee n aptly learned you will here encounter more assimilation than

imitation . Granting that this work displays a proper i n

r s i i i tegri ty of pu p o e , a dist nct vely nat onal flavour ,

24 it merely remains to be seen whether it fulfils r i ce tain more general requ rements which , after all , i hi constitute the test of endur ng ac evement . Is the language , linear , chromatic , atmospheric , and emotional , which these canvases speak merely local , or does it attain the accent of universality ' The answer is one that may well be left to the public , and , as far as the public is concerned , it f has already proved afli rmati ve . The o ficial ex hibiti ons of Swedish painting and sculpture which 93 have successively appeared at Chicago in 1 8 , at

. 1 904 1 91 1 St Louis in , at Rome in , and at San 1 91 5 Francisco in , have each won a generous

measure of critical as well as popular approval . The same may also be said of the itinerant c olle c 1 895 -6 tion which toured the country in , and of the Swedish section of the memorable Scandinavian

- exhibition of 1 9 1 2 1 3 .

The present offering , which comprises much of V the work recently on iew at San Francisco , to

gether with ce rtain appropriate additions , makes

virtually the same appeal as did its predecessors . It has bee n organized along similar lines and its

message to America is in no wise different . Fresh names have been added and others have di sap

peared . The selection has in the main tended more toward conservatism than toward radicalism ' a point which has its disadvantages as well as its i i i advantages . Wh le in no sense hold ng a br ef for

25 Leander Engstrom , Einar Jolin , and other auda i Ex re si oni s er c ous young p s t , it is nevertheless safer , when it comes to modern issues , to be inclusive

ex a rather than exclusive for , despite incidental g

era i ons g t of mood and manner , the youngsters have a disconcerting habit of turning out right .

It is manifest that Swedish art , like the art of

- other countries , is to day hesitating between the old and the new , the calm of conservatism and the troubled tides of revolution and reform . The canvases you see upon these walls do not differ in any essential respect from those of a decade or more ago . They display verity of observation , vigour

f esi n o . d g , and a requisite regard for atmospheric

' fl t e ec . Save in certain cases , as for example with th e F aest ad work of j , the element of synthesis is conspicuous by its absence . There are in Sweden painters who are able to organize as well as to i n observe , and it is their hands that the destiny of Swedish art resides . If in brief Swedish painting is to remain true to its traditions—true especially to that stirring impetus —which emanated from the men of eighteen eighty i t cannot continue sta t i onary. It must courageously advance into the uncharted future where there will be found new combinations , new colours , and a subtler sense of that magic ambience in which all things visible and invisible are steeped .

26 PA INTING S

AMINOFF , Gregori , Stockholm

1 The Peacock

BACKLUND - G oh anni s e ELSING , Elsa , J b rg

2 Skiing

3 Tobogganing

BAUER , John Albert , G renna

4 Fairy Girl

5 Brother Martin

6 The Bogey is Furious

7 Goblins and Dogs

8 The Lady of the Wood

9 The Fairy and the Hulta Nymph

1 0 The Giant Boy who Slept for Fifteen Years

1 1 The Troll 1 2 Wingmor Opened

1 3 And so They Rode Day and Night

1 4 The Goblins Stealing Away

1 5 The Goblins and Bianca Maria

1 6 The Moose Watching Over Bianca Maria

1 7 The Little Tuvst arr by the Forest Pool

1 8 Here are the rest of my clothes

1 9 The Swan Messenger

20 And She Went to the Water ’ s Edge

21 - Oh , what a little Pale face '

22 The Echo

BEHM , Wilhelm , Ronninge

23 Winter Evening

24 Autumn Day

25 Farmstead

26 Snowflakes Sunset in the Forest

28 Spring Evening

h m BERGMAN , Oskar , Stock ol

29 Midsummer

30 Cliff and Snow

3 1 Apple Blossoms

32 Islands Outside of Stockh olm

33 Fruit T ree s in Blossom

34 Thaw

35 Pines and Snow

Winter

Winter

Winter

39 Fiesole

40 Cypresses

4 1 Grey Weather 42 Ice after Storm

43 Fir Trees and Snow

O BERGSTR M , Alfred , Tullinge

44 Summer Evening

45 Old House

46 Winter

a BOBERG , Anna , Djurg rden

First Snow in the Mountains

Fisher Cemetery

Arctic Night

Glacial Lake

Fishing Flee t at Anchor

In the Harbour

Fishing Fleet off the Coast

Sunset , Lofoten

Spring Day

Fair Weather

70 Northern Lights

71 Tarras or Five Gods

72 The Soul ’ s Transmigration

73 The Return to Earth

FAHL RA TZ h C N , Axel , Stock olm

74 Approaching Storm

75 Moonlight and Mist

F AE TAD J S , Gustav Adolf , Arvika

76 The First Snow

77 Winter Afternoon

Summer Night Breeze

Cottage in the Forest

Winter Moonlight

Hoar-frost on the Mountains

82 Easter

83 Moonlight on the Mountain Lake

32 84 Summer Evening at the River

85 Pool in Winter

86 Meditation

VO N AFFL GRANSTROM KN , Edith , Bergvik

8 7 The First Day of Spring

88 Winter Day

a HEDBERG , Erik , Tallbo , J rbo

8 9 Ne w-fallen Snow

90 Summer Night

9 1 Spring Evening

HESSELBOM Ott ‘ ‘ , Johan o l

92 My Native Country

93 View Across Lake Arran

Sa lts 6 b aden HJORTZBERG , Olle , j

94 Italian

33 95 Study of Head

96 Forge in Terracina

H LGREN UL , Oscar , Pataholm

97 The Sea

98 o Winter Evening , L foten

99 Breakers

OHANSSON M 6 ln o J Carl , b

1 00 Early Spring

1 01 Evening , Norrland

KALL TENI fri o - S US , G ott d , Saltsj Storangen

1 02 Moonlight Along the Coast

1 03 Windy Evening

1 04 Old Church , Gotland

1 05 Pine Trees in Sunlight

1 06 The Sacred Grove

34 ' K - USEL , Ernst , Saltsjo Dufnas

1 07 Calves

1 08 Ducks

1 09 Kids by the Fence

LARSSON , Carl , Sundborn

1 1 0 In the Birch Grove

I l l E sbjorn on Skis

1 1 2 Summer Morning

1 1 3 The Dogs

1 1 4 The Laundry

1 1 5 The Bedroom

1 1 6 The Dining -room

L ILJEFORS , Bruno Andreas , Jarna

1 1 7 Sea Eagles

- D alarne MAS OLLE , Helmer , Siljansnas ,

1 1 8 Dalecarlian Girl 1 1 9 Dalecarlian Peasant

1 20 Dalmas

1 21 Rector M agnific us Henrik Schuck

OSSLUN a D , Helmer , Sollefte

1 22 M ullfj allet

1 23 1 Waterfall , Porjus ( )

1 24 2 Waterfall , Porjus ( )

1 25 H Waterfall , and olsforsen

1 26 Ha viken Summer Evening , gg

1 27 An ermanland Evening , g

1 28 l o Waterfall , E fkarle

L H TZBE G . SC UL R , Anshelm , Stockholm

1 29 Winter in the Forest , Dalecarlia

1 30 Winter Sunset in the Forest

1 3 1 i li st ad Sunday in Winter , F p

1 32 Midsummer Night in Dalecarlia

36 , 1 33 Winter Sunset in the Mountains

1 34 Charcoal Burning

1 35 Swedish Summer Night

1 36 Winter

a rl amn SMITH , Wilhelm , C sh

1 37 Ploughing

1 38 Fisherfolk

1 39 Winter Afternoon

1 40 The Avenue

1 41 It will be a windy night

h STRANDBERG , Gabriel , Stock olm

1 42 The Cripple

1 43 The Toper

1 44 Youthful Gangster

1 45 Tramp

37 TORSAN B run r DER , Gustaf , sb e g

1 46 Sawmill in the Moonlight

1 47 Lamplight in the Fog

TORNEM A N, Axel , Persberg

1 48 Torgny Lagman (Cartoon for decorative

huset panel in Riksd ags , Stockholm)

1 49 The Fantasist

1 50 Summer

1 5 1 The End

ilf kra WRANGEL , An na , S a

1 52 Old Man

1 53 Fi sherfolk

ZOIR a , Emil , Stora Sk r , Goteborg

1 54 Potato Picking

PRINTS

BERGSTROM , Sigge , Filipstad

1 57 Filipstad

1 58 At the Mouth of the River

1 59 Along the Shore

1 6 0 H6 kb erget

1 6 1 Winter

BEVE , Eva , Stockholm

1 6 2 Meditation

1 6 3 Prayer

1 6 4 Parrot

a BOBERG , Ferdinand , Djurg rden

1 6 5 Ferryboat

1 6 6 Venetian Boats 1 6 7 Fog in the Harbour

1 6 8 Moonlight

9 h 1 6 Hedvig Eleonora Church , Stock olm

1 70 Ridd erhuset h , Stock olm

1 71 Karoline Chapel , Stockh olm

1 72 Ridderh use t Street Near , Stockholm

BURMEISTER , Gabriel , Stockholm

1 73 Old House in Dalecarlia

1 74 The Silent Place

1 75 Adagio Patheti que

JAESTAD F , Gustav Adolf , Arvika

1 76 The First Snow

1 77 Portrait of the Artist

1 78 Gustaf Froding

1 79 April Morning OHANSSON- k J THOR , Th Stoc holm

1 80 a Ploughed Field , Sk ne

a 1 8 1 Farm , Sk ne

a 1 82 Evening , Sk ne

LARSSON , Carl , Sundborn

1 83 The Curtsy

1 84 Nude ( 1 )

1 85 Nude (2)

1 86 Martina

1 8 7 An na Stina

’ 1 88 Karin Dressing Kersti s Hair

1 89 Mother

1 90 Lisbeth

MAGNUSSON , Gustaf , Enskede

1 9 1 Portrait of the Artist

1 92 The Princess 1 93 Salome

1 94 Hanna

1 95 Finger Exercises

1 96 The Dancer

1 97 Her First Pose

- D a larne MAS OLLE , Helmer , Siljansnas ,

1 98 Rector M agni fic us Henrik Schuck

1 99 G . Bernard Shaw

200 Old Dalecarlian Man

20 1 Dalecarlian Woman

202 My Wife

NORLIND , Ernst , Borgeby , Fladie

203 Rooks

204 Stork Family

205 a Church , Sk ne E PETERS N , Carl Olof , Dachau , Bayern

206 Cats

207 Fowls

208 Owl

209 Pepper Bird

21 0 In the Crinoline Time

PETRUS , Anna , Stockholm

2 1 1 Karin

2 1 2 Siri Smoking

21 3 Profile

RAMBERG , Gustaf , Helsingborg

2 1 4 Croft in Skane

2 1 5 Milking - time

AHLSTROM S , Anna , Torsby

2 1 6 Youth

2 1 7 Oat Harvest SCULPTURE

AHLBERG , Olof , Stockholm

2 1 8 In the Sun

O B RJESON , JOHNT Consolation Music Art and Craft

O B RJESON , Lena , Stockholm

222 The Changeling

G ottfrid LARSSON , , Stockholm

223 The Brute

LUNDBERG , Johan Teodor , Stockholm Orpheus Siren The Wave and the Shore Mother ’ s Joy MILLS , Ruth , Lidingo Villastad Young Peasant Woman Old Peasant Woman The Little Cripple The Busy Little Girl Af ter Waiting in Vain

Fi sherwife

D a NEUJ , Herman , Sp gna Stina Head of Boy Fourteen Years Old Little Dancing Girl

PETERSSON , Axel Oskarshamn The Vi llage Tri al A Game of Chess A Troublesome Fly

WISSLER , Anders , Mariefred 241 Peasant Violinist

OLLE HJORTZBERG Italian — ELSA BAC KLUND -CELSING Tobogganing

51

’ JOHN BAUER The Little Tuvstarr by the Forest Pool

56 O A ER Oh what a little Pale-face J HN B U ,

57

— EMIL OSTERMAN The Late Professor Carl Curman

60 WILHELM SMITH Fisherfolk

61

A'EL TfiRNEMAN The Fantasist

64 — HELMER MAS-OLLE Rec tor Magnific us Henrik Schfich

65

LIST O F ILLUSTRATIO NS

- Celsi n : Backlund g , Elsa Tobogganing

Bauer , John Albert

The Little Tuvst arr by the Forest Pool

' ' - ' Oh , what a little Pale face

n : Boberg , A na Fishing Fleet at Anchor

: Carlberg , Hugo Spring Morning by the River

El st rom : g , Ossian The Duel

F aest ad j , Gustav Adolf Summer Night Breeze Moonlight on the Mountain Lake

Hesselb om , Johan Otto My Native Country

H ort zb er j g , Olle : Italian

Ka llst eni us Gottfrid : , The Sacred Grove

Larsson , Carl Summer Morning

E sbj orn on Skis

Li l efors j , Bruno Andreas : Sea Eagles

69 M - l as O le , Helmer Dalecarlian Peasant

Rector M agnific us Henrik Schuck

Sc hult zb er g , Anshelm Leonard Swedish Summer Night

Winter in the Forest , Dalecarlia

l Fi Smith , Wi helm : sherfolk

Strandberg , Gabriel : The Cripple

Torsander i , Gustaf : Sawm ll in the Moonlight

Tti rneman , Axel : The Fantasist

Zorn , Anders Leonard Dalecarlian Girl in Winter Costume

O e st rman , Emil

The Late Professor Carl Curm an

70

K allsteni us, Gottfrid

Kti el s , Ernst

Larsson , Carl

Lil efors j , Bruno Andreas

Lundberg , Johan Teodor

Magnusson , Gustaf

- Mas Olle , Helmer

Milles , Ruth

e u d N j , Herman

orli nd N , Ernst

Osslund , Helmer

Petersen , Carl Olof

Petersson , Axel n Petrus , A na

Ramberg , Gustaf Sahls r m t o , Anna

l z e A Schu t b rg , nshelm Le onard

Smith , Wilhelm

Strandberg , Gabriel

Torsand er , Gustaf

T e man orn , Axel n Wissler , A ders

Wrangel , Anna Z i o r, Emil

Zorn , Anders Leonard i Osterman , Em l

72