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By August Strindberg and Ord Och Bild (1897)

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By August Strindberg and Ord Och Bild (1897) Nils Kreuger’s Drafts for the Covers of Bland Franska Bönder (1889) by August Strindberg and Ord och Bild (1897) Daniel Prytz Curator, 18th-Century Painting, Drawings and Prints Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword Dr. Susanna Pettersson Director General Associate Professor Art Bulletin of Nationalmuseum, Stockholm, (An Unpublished Drawing on Panel by Salvator (In the Breach of Decorum: Painting between is published with generous support from the Rosa Depicting a Landscape with a Philosopher Altar and Gallery, Fig. 9, p. 163). Friends of the Nationalmuseum. and Astrological Symbols, Fig. 6, p. 22). © Wikimedia Commons/ CC BY 2.0 © The Capitoline Museums, Rome. Archivio (In the Breach of Decorum: Painting between Nationalmuseum collaborates with Svenska Fotografico dei Musei Capitolini, Roma, Sovrinten- Altar and Gallery, Fig. 13, p. 167). Dagbladet, Bank of America Merrill Lynch, denza Capitolina ai Beni Culturali. © The John & Mable Ringling Museum of Art, Grand Hôtel Stockholm, The Wineagency and (A Drawing for Pietro da Cortona’s Rape of the Sarasota. Bequest of John Ringling, 1936. Nationalmusei Vänner. Sabine Women, Fig. 2, p. 28). (In the Breach of Decorum: Painting between © Bibliothèque Nationale France, Paris. Altar and Gallery, Fig. 19, p. 173). Cover Illustration (The Entry of Queen Christina into Paris in 1656, © Uppsala auktionskammare, Uppsala Étienne Bouhot (1780–1862), View of the Pavillon by François Chauveau, Fig. 2, p. 32). (Acquisitions 2017: Exposé, Fig 4, p. 178). de Bellechasse on rue Saint-Dominique in Paris, © Finnish National Gallery/ Sinebrychoff Art 1823. Oil on canvas, 55.5 x 47 cm. Purchase: the Museum, Helsinki. Photo: Jaakko Lukumaa Graphic Design Hedda and N. D. Qvist Fund. Nationalmuseum, (Self-Portraits and Artists’ Portraits as Portraits of BIGG NM 7434. Friends – A Selection of Paintings and Drawings, Fig. 2, p. 72). Layout Publisher © IKEA. Agneta Bervokk Susanna Pettersson, Director General. (Spika and Tajt – Alternative Furniture for a Young Generation, Fig. 5, p. 88). Translation and Language Editing Editors © Moderna museet, Stockholm Clare Barnes, Gabriella Berggren, and Martin Ludvig Florén, Magnus Olausson and Martin Olin. (Henry B. Goodwin – A Visual Artist with the Naylor. Camera as His Tool, Fig. 2, p. 90). Editorial Committee © The J. Paul Getty Museum, Los Angeles. Digital Publishing Ludvig Florén, Carina Fryklund, Eva Lena image courtesy of the Getty’s Open Content Ludvig Florén, Magnus Olausson, and Martin Karlsson, Audrey Lebioda, Ingrid Lindell, Program. Olin (Editors) and Ingrid Lindell (Publications Magnus Olausson, Martin Olin, Cilla Robach (Per Krafft the Younger and Belisarius – One of Manager). and Lidia Westerberg Olofsson. the Foremost Swedish Examples of Neoclassical Painting in the French Style, Figs. 3–4, pp. 113–114). Art Bulletin of Nationalmuseum is published Photographers © Albert Bonniers Förlag, Stockholm annually and contains articles on the history and Nationalmuseum Photographic Studio/ (Nils Kreuger’s Drafts for the Covers of Bland theory of art relating to the collections of the Linn Ahlgren, Erik Cornelius, Anna Danielsson, Franska Bönder (1889) by August Strindberg and Nationalmuseum. Cecilia Heisser, Per-Åke Persson and Hans Ord och Bild (1897), Fig. 2, p. 137). Thorwid. © Bukowskis auktioner, Stockholm Nationalmuseum (Nils Kreuger’s Drafts for the Covers of Bland Box 16176 Picture Editors Franska Bönder (1889) by August Strindberg and SE–103 24 Stockholm, Sweden Ludvig Florén and Rikard Nordström. Ord och Bild (1897), Fig. 3, p. 138; Acquisitions www.nationalmuseum.se 2017: Exposé, Fig, 3, p. 178). Photo Credits © Pia Ulin. © Nationalmuseum, the authors and the owners of © Le Gallerie degli Uffizi, Palazzo Pitti, Florence. (The Nationalmuseum’s New Restaurant – An the reproduced works. Gabinetto Fotografico delle Gallerie degli Uffizi. Artistic Collaboration, Figs. 1, 2, 4, and 5, pp. 149, (An Unpublished Drawing on Panel by Salvator 150, 152 and 153). ISSN 2001-9238 Rosa Depicting a Landscape with a Philosopher © Wikimedia Commons/ Public Domain and Astrological Symbols, Fig. 3, p. 19). (Per Krafft the Younger and Belisarius – One of © Teylers Museum, Haarlem. the Foremost Swedish Examples of Neoclassical (An Unpublished Drawing on Panel by Salvator Painting in the French Style, Fig 3, p. 112 and ArtRosa Depicting Bulletin a Landscape with a Philosopher of NationalmuseumIn the Breach of Decorum: Painting between Stockholm and Astrological Symbols, Fig. 5, p. 21). Altar and Gallery, Figs. 1–8, 10–12, and 14–18, © The State Hermitage Museum, St. Petersburg. pp. 155–172). Photo by Pavel Demidov. © Wikimedia Commons/ CC BY 3.0 Volumes 24–25 Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 ACQUISITIONS/ COVER DRAFTS BY NILS KREUGER Nils Kreuger’s Drafts for the Covers of Bland Franska Bönder (1889) by August Strindberg and Ord och Bild (1897) Daniel Prytz Curator, 18th-Century Painting, Drawings and Prints Fig. 1 Nils Kreuger (1858–1930), Suggestion for Cover for August Strindberg, Fig. 2 Nils Kreuger (1858–1930), Cover for August Strindberg, Bland Franska Bland Franska Bönder, 1889. Pencil and ink on paper, 230 x 149 mm. Bönder, 1889, ink, 140 x 215 mm. Centre for Business History, deposition from Purchase: the Axel Hirsch Fund. Nationalmuseum, NMH 9/2017. Albert Bonniers Förlag, Stockholm. 137 Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 ACQUISITIONS/ COVER DRAFTS BY NILS KREUGER Fig. 3 Nils Kreuger (1858–1930), Cart by the Haystack, signed and dated 1885. Oil on canvas, 40 x 88 cm. Private collection, sold at Bukowskis, Auction 446, November 4–7 1986, no. 97. The Nationalmuseum has acquired a Nils Kreuger’s draft for The publisher was very satisfied with the number of important cover sketches the cover of Bland franska figures “in the medallion”, but wanted by Nils Kreuger (1858–1930). As one of bönder by August Strindberg more emphasis on the landscape above it. the driving forces in Konstnärsförbundet (1889) He felt that otherwise it would not work as 4 (the Artists’ Association) and a central When August Strindberg (1849–1912), a cover illustration. It is easy to see what figure in the Swedish arts at the turn of inspired by his time at the Grez-Sur- Bonnier meant. Kreuger’s delicate cover the last century, Kreuger’s oeuvre is Loing art colony, among other things, was is characteristic of illustration art in the primarily identified with painting. publishing a record of his travels, Bland 1880s, which had become increasingly His illustration art does not receive as franska bönder: Subjektiva reseskildringar detailed, partly from the desire to utilise much attention, but Kreuger was per- (1889), the author proposed himself as new and improved opportunities for haps the busiest illustrator in the Artists’ illustrator. Publisher Albert Bonnier reproduction. However, in this case, the Association and its circles and was respon- (1820–1900) instead chose to give the draft is perhaps more reminiscent of an sible for many noteworthy illustrations commission to Nils Kreuger (1858–1930).1 elaborate vignette, or combination of for journals and books, as well as posters. Strindberg and Kreuger had met in Grez vignettes, typical of a frontispiece or other The characteristic contour lines that he in 1882 and, despite Kreuger accepting interior decorations of a book. The light gradually evolved are particularly suitable this job, they remained friends over the touch to the ink strokes, the element of for this genre, but are also found in his years.2 asymmetry in the overall composition and popular paintings featuring horses from As Magdalena Gram has previously the calligraphic appearance of the title all Alvaret, on the island of Öland. Genera- described, Strindberg also remained very have traces of Japonism, which had be- tions of Swedish schoolchildren have also involved in the appearance of the book. come fashionable in Paris in the 1880s. It encountered Swedish rural life through He believed that the book required an is likely that its influence also contributed Kreuger’s wall charts. The drawings illustrated cover – not yet common at that to Kreuger’s cover illustrations from this acquired by the Nationalmuseum are fine time – but when he saw Kreuger’s draft he period being so decorative, ornamental or 5 examples of Kreuger’s illustration art and thought that the artist had been too free vignette-like. excellent reflections of the diligence in his in relation to the text.3 Albert Bonnier The Nationalmuseum’s acquisition working process. quickly asked the artist for a new draft. (Fig. 1) is thus the first draft and allows an Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 138 ACQUISITIONS/ COVER DRAFTS BY NILS KREUGER Fig. 5 Nils Kreuger (1858–1930), Street View with a Horse, probably middle of 1880s. Pencil and ink on paper, 110 x 900 mm. Purchase: the Axel Hirsch Fund. Nationalmuseum, NMH 8/2017. Fig. 4 Nils Kreuger (1858–1930), Donkey in Gréz-sur-Loing, probably 1883. Pencil and ink, wash on paper, 105 x 69 mm. Purchase: the Axel Hirsch Fund. Nationalmuseum, NMH 10/2017. interesting comparison with the one that composition has now on the whole become the printed cover, as it has been claimed was printed. On the back of the drawing, more crowded and, perhaps a little less that he is depicted as a “farmer” in one of Kreuger has written: “First cover sketch. distinct. Bonnier must certainly also have Kreuger’s paintings from Grez-sur-Loing, Rejected by Bonnier because there are been pleased with the calligraphy in the Cart by the Haystack from 1885 (Fig. 3).7 no figures – he got a poorer one – and was title, which had been enlarged on his re- The distinctive long shirt worn by this far- perhaps satisfied”.6 With both versions quest. However, overall the printed version mer, of a type also worn by the author in available to us, the first draft appears more appears to be a compromise in which the some of his self-portraits from the period, emphatic than the one accepted by the artist has taken account of discordant de- recurs in one of the figures – walking along publisher (Fig.
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