’s Drafts for the Covers of Bland Franska Bönder (1889) by and Ord och Bild (1897)

Daniel Prytz Curator, 18th-Century Painting, Drawings and Prints

Art Bulletin of 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Art Bulletin of Nationalmuseum, Stockholm, (An Unpublished Drawing on Panel by Salvator (In the Breach of Decorum: Painting between is published with generous support from the Rosa Depicting a Landscape with a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, 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.

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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

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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. 2), paradoxically enough, sires, which is of course natural, given the a country road with a dog – that Kreuger, bearing in mind Bonnier’s opinions. opinions of both Strindberg and Bonnier. added to the upper section of the cover.8 Despite the publisher referring to the new There has been speculation about Interestingly, two drawings that the version as being “more powerful”, the whether Strindberg himself is visible on Nationalmuseum

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acquired along with the draft for the book was responsible for the more Art Nouveau- have a direct relationship to this painting. inspired design that was used for the One includes the same donkey carriage as journal’s first six years.13 In the drawings the painting (Fig. 4) and the other features acquired by the Nationalmuseum, it is the figure with the distinctive untucked possible to see how Kreuger carefully shirt (Fig. 5). In one way or another, this works towards the final result, characte- later drawing relates both to the other rised by an almost baroque weight and works with this figure in the long shirt, as impact. Here, the title is written in a well as to the original draft cover illustra- decorative speech scroll as big as the tion, as his pose in relation to the horse other ornamentation, which comprises is reminiscent of the figure in the draft’s the four Nordic coats of arms.14 Sweden medallion. This way, Kreuger would thus was still in a union with Norway when the meet the wishes of the publisher and new cover was created, and the journal’s perhaps subtly play on Strindberg’s direct contents of the time often represent a interest in and opinions on how the cover “Nordism” that emphasised the Nordic illustration was presented. He tucks in the countries’ shared cultural foundation, shirt of the man with the horse and the while not uncommonly also highlighting untucked shirt instead comes to characte- Sweden’s exceptionality.15 The new rise one of the strolling, conversing figures cover was first used for the first issue in – perhaps the travel writer himself – that the journal’s seventh year. Instead of he adds to the landscape at the top. In advertising, as was usual, for this issue the later correspondence with the publisher, back cover featured an announcement Strindberg was tough in his criticism of about the new cover illustration. It was Kreuger’s illustrations for his other works, signed “the Editorial Board” and there such as Svenska öden och äfventyr (two is good reason to quote a longer excerpt volumes, 1899) and Sömngångarnätter på here, as it describes the motivation behind vakna dagar (1900).9 the appearance of the new cover in more detail: Nils Kreuger’s drafts for the cover of Ord & Bild (1897) Among the generous epithets that Ord och Kreuger’s artistic endeavours were broad bild has received in the press, “Scandinavia’s and wide-ranging; in addition to paintings premier journal” is an oft recurring one. and illustrations, they included posters There can be no doubt that Sweden has the and the applied arts.10 Early on, illustration best resources for nurturing a body that, commissions were some of the few in everything, would motivate this name. relatively regular sources of income By affiliating ourselves with local editorial that Kreuger could count on. However, boards in Helsinki, in Christiania and in Fig. 6 Nils Kreuger (1858–1930), Sketch for Back , we have chosen to aim for of Cover for Ord och Bild 1898, 1898. Brush and ink he worked sporadically as an illustrator on paper, 190 x 72 mm. Purchase: the Axel Hirsch throughout his career, perhaps primarily such a target and the result, as it appears Fund. Nationalmuseum, NMH 11/2017. because his powerful drawings were in this sixth [sic] year, has encouraged us to particularly suitable for this.11 Kreuger continue along this path. Entirely Swedish illustrated journals such as Jul and in purpose, but with an open mind and Söndags-Nisse, as well as publications on lively participation in everything that can the political left such as Folkbladet, broaden our horizons and increase our Socialdemokraten, Julfacklan, Första Maj spiritual assets, this new year of the and Tiden.12 In 1897, Kreuger created the journal marches out below the four cover and vignettes that were used for Scandinavian coats of arms with the Karl Wåhlin’s (1861–1937) liberal-leaning intention of not only calling upon our cultural journal Ord och Bild from 1898 countrymen, but also the attention of our until 1953. Arthur Sjögren (1874–1951) kinsmen, to the life that has been lived and is

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Fig. 7 Nils Kreuger (1858–1930), Sketch for Cover for Ord och Bild 1898, 1897. Fig. 8 Nils Kreuger (1858–1930), Sketch for Cover for Ord och Bild 1898, 1897. Pencil, brush and ink, black-green wash on paper, 262 x 180 mm. Purchase: Pencil, brush and ink, black-green wash on paper, 262 x 180 mm. Purchase: the Axel Hirsch Fund. Nationalmuseum, NMH 12/2017. the Axel Hirsch Fund. Nationalmuseum, NMH 13/2017.

lived within our borders, whilst also aiming clover leaf in which the Swedish coat of to that which was finally printed. In this to draw attention to the primary cultural arms, with three crowns, is as big as the draft (Fig. 9), as in the printed cover, the phenomena of our neighbours and, further other three coats of arms together (Fig. 7). coats of arms are borne by heavy trunks afield, throughout the entire advanced “The clover crown” is divided by a central of oak, but unlike the later version in world.16 burning torch, possibly a result of the which the oak loaves are finer and more former design featuring the oil lamp. numerous, the oak leaves in the draft are Kreuger appears to develop the subject However, the torch is then removed rougher, drawn in ink with broad strokes.17 after initial hesitation about adopting and the clover leaves are soon equally All these drawings by Kreuger were in the central element of Sjögren’s previous sized (Fig. 8), before being lifted out the possession of the former curator at the design: the lit oil lamp (Fig. 6). The artist and “permitted” to become coats of Nationalmuseum, Kjell Boström (1921– soon moves to a design characterised by arms in their own right. Of the four cover 1953), who also authored a biography of the coats of arms but, along the way, sketches that have been acquired by the the artist that was published in 1948. appears to have first created a kind of Nationalmuseum, one is decidedly closer Seen together, the draft for Bland franska

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bokens gestaltning”, in Biblis, no. 56, Stockholm 2011/2012, p. 3. 3. Gram 2004, p. 128–130. Letter dated 20 September 1889, Torsten Eklund (pub.), Strind- bergs brev, vol. 8; February 1888–December 1889, Stockholm 1961. 4. Gram 2004, p. 128–130. Letter from Albert Bonnier to Nils Kreuger dated 21 October 1889, Bonniers förlagsarkiv. 5. Gram 2004, p. 118. Amadeus Bianchini [sign. Am. B–i.], “Modern illustrationskonst”, included in Varia, no. 1, 1898, pp. 444–451. 6. The provenance of all the drawings covered in this article is the Ragnhild and Kjell Boström collection. Bukowskis, 26 December 2016, auction nos. 846833, 841540, 846842 and 846904. 7. Kåa Wennberg, “Är det icke månne herr Strindberg: Om en målning av Nils Kreuger”, in Strindbergiana, pp. 14–19. Kåa Wennberg, Strindberg i Grez, Lund 2007. Bukowskis Internationella Höstauktion, 4–7 november 1986, auktion nr. 446, s. 10, kat. nr. 97, pl. 11. pp. 39–46. 8. Gram 2004, pp. 128–130. Fig. 9 Nils Kreuger (1858–1930), Sketch for Cover 9. Ibid. Gram 2011/2012, p. 25, note 108. for Ord och Bild 1898, 1897. Pencil, brush and ink on Strindbergs brev, vol. 13, p. 358. thin cardboard, 262 x 180 mm. Purchase: the Axel 10. Gram 2004, pp. 120–122, 135–156. Hirsch Fund. Nationalmuseum, NMH 14/2017. 11. Gram 2004, pp. 117–118. 12. Gram 2004, pp. 120–122. 13. Ibid. Kjell Boström, Nils Kreuger, Stockholm 1948, pp. 172–173. 14. Gram 2004, pp. 120–122. Boström 1948, 172–175. 15. Sten Dahlstedt, “Ord & bild och den svenska bönder and both its directly associated nationalismen kring sekelskiftet 1900”. Included in Nya Argus, Helsingfors 2000, vol. 93, no. 8, pp. drawings gain special significance, as 171–177. For “Nordism” and a Nordic approach to they can perhaps reinforce the idea that cultural policy among the important figures of the Kreuger incorporated a “portrait” of era’s cultural life in Sweden, such as Prince Eugen Strindberg as a farmer, in both the book and , who naturally also featured cover and the painting Cart by the Hay- in Ord och Bild, see also: Hans Henrik Brummer, Richard Bergh – ett konstnärskall (exh. cat.), Prins stack. In addition, the draft for the book- Eugens , Stockholm 2002, and cover, as well as the drafts for Ord och “Prins Eugen – europé och nordist”, in Martin Olin Bild’s cover, demonstrate how hard- (ed.), Konsten och det nationella: Essäer om konst- working Kreuger was in capturing the historia i Europa 1850–1950, KVHAA Konferenser intentions of his clients and how well he 76, Stockholm 2013, pp. 165–209. 16. Ord och Bild, vol. 7, no. 1, 1898, back cover. succeeded in doing so. The drawings also 17. Kreuger reused the design with oak leaves and show Kreuger’s ability to embody different a speech scroll in his poster for the exhibition of artistic movements in his illustration art, August Strindberg’s art at Hallins konsthandel in tastefully and superbly applied for the Stockholm in 1911. See Gram 2004, p. 137 (ill.), cat. purpose of the commission. no. 108. Over the years, Kreuger kept careful accounts of income and expenses and, on 4 Notes: November 1897, these state that he received 150 1. Magdalena Gram, “Nils Kreuger: Tecknare, kronor for: “Various drawings for Ord & Bild grafiker och formgivare”, in Hans Henrik (spine and & cover, etc.)”. Nationalmuseum, Brummer (ed.), Nils Kreuger (exh. cat.), Prins Konstnärsförbundet’s archive/Swedish National Eugens Waldemarsudde, Stockholm 2004, pp. Archives, Nils Kreuger, 3 vols. 128–130. 2. Ibid. Magdalena Gram, “August Strindberg och

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