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Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword

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Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword Self-Portraits and Artists’ Portraits as Portraits of Friends – A Selection of Paintings and Drawings 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 Susanna Pettersson Director General Associate Professor Art Bulletin of Nationalmuseum, Stockholm, (An Unpublished Drawing on Panel by Salvator (In the Breach of Decorum: Painting between is published with generous support from the Rosa Depicting a Landscape with a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/SELF-PORTRAITS AND ARTISTS’ PORTRAITS AS PORTRAITS OF FRIENDS Self-Portraits and Artists’ Portraits as Portraits of Friends – A Selection of Paintings and Drawings Daniel Prytz, Curator 18th-Century Painting, Drawings and Prints Over the last two years, the National- museum has acquired a number of self- portraits and portraits of artist friends or other close colleagues, a wide selection of which are presented here. They vary in character and execution, exhibiting a wide range of striking features, several of which they, nevertheless, clearly have in common. Intimate self-knowledge, mutual familiarity and friendly caricature are among the characteristics they share. A Drawn Self-Portrait by Louis-Jean-François Lagrenée The oldest work is a self-portrait drawing in profile by the French artist Louis-Jean-François Lagrenée (1725– 1805, Fig. 1). Over the course of his career, Lagrenée specialised above all in mytho- logical subjects marked by a fairly austere classicism, but he also produced a smaller number of lively portraits, including a much-praised painting of himself, now in the collections of the Sinebrychoff Art Museum in Helsinki (Fig. 2).1 In it, the artist appears with great self-assurance and confidence, like abon vivant whose eyes radiate an engaging perspicacity. The work is signed “L. de Lagrenée arrivé à Rome le 13 nov. 175[0] peint pour lui- même”. That same year Lagrenée had won a scholarship to study in the city. Although an old inscription on the verso states that it was done in 1778, the Nationalmuseum’s self-portrait drawing in profile seems very Fig. 1 Louis-Jean-François Lagrenée (1725–1805), Self-Portrait, probably executed in 1778. Black and red close to this painting, as if the artist had chalk on paper, 235 x 175 mm. Purchase: the Hedda and N. D. Qvist Fund. Nationalmuseum, NMH 217/2017. 71 Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 ACQUISITIONS/SELF-PORTRAITS AND ARTISTS’ PORTRAITS AS PORTRAITS OF FRIENDS Fig. 3 Louis-Jean-François Lagrenée (1725–1805), Alexandrine Élisabeth Roslin (1761–1794), Daughter of the Artist Couple Alexander Roslin and Marie Suzanne Giroust, Married to Claude Francois Martineau. Pencil on paper, 235 x 185 mm. Nationalmuseum, NMTid 1338. Fig. 2 Louis-Jean-François Lagrenée (1725–1805), Self-Portrait, 1754. Oil on canvas, 65 x 49.5 cm. Finnish National Gallery/ Sinebrychoff Art Museum, Helsinki. merely changed pose during the same prime. Portrait drawings are rare in his part in Swedish artistic life in the first half “sitting”. In the drawing, though, Lagrenée work, but an interesting comparable ex- of the 19th century. They had been taught depicts himself in a somewhat more ample with virtually identical dimensions, drawing at the Military Academy and in subdued and sober way, seemingly taking a albeit showing the sitter three-quarter- the Fortifications Corps, a forerunner of step back from his persona; his grand role face, is his rendering of Alexander Roslin’s the Corps of Engineers, thereby receiving as an artist. This impression is reinforced (1718–1793) daughter, Alexandrine the beginnings of an artistic training into perhaps by the technique: the outlines of Élisabeth, to be found in the National- the bargain.4 Another of these artists with the profile are admittedly firmly drawn, museum’s Institut Tessin collection a military background, Hjalmar Mörner but the work as a whole nevertheless ex- (Fig. 3).3 (1794–1837), urged Södermark to travel hibits a certain lightness of line. The artist to Rome. From 1826 to 1829, Södermark returned to Paris in 1754 and although the A Presumed Self-Portrait by stayed with the sculptor Johan Niclas drawn self-portrait was presumably done Johan Södermark Byström (1783–1848), whose Villa Malta much later, it still demonstrates the skilled Olof Johan Södermark (1790–1848) was was a hub for Scandinavian artists in draughtsmanship he developed during his one of a successful group of painters and the city.5 A few portraits by Södermark, years in Italy.2 Lagrenée strikes us here as architects who started off as military among them images of his friends Mörner urbane, but perhaps also a little past his officers and who were to play an important and Byström, but no self-portraits, were Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 72 ACQUISITIONS/SELF-PORTRAITS AND ARTISTS’ PORTRAITS AS PORTRAITS OF FRIENDS Fig. 4 Olof Johan Södermark (1790–1848), Presumed Self-Portrait, 1827. Fig. 5 Johan Gustaf Sandberg (1782–1854), Olov Johan Södermark (1790–1848), Oil on canvas, 49 x 39 cm. Purchase: the Wiros Fund. Nationalmuseum, Colonel Lieutenant, Artist, 1831. Oil on canvas, 23 x 19 cm. Nationalmuseum, NM 7406. NMGrh 1961. previously known from this, his first visit about his own artistic ability. These were The painting is
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