Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum Volume 26:1, 2019 Art Bulletin of Nationalmuseum Stockholm Volume 26:1 2019 3 Art Bulletin of Nationalmuseum Volume 26:1, 2019 Art Bulletin of Nationalmuseum, Stockholm, © The Trustees of the British Museum (Fig. 3, © Studio Tomi Aho, Tomi Aho (Figs. 4 and 6, is published with generous support from the p. 16) pp. 80 and 81) Friends of the Nationalmuseum. © Copyright Musei di Strada Nuova, Genova © Finnish National Gallery, Helsinki, Hannu (Fig. 4, p. 17) Pakarinen (Fig. 5, p. 80) Nationalmuseum collaborates with Svenska © National Gallery of Art, Washington D.C. Open Martin van Meytens’s Portrait of Johann Dagbladet, Bank of America Merrill Lynch, Access image download (Fig. 5, p. 17) Michael von Grosser: The Business of Nobility Grand Hôtel Stockholm, The Wineagency and the Henri Toutin’s Portrait of Anne of Austria. A © Österreichisches Staatsarchiv 2020 (Fig. 2, Friends of the Nationalmuseum. New Acquisition from the Infancy of Enamel p. 92) Portraiture © Robert Wellington, Canberra (Fig. 5, p. 95) Cover Illustration © Rijksmuseum, Amsterdam/Public Domain © Wien Museum, Vienna, Peter Kainz (Fig. 7, Daniel Seghers (1590–1661) and Erasmus (Fig. 2, p. 20) p. 97) Quellinus the Younger (1607–1678), Flower © Christies, 2018 (Fig. 3, p. 20) Garland with the Standing Virgin and Child, c. © The Royal Armoury, Helena Bonnevier/ Graphic Design 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: CC-BY-SA (Fig. 5, p. 21) BIGG Wiros Fund. Nationalmuseum, NM 7505. Four 18th-Century French Draughtsmen © The Metropolitan Museum of Art, New York, Layout Publisher NY/Public Domain (Fig. 7, p. 35) Agneta Bervokk Susanna Pettersson, Director General. François-André Vincent and Johan Tobias Sergel. On a New Acquisition – Alcibiades Being Translation and Language Editing Editors Taught by Socrates, 1777 Clare Barnes and Martin Naylor Ludvig Florén, Magnus Olausson and Martin Olin. © The Metropolitan Museum of Art, New York, NY/Public Domain (Fig. 2, p. 38) Publishing Editorial Committee © Musée Fabre de Montpellier Méditerranée Ludvig Florén, Magnus Olausson, and Martin Ludvig Florén, Carina Fryklund, Eva-Lena Métropole, Frédéric Jaulmes (Fig. 10, p. 44) Olin (Editors) and Ingrid Lindell (Publications Karlsson, Ingrid Lindell, Magnus Olausson, In the Artist’s Studio. Auguste-Xavier Leprince Manager) Art Bulletin of Nationalmuseum is Martin Olin, Daniel Prytz and Cilla Robach. and the Studio Interior as an Artistic Strategy published annually and contains articles on the © 2014 Tadsen Photography (Fig. 1, p. 53) history and theory of art relating to the collections Photographers © Photo RMN, Adrien Didierjean (Fig. 2, p. 54) of the Nationalmuseum. Nationalmuseum Photographic Studio/Linn © bpk / Bayerische Staatsgemäldesammlungen Ahlgren, Erik Cornelius, Anna Danielsson, Viktor (Fig. 3, p. 55) Nationalmuseum Fordell, Cecilia Heisser and Hans Thorwid. © RMN – Grand Palais, Tony Querrec (Fig. 5, p. 57) Box 16176 © RMN – Grand Palais, Michel Urtado (Fig. 6, SE–103 24 Stockholm, Sweden Picture Editors p. 57) www.nationalmuseum.se Rikard Nordström and Marina Strouzer-Rodov. Italian Subjects from the Golden Age of Artistic Travel © Nationalmuseum, the authors and the owners of Photo Credits © Los Angeles County Museum of Art, Los Angeles, the reproduced works A Flower Garland by Daniel Seghers CA/Public Domain (Fig. 2, p. 60) © Herzog Anton Ulrich-Museum, Braunschweig, © Nasjonalmuseet, Oslo/CC-BY-NC (Figs. 3 and 5, ISSN 2001-9238 B.P. Keiser. (Fig. 2, p. 10) pp. 60 and 62) A Drawing of David with the Head of Goliath Akseli Gallen-Kallela’s Nude Studies Attributed to Simon Vouet © Finnish National Gallery, Helsinki, Yehia Eweis © Mairie de Bordeaux, Musée des Beaux-Arts, L . (Fig. 2, p. 78) Gauthier, F. Deval. (Fig. 2, p. 16) © Gallen-Kallela Museum, Espoo (Fig. 3, p. 79) Art Bulletin of Nationalmuseum Volume 26:1, 2019 4 CONTENTS Foreword – Time to Look, Read and Explore Susanna Pettersson 7 A Flower Garland by Daniel Seghers Carina Fryklund and Lena Dahlén 9 A Drawing of David with the Head of Goliath Attributed to Simon Vouet Martin Olin 15 Henri Toutin’s Portrait of Anne of Austria. A New Acquisition from the Infancy of Enamel Portraiture Magnus Olausson 19 Portraits and Dining Services from the Grill Family Eva-Lena Karlsson and Micael Ernstell 23 Four 18th-Century French Draughtsmen Magnus Olausson, Martin Olin and Daniel Prytz 27 François-André Vincent and Johan Tobias Sergel. On a New Acquisition – Alcibiades Being Taught by Socrates, 1777 Magnus Olausson 37 Argent haché – Acquisitions from a Unique Collection Micael Ernstell 45 A Late Gustavian Secrétaire en armoire by Gustaf Adolf Ditzinger Anders Svensson 49 5 Art Bulletin of Nationalmuseum Volume 26:1, 2019 CONTENTS In the Artist’s Studio. Auguste-Xavier Leprince and the Studio Interior as an Artistic Strategy Magnus Olausson 53 Italian Subjects from the Golden Age of Artistic Travel Carl-Johan Olsson 59 The Danish Golden Age – an Acquisitions Project that Became an Exhibition Magnus Olausson 65 Akseli Gallen-Kallela’s Nude Studies Susanna Pettersson 77 Royal Tableaux Vivants Eva-Lena Karlsson 83 Elsa Beskow’s Illustrations for The Tale of the Little, Little Old Woman (1897, c. 1947) Daniel Prytz 87 Martin van Meytens’s Portrait of Johann Michael von Grosser: The Business of Nobility Michael Yonan 91 Art Bulletin of Nationalmuseum Volume 26:1, 2019 6 FOREWORD – TIME T O LOOK, READ AND EXPLORE Foreword – Time to Look, Read and Explore Susanna Pettersson Director General At the time of writing this text, in the no matter whether they are an experience open to selected audiences and the visits early summer of 2020, the whole world seeker or a professional. were private in character. When visiting has slowed because of Covid-19. It has Entering the collections through a private manor house or a castle, for been an exceptional experience for the physical and virtual doors is the key. The instance, the artworks and objects could majority of the population. Many public pandemic has encouraged museums to in- be studied at close range. A collection’s services, such as museums, libraries and crease the number of virtual tours and to owner could show their latest acquisition archives, as well as concert halls, theatres produce short, bespoke online films about to a distinguished guest, while the ritual and cinemas, have been closed during the collections and exhibitions. One could of experiencing and interpreting included worst months of the pandemic. Even the even question whether the concept of a looking, smelling the materials and even Nationalmuseum in Stockholm closed on museum visit has changed over the year touching. These events became popular 20 March for three months. and, if the answer is yes, how? In order to topics for paintings that celebrated the Closing a function like the National- answer those questions, we should pause glory and value of private collections. museum holds a great symbolic value. It for a minute to think about the history of Knowledge related to items in a collec- signals severe societal disruption, where- the collections, the encounters between tion was highly appreciated as far back as as an open and democratic space commu- the objects and their public, as well as the the Renaissance, with the earliest cabi- nicates the opposite. We have witnessed related knowledge produced by research. nets of curiosities focusing on naturalia, how museums, both large and small, all The museum as a public and demo- artificialia and scientifica. Collections around the globe, have closed their doors, cratic space, as we understand it from provided keys for understanding the and how these arenas for exploration, today’s perspective, is a relatively recent world, creating structure and categories, interpretation and learning have been put phenomenon. The majority of European and contextual information added to the on hold. Hundreds of exhibitions have museums were founded and opened to the aura of an object. (However, in some cases been cancelled or rescheduled. public in the 19th century, as discussed in the stories were pure invention, as in the Museums were quick to arrange alter- the exhibition catalogue Inspiration – cases of fabricated treasures such as mer- native ways to access their collections, Iconic Works (ed. Susanna Pettersson, maids or unicorn horns.) Contemporary with existing online resources created a 2020), published in cooperation with museums still build upon this contextual solid basis for this work. One example is the Finnish National Gallery/Ateneum tradition. Europeana, where thousands of European Art Museum, Helsinki, for an exhibition The intimate relationship between the archives, libraries and museums sharing featuring the history of museums and the object and the visitor changed dramati- their collections for “enjoyment, educa- formation of the canon of art history. cally when collections were introduced tion and research”. The material consists This era, the grand century of the to the wider public at the end of the 18th of millions of books, music and artworks. founding of museums, was also a time that century. Visitors could no longer touch The Nationalmuseum has also publis- witnessed the formation of something the works or study the objects up close. hed over 87,000 images of its collections we know as the visitor’s code – how the Objects were displayed in specially de- online, a number that is increasing every public that entered the newly opened signed cases and paintings were carefully year. The aim is to encourage online visi- galleries was expected to behave. Pre- placed on the walls, some very high and tors to explore and enjoy the collections, viously, the earliest collections were out of reach. Closer examination became 7 Art Bulletin of Nationalmuseum Volume 26:1, 2019 FOREWORD – TIME T O LOOK, READ AND EXPLORE a privilege, the responsibility of a new mu- acquisition project that became an exhibi- seum profession, conservators, who could tion.