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414
IV. EDUCATION AND MENTAL CULTURE IN SWEDEN.
times. Contemporaneously with and successive to him have been working the
architects E. Jacobson (born 1839; palace intendant; the Scandinavian Bank in
Stockholm a. o. buildings)", A. Dahl (born 1835; the Royal National Library,
illustr, p. 394), A. Peterson in Gothenburg (born 1835), H. T. Holmgren (born
1842; the University Palace of Uppsala, illustr, p. 89), A. T. Gellerstedt (born
1836) superintendant, and C. Grundström (born 1844), professor at the Academy
of Arts, known through reforms in the instruction in architectonics.
The last twenty yean show an
unmistakable rise in the development
of Swedish architecture, which in our
days may justly be said to occupy a
very prominent position. The causes of
this development — besides increased
material resources — may be traced to
widened views and deeper studies,
especially of the medieval styles, but also of
Art in general. Our architects have got
into the custom of studying, not only
Italy, but also the other countries of
Europe, nay even America, and — first
and last — the monuments of their
own country — no doubt humble but
nevertheless of great importance to us.
The general use of natural stone as
a building material, to the
introduction of which practice A. W.
Kjellström in Örebro (born 1834) has given
important impulses, is a manifestation
of that progress and at the same time
one of the principal causes of it.
The merit of these reforms must
above all be ascribed to I. G. Clason
(born 1866), professor at the
Technical High School and the creator of
several works of architecture,
beautifully carried out from an artistical as
well as from a constructional point of view. A specialist on the department of
the noble private building — of which the Hallwyl palace in Stockholm is the
foremost specimen — he has in the edifice which is being erected for the North
Museum (illustr, p. 388) solved a monumental problem, and that most happily, by
the utilization of models from Swedish renaissance palaces. Vernacular prototypes
from various epochs have besides successfully been worked out by Agi Lindegren
(born 1858), F. Lilljekvist (born 1863; restoration of the Gripsholm palace),
G. Lindgren (born 1863; the Stockholm Tattersall), and other artists; partly
they have been made use of by A. Anderberg (born 1860), for the Royal
Opera-house (illustr, p. 431). F. Boberg (born 1860), is the head-representative
in Sweden of the modern, naturalistic school, trying to free itself from the
historical styles and to create new forms. He, as well as other Swedish artists who
more or less embrace the same tendencies, receives good impulses from
contemporary English and American art. Boberg has recently completed the new General
Post Office Building of Stockholm. Besides, he seems to be aiming at clothing
the structures of industry in an artistical garb, which has been effected in the
buildings of the Stockholm gas-works and electricity-works; but he has also
acquitted himself happily of decorative tasks, which was evidenced by the Art hall
Isak Gustaf Clason.
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