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succeeding years. There has been no radical change, however,
comparable to that which marked the generation of the Artists’
Society (Konstnärsförbundet).
A later category of painters has begun to seek detachment
from the ideals of expressionism. Young artists who, during
the years of the Great War of 1914—18, were prevented from
contacting foreign art, created about this time ingenuous
interpretations of Swedish nature inspired by strong romantic
feeling, or lyrical compositions influenced by the drawings of
Ernst Josephson during his state of insanity. A Swedish
naïvism grows up, weak and ungainly in form, but strong in
feeling. It is in decided contrast to the easy, though superficial
style of French fauvism, and even the colouring, which is
heavy and gloomy, distinguishes itself from the gorgeous
display of fauvistic painting.
This group of painters is known as the Smedsudd School.
When these artists went abroad after the war, they were
distinctly influenced by the primitive style of the early
Renaissance masters.
During the 1930s there followed signs of romanticism and
primitivism. Characteristic is the reaction against decoratively
accentuated art and a decided effort towards strong and
intensive expression of feeling. Akin to this tendency is an
exclusive romantic colourism, which has won many adherents in
recent years, especially in Gothenburg, where it has become a
natural successor to the Gothenburg School of the 1910s. The
youngest generation of painters displays shifting aspects, in
which however a lyrical attitude with finely attuned colourism
and a delicate sense of form constitutes a common feature.
Finally, it may be added that neo-realism and modern
classicism are represented in Sweden. Abstract and surrealistic
paintings have also found their way to our country.
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