Full resolution (JPEG) - On this page / på denna sida - IV. Education and Mental Culture. Introd. by P. E. Lindström - 10. Fine Arts - Painting. By [C. R. Nyblom] Carl G. Laurin
<< prev. page << föreg. sida << >> nästa sida >> next page >>
Below is the raw OCR text
from the above scanned image.
Do you see an error? Proofread the page now!
Här nedan syns maskintolkade texten från faksimilbilden ovan.
Ser du något fel? Korrekturläs sidan nu!
This page has never been proofread. / Denna sida har aldrig korrekturlästs.
48(5
iv. education and mental culture.
Gustavus III at Gripsholm, as also by several excellent portrait-groups. — In
Paris also lived P. Krafft, the Elder (1724—93), and on his return home he
executed portraits of middle-class circles; there Lor. Pasch, the Younger (1733—
1805), likewise lived, and after his Paris studies became the portrait painter of
the Gustavian Period among the higher classes. — In Paris remained not only
Roslin, but also the two renowned miniature painters, viz., P. A. Hall (1739—
93), "The Van Dyck of miniatures", and Nik. Lafrensen, the Younger (1737—
1807), the former of whom devoted himself exclusively to portraiture; the
latter, a high class painter in water-body colour, has depicted with remarkable
skill the more intimate sides of French society life. Here may still be added
two more of these Paris students, namely P. Hilleström (1732—1816), a delineator
of family scenes from the Gustavian Period with a smack of Swedish bourgeoisie,
and A. U. Wertmuller (1751—1812) who painted portraits (the regal Maria
Antoinette, and Washington), and mythological figures (Ariadne, and particularly
his stately Danae, now in the National Museum), partly in Paris, partly at home
in Sweden, finally in America, where he died.
A Hero’s Death. Painting by N. Forsberg.
The last group of painters of the Gustavian Period comprises those who had
less to do with French art as a model, but looked in other directions for their
ideal, and are partly numbered amongst the friends of Sergei. One of these
independent painters, K. G. Pilo (1711—93), does not altogether belong to the
Swedish school of painting, because, though born a Swede, he spent his principal
time of activity in Copenhagen, where he became the director of the Academy,
and only returned to Stockholm at sixty years of age; there he exerted
great influence on the development of the Academy. He then painted his
chief picture, "The Coronation of Gustavus III" (the National Museum), which,
however, remained unfinished. It is a masterpiece in colouring and light and
shade. J. L. Desprez (1737—1804) likewise stands alone; he was engaged
<< prev. page << föreg. sida << >> nästa sida >> next page >>
