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48(5
iv. education and mental culture.
and even sold his works to the French nation. Though his pictures from
national life of Lappland were often too stiff, he was yet a genuine artist in
his historical paintings, especially in "The Palace Fire, 1697", where he
attained picturesqueness and beauty which are increasingly appreciated. K. D’Uncker
(1828—66) went to Düsseldorf for his education, to which town he attracted
many Swedes, and became a master in character pictures with modern motives
and many figures; and F. Fagerlin (1825—1907) and A. Jernberg (1826—96)
both illustrate the climax of the Dusseldorf School in artistic talent. M. E. Winge
(1825—96) strained for effects in monumental historical painting, with ancient
Northern motives, and J. A. Malmström (1829—1901) rendered with greater art
the old Northern sagas, and drew severe illustrations for Frithiofs Saga and
Fänrik Ståls Sägner and sketched the life of the child on peasant farms. Among
landscape-painters we note Alfred Wahlberg (1834—1906), who introduced the
harmony-landscape from France, and G. Rydberg (born 1835), who depicts his
native districts of Skåne.
The most prominent Swedish painter of the decade 1871—80 was count G.
von Rosen (born 1843), who has, with solid, aristocratic talent, endowed Sweden
with portraits and historical paintings of the greatest merit. Among his portraits
are Charles XV, Pontus Wikner, C. G. Malmström, C. O. Troilius, etc.; his
historical pictures include those of Erie XIV’s life and etchings of themes
from the 16th century, showing a remarkable appreciation of history. H. Salmson
(1843 — 94) was influenced in France by the school of descriptive realism in
the eighties and produced pictures of popular life from Picardie and from
Skåne. G. Cederström (born 1845) painted pictures treating of the Caroline
Period with a cold colour scheme and forms that reflect much of the best of the
French school. His "Funeral Cortege of Charles XH", belongs to the highest
rank of Swedish historical art. N. Forsberg (born 1842) depicted among his
historical works an episode out of the Franco-German war, "A Hero’s Death",
and "Gustavus Adolphus at Lützen". He is a representative of the French school,
while K. G. Hellqvist (1851—90) is a champion of the German tendency.
J. Kronberg (born 1850), aimed at resplendent colouring and schemes of
decoration and produced studies after Rubens and the Venetian school. His most
celebrated efforts are "The Dryad", "David and Saul", decorated ceilings in the
main entrance of the Royal Palace, in the Hall of the Dramatic Theatre, and
in Adolf Fredrik church.
Opposition to the Academic conception, which began to make itself felt
during the eighties in most parts of Europe, broke out in Sweden in 1885.
A number artists, returned from Paris and strongly influenced by the French
style of open-air painting, banded themselves together against the attitude
of the Academy towards art. From this movement arose the Artist’s League
in 1886, but even outside this narrow circle both young and old artists were
influenced by the new and brighter style of painting. The man who took the
initiative in this opposition was the impassioned and romantic Ernst Josephson
(1851 — 1906), who while living at Paris in the eighties came under the influence
of modern French painting. His powers were broken by his mental malady as
early as 1888. Many observers, in Sweden and beyond it, look on him as the
most distinguished personality of the country in the realm of painting. Among
his convasses we note the portrait of G. Renholm (in the National Museum), "Spanish
Blacksmiths" (in the National Gallery at Christiania), and the "River God", which
is possibly his most important and most debated work, now in the possession
of Prince Eugen. Among older landscape-painters is found O. Arborelius (born
1842), who depicts the scenery of Dalarne and Bergslagen, and R. Norstedt
(1843—1911), influenced by the best French landscape-art. of the fifties and
sixties. The latter, who specialized in depicting Södermanland scenery, belongs
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