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history of art.
557
ical and soulful delineations of the days of Gustavus III. Nils Erdmann
(born 1860) has also published monographs.
Among other authors the following may be noticed: C. D. a† Wirsén (1842—
1912), Secretary of the Swedish Academy for a spell of years, whose
monographs are characterized by poetic feeling and sound scholarship, E. Wrangel
(born 1863), Professor at Lund, O. Sylwan (born 1864), Professor at
Gothenburg, Richard Steffen (born 1862), rector at Visby, Martin Lamm (born 1880)
and jErik Anton Blanck (born 1881), lecturer at Uppsala, Fredrik Vetterlund (born
1865) and Ruben Berg (born 1876), lecturers at Stockholm Private University,
Johan Mortensen (born 1864), Hilma Borelius (born 1869), Fredrik Böök (born
1883) and J. A. Nilsson (born 1878), lecturers at Lund. Several of these
authors endeavour to combine the historical point of view with the aesthetic
and philosophic.
History of Art.1
The history of art is a young science in Sweden. It was Neo-Romanticism
in the beginning of the 19th century that awakened a feeling for the art of
past generations. L. Hammarskjöld (1785—1827) printed in 1817 his "Lectures
on the History of the Fine Arts" which he delivered in 1815. The first investigator
of Swedish mediaeval art was K. G. Brunius (1792—1869) professor of Greek
and architecture, who published, in 1836 and since, a series of books on ancient
churches and other historic buildings of Sweden. F. Boije (1773—1857)
published in 1833 a dictionary of painters, in 1848 K. J. Lénström (1811—93)
issued a little text-book on "The History of the Fine Arts", and from 1855—62
Aug. Sohlman (1824—74) "Treatises and Essays on the Culture and Art
History". K. G. Estlander (1834—1910), a Finn, published at Stockholm in
1867 "The History of the Fine Arts from the end of the 18th century", and
L. Dietrichson (born 1834), had completed in 1874, and published in 1879, also at
Stockholm, "The history of the Fine Arts". Fr. Sander (1828—1900), published
from 1872 to 76 "The National Museum, Contributions to the History of the
Picture Gallery", Er. Eichhorn (1837—89), — an indefatigable student and collector
of material in all that affects activity in Swedish art — published "Swedish
Studies" in 3 parts, 1869, -72, and -81, and wrote "Swedish Architectural Art",
a sequel to the translation of Liibke’s architectural history, 1871. In this period
fall studies by C. R, Nyblom (1832—1907), in aesthetics and historical art, —
his little monograph on Sergei came out in 1877; and "Roman Emperors in
Marble", with other essays by Viktor Rydberg (1828—95), who worked, like
Sohlman, Dietrichson, and Nyblom before him, as a lecturer on art history.
The last generation claims G. Upmark (1844—1900), head of the National
Museum from 1880 to 1900, author of studies in ancient Swedish art ("Selected
writings" 1901), and of the very celebrated, nay epoch-making, work, "Swedish
Architecture from 1530 to 1760", published in German 1897—1900, and in
Swedish in 1904; A. G. Göthe (born 1846), who has produced an elaborate work on
Sergei in 1898, and won credit for the extremely thorough descriptive catalogues
of the pictures in the National Museum. L. Looström (born 1848, and head
of the National Museum since 1900), who published in 1879 a monograph of
the painter O. J. Södermark, and afterwards wrote, in 1887, a history of the
Academy of Arts during the first century of its existence, i. e., 1735 to 1835,
and treated of subjects in the history and industries of art. J. Böttiger (born
1853), who wrote among other things in 1889 a scholarly work on the earlier
1 The original Swedish titles of cited works are, for convenience’s sake, given in
English translation only.
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