■JipPB?! 1912 The Ehrich Galleries “(ill* masters” (Exclusively) Rare and Beautiful Examples (fully authenticated) of Early English Italian French Spanish Flemish Dutch PAINTINGS 463 and 465 Fifth Avenue At Fortieth Street NEW YORK CITY Special Attention Given to the Expertising, Restoration and Framing of “(0lh masters” CONTEMPORARY SCANDINAVIAN ART Held under the auspices of the AMERICAN-SCANDINAVIAN SOCIETY Introduction and Biographical Notes By CHRISTIAN BRINTON With the collaboration of Director KARL MADSEN Director JENS THUS, and CARL G. LAURIN The American Art Galleries JMew York December tenth to twenty-fifth inclusive Copyright, 1912 By Christian Brinton First Impression 6,000 Copies Redfield Brothers, Inc. New York SCANDINAVIAN ART EXHIBITION Under the Gracious Patronage of HIS MAJESTY GUSTAV V King of Sweden HIS MAJESTY CHRISTIAN X King of Denmark HIS MAJESTY HAAKON VII King of Norway Held by the American-Scandinavian Society 1912-1913 in NEW YORK, BUFFALO, TOLEDO, CHICAGO, AND BOSTON INTRODUCTORY NOTE T he American-Scandinavian Society was estab¬ lished primarily to cultivate closer relations be¬ tween the people of the United States of America and the leading Scandinavian countries, to strengthen the bonds between Scandinavian Americans, and to advance the know¬ ledge of Scandinavian culture among the American pub¬ lic, particularly among the descendants of Scandinavians. The American-Scandinavian Foundation is an independent institution consisting of a self-perpetuating Board of Trustees, established to hold in trust and admin¬ ister an endowment of more than five hundred thousand dollars, given by the late Niels Poulson. THE FOUNDATION, which is working in close sympa¬ thy with the Society, being created to promote essentially the same end, has, by granting to the Society a considerable subsidy, made possible the Scandinavian Art Exhibition. The exhibition is remarkable from several points of view. It is one of the few occasions in the history of Scandinavian art that the three countries have united in exhibiting. It is the first time that most of the painters represented, although of international reputation in Europe, have ex¬ hibited in the United States, and it comprises, in as far as has been possible, the best work of living artists. The Society and the Foundation have for several years desired to familiarize the American public with the remark- 7 able modern painting of Scandinavia, and have herewith endeavoured to show American Scandinavians, in the most favourable and acceptable manner, the production of the leading Swedish, Danish, and Norwegian painters. • In order to interest the Scandinavian Governments and artists in the project, the President of the American-Scandi- navian Society went to Scandinavia during the Spring. Their Majesties, King Gustav V, of Sweden, King Christian X, of Denmark, and King Haakon VII, of Norway, most graciously consented to act as Honourary Patrons, each of their country’s art; their respective Governments gave every possible assistance, and the artists themselves joined enthusiastically in the plan. Mr. Christian Brinton accompanied Mr. Gade and proved invaluable in his capacity as critic and connoisseur. The Society as well as American art lovers further owe a debt of gratitude to the brothers, Carl G. and Thorsten Laurin, of Stockholm, to Mr. Karl Madsen, Director of the Royal Gallery at Copenhagen, to Mr. Otto Benzon, of Copenhagen, and to Mr. Jens Thiis, Director of the National Gallery at Christi¬ ania, as well as to the numerous generous and patriotic owners of paintings, both at home and abroad, who have gladly loaned from their private collections in order that many of their countries’ chief artistic treasures might not be omitted from the exhibition. It is a particular pleasure in this connection to mention the names of Mr. Carl Piltz, of Stockholm, Baron Rosenkrantz, of Rosenholm, Dr. Alfred Bramsen, of Copenhagen, Mrs. Joseph T. Jones and the Albright Art Gallery of Buffalo, Hugo Reisinger Esq., and Robert W. de Forest Esq., of New York. The Norwegian portrait painter, Mr. Henrik Lund, accompanies the paintings on their visit throughout this country, acting as Artistic Director of the Exhibition. 8 AMERICAN-SCANDINAVIAN SOCIETY OFFICERS FOR 1912 JOHN A. GADE.President REV. FREDERICK LYNCH.Vice-President HANNA ASTRUP LARSEN.Acting Secretary REV. W. H. SHORT.Treasurer H. E. ALMBERG.Counsel F. W. GREENFIELD ) EMIL F. JOHNSON f.Auditors BOARD OF TRUSTEES LOUIS S. AMONSON.Philadelphia, Pa. PROF. GISLE BOTHNE, University of Minnesota, Minneapolis,Minn MILES M. DAWSON.New York City, N. Y. PROF. GEORGE T. FLOM . University of Illinois, Urbana, Ill. J. D. FREDERIKSEN.Little Falls, N. Y. JOHN A. GADE.New York City, N. Y. JOHN D. HAGE.New York City, N. Y. J. HOVING, M.D.New York City, N. Y. OVE LANGE.New York City, N. Y. CARL LORENTZEN.New York City, N. Y. REV. FREDERICK LYNCH .... New York City, N. Y. PROF. DAVID NYVALL, Washington State Univ., Seattle, Wash. PROF. A. H. PALMER Yale University, New Haven, Conn. FRODE RAMBUSCH.New York City, N. Y. P. A. REQUE, M.D.Brooklyn, N. Y. REV. W. H. SHORT.New York City, N. Y. CONSUL C. A. SMITH.Oakland, Cal. HON. OSCAR M. TORRISON.Chicago, Ill. 9 AMERICAN-SCANDINAVIAN FOUNDATION OFFICERS FOR 1912 REV. FREDERICK LYNCH.President CONSUL-GENERAL CHR. RAVN.Vice-President HENRY GODDARD LEACH.Secretary REV. W. H. SHORT.Treasurer H. E. ALMBERG.Counsel BOARD OF TRUSTEES OF THE AMERICAN-SCANDINAVIAN FOUNDATION LOUIS S. AMONSON SAMUEL T. DUTTON CHARLES S. HAIGHT HAMILTON HOLT ALEXANDER E. JOHNSON JOHN D. HAGE PROF. WM. HOVGAARD REV. FREDERICK LYNCH CONSUL O. H. HAUGAN PROF. WILLIAM H. SCHOFIELD PROF. ARTHUR H. PALMER CONSUL-GENERAL CHR. RAVN CONSUL CHAS. A. SMITH REV. WILLIAM H. SHORT 10 INTRODUCTION By CHRISTIAN BRINTON N OT the least significant phase of esthetic expression has been the constant endeavour on the one hand to achieve a fusion of form, line, and colour that shall commend itself as universal in appeal, and on the other to preserve those fundamental factors which may be designated as national in substance. It is a struggle that has been waged unceasingly throughout the ages, and which repeats itself alike in the artistic development of every nation and every individual. The human spirit constantly seeks to voice in expansive fashion the great, typical impressions received from nature and from life, and yet has at the same time been endowed with the precious faculty of interpreting them after its own specific manner and largely according to a predetermined plan. If you attempt to deprive the creative impulse of its conscious or unconscious universality of utterance, or of its inherent nationality of accent, you go far toward destroying its significance, for art, whether pro¬ duced in obscure wayside cottage, simple hut among the hills, or under the prestige of an organized institution, will instinctively seek to widen its outlook and clothe itself in a language for which it has the justification of an inalienable racial heritage. 11 It is to the enduring credit of the leading Scandinavian countries that they may be counted among those fortunate peoples who, despite external influences, have stoutly guarded their native artistic birthright. Their achieve¬ ments in the field of painting, sculpture, architecture, and industrial design are refreshingly and unmistakably their own. Save in rare and isolated cases they do not speak, and do not attempt to speak, that superficial studio Volapuk, that facile salon Esperanto, which is so utterly devoid of character and vitality. You will remark above all in the production of each of these nations, and to a kindred degree in each instance, the salutary stamp of race and of country. It is in fact only the redoubtable Russians who can to-day compete with the sturdy Scandinavians in the possession of a spontaneous, unspoiled esthetic patrimony. The reasons for such a situation have in many respects been similar, if not, indeed, identical. As in the case of Russia, the relative geographical remoteness of the Peninsula, the barrier of an unfamiliar speech, and the fact that the pallid fervour of Christianity and the pagan richness of the Renais¬ sance were comparatively late in making appearance on the scene, all tended toward preserving that integrity of expression alike in art, letters, and music which is their most distinctive possession. It must not, however, be jauntily assumed that the contribution of the Scandinavian nations to the sum of creative artistic effort is, save in a broad sense, one and the same. Their painting, in particular, divides itself into three well-defined schools, which developed at different intervals, and the leading features of which are manifestly at variance. Historically, and in the general order of precedence, Sweden was the first of the Northern countries to foster esthetic culture in any definite degree. Long before Den- 12 mark, and still longer before Norway could boast an interest in the fine arts—apart, of course, from their most primitive and elementary application—the Swedes were familiar with that which was being accomplished abroad, and were wel¬ coming to their shores prominent painters and architects from Holland, Germany, France, and Italy. Protected by the Court and favoured by the nobility, art flourished in approved fashion in Stockholm and certain other of the more important centres. Still, though a great deal has always been made of early Swedish culture, it is not clearly realized that it was of the most extraneous and sporadic description. It is true that the Thirty Years’ War had made these hardy campaigners masters of some of the finest collections in all Europe; it is likewise true that Swedish- born painters attained distinction in Paris and elsewhere, but nevertheless beauty in no sense penetrated the masses, and much less was it a product of patient, earnest, local endeavour. The chief reasons why it was several generations before the Swedes were able to display anything resembling inde¬ pendent artistic activity were the distraction and general depletion of vitality occasioned by incessant foreign wars, and the fact that the population was distributed over such a wide area that communication was difficult if not, indeed, actually impossible. Art is essentially social and gregari¬ ous, and it is, in consequence, not to eighteenth century Sweden, but to Denmark during the early years of the nine¬ teenth century that we must turn for the first specific signs of esthetic promise throughout the entire Peninsula. Liv¬ ing in a geographically more condensed community, and being themselves innately peaceful and home-loving at heart, the Danes were enabled to produce those few almost apologetic, yet epoch-making figures, so sympathetically 13 silhouetted by Director Madsen, who were the veritable founders of modern Scandinavian painting. Their inherent clarity of vision, their simplicity of theme and treat¬ ment and, above all, their unfailing solidarity and cohesion, shielded them from outside influences. At a period when the rest of Europe was revelling in the pretentious aftermath of the classic revival, and later, when the specious gleams of a purely studio romanticism were flashed upon soaring mountain peak, crumbling ruin, and tiny peasant chalet, the Danes alone remained true to native type and scene. Their art was unpretentious, but it was soundly and endearingly national in feeling. Even those first, earnest-souled pil¬ grims who went to Italy, flung off a flaccid classicism when they faced homeward, and ended by preferring simple Copenhagen townsfolk to Sicilian bandit and Neapolitan flower seller. You will find nowhere, save in the work of the Dutchmen themselves, a similar love of everyday motive such as you discover in the art of the Danes. This modestly tenacious desire to be and to remain oneself is the keynote of Danish painting. And it is this quality that is responsible for an unbroken continuity of development extending down to the present day. On glancing, with somewhat more than casual, tourist curiosity at the artistic prospect of Norway, you will be greeted with a wholly different set of conditions, both social and historical, and consequently with results which present still further variation from the general type under considera¬ tion. Norway enjoys the distinction of having evolved, during the dim, legendary days of her intrepid Vikings and sea rovers, a thoroughly original and independent national style. Buckler and shield, carved ship prow, and curious wooden house, not to mention commemorative tablets to fallen heroes, and the richly ornamental dress of the living, 14 all bear witness to a bold and individual conception of the possibilities of decorative design. Superb in rhythm and splendid in form as much of this work is, it was, alas, swept aside by the inevitable ferment of the ages and has persisted largely in mind and memory, and not, to any perceptible degree, as a vital creative force. It is true that at present there is an intelligent and well-defined movement to revive the ancient saga spirit, yet it is mainly confined to the field of arts and crafts. Although boasting what should logically have proved a magnificently fruitful legacy, contemporary Norwegian painting owes little or nothing to the past. Its actual beginnings date only from the early decades of the last century. In point of fact, it is the youngest school of the three, and as such flaunts the priceless boon of a fresh, unfatigued outlook upon nature and life. There having been no such thing as systematic training in their own country, the pioneer Norwegian painters went, as a rule, to Copenhagen for instruction, and it was there that they absorbed that veracious, clear-eyed vision of external reality which has set its wholesome seal upon the work of each successive generation. This, in brief, is the fragmentary and not infrequently shadowy profile of Scandinavian painting during the forma¬ tive stages of its development. You note in the art of Sweden, that is to say in the art of the Gustavian and Carolean periods, a refined and spirited eclecticism charac¬ teristic of a community in close touch with Continental ideals. Still, no matter how cultured its Court and upper classes may have been, a nation largely composed of restless warriors and remotely isolated agriculturists cannot be at the same time a nation of painters, and Sweden was fated to wait until a much later date before evincing her inherent artistic proclivities. In the case of Denmark, as you readily 15 see, the situation was distinctly more favourable for the fostering of native talent. Less ambitious of conquering a world position by sheer force of arms, satisfied in the main with her restricted natural bounderies, and possessing the wisdom and sagacity to cultivate herself intensively along all lines of activity, it is but fitting that art, which is so essentially a flower of social stability, should have first taken root upon Danish soil. With Norway it must always be a source of regret that the inspiring substratum of saga tradition should have been buried so deeply beneath the debris of time and, indeed, often wilfully neglected or destroyed—yet still in the present-day production of these rugged sons of mountain and fjord we are convincingly confronted with the spirit of their ancestors. Full of unde¬ veloped power and passionate defiance, more fundamentally talented than the Swedes, and endowed with an aggressive force often disconcerting to the pacific Danes, the Nor¬ wegians were able, within the span of a few brief, tempest¬ uous years, to place themselves abreast of their more advantageously situated neighbours. It was inevitable, once intercommunication with the Continent was established, that Scandinavian painting should have responded to those same influences which, during the ensuing decades, dominated European art in general. Classicism was followed by romanticism, and within romanticism and its robust successor, naturalism, lurked the germs of the impressionist movement. The romantic tendency in German art and the taste for story telling genre found ready devotees among the midcentury Scandinavian painters. In Sweden we have Malmstrom and his delicately diaphanous water nymphs; in Denmark we note Exner and his genial souled Amager peasants, while Norway completes the picture with the panoramically 16 viewed fjords and mountains of Gude, and Tidemand’s more serious and solidly constructed rural pastors or gaily decked bridal couples in the Hardanger. Dusseldorf was the point from which radiated this manifestly false concep¬ tion of reality. The grandiose glow of artificial sunset and the softly mellow radiance of humble, candle-lit interior characterized the all too popular output of this period. Genuine, first-hand observation was unknown. Art had again become a mere convention, though by no means so diverting a one as in the days of Watteau and his more playful pedants, Fragonard, Lancret, and Pater. While there is no denying that Scandinavian painters of the middle and the third quarter of the century fell under this same insidious spell, they were by no means slavish followers of a mood which in more than one sense was utterly foreign to their inborn taste and inclination. Al¬ though there were at one interval no less than twenty-seven Swedish students at the Diisseldorf Academy, and though the prestige of Dahl at Dresden and Gude at Karlsruhe and later at Berlin was recognized on all sides, the Northern painters were more sincerely naturalistic in their landscapes and more soundly truthful in their character studies than were their Teutonic professors and prototypes. And when at length the day of Dusseldorf was finally over, and with one accord they all repaired to Munich, the Norwegians in particular revealed a sober richness of tonality and freedom of brush stroke which at once made them remarked in the then most popular art centre of Europe. While it was portraiture and landscape which mainly attracted the Norwegians, it was the more pretentious appeal of historical theme that claimed the attention of the Swedes. This was not alone the day of Eilif Peterssen’s dark and imposing likenesses of the leading artistic and 17 literary figures of the early ’eighties; it was also the hour of the huge concoctions of Georg von Rosen, Gustaf Cederstrom, and Karl Hellqvist, certain of whose canvases, heroic in size and supposedly also so in sentiment, were actually painted within the shadow of the Academy walls and under the approving eyes of Wagner and Piloty. We must not, however, be unduly severe upon the Scandina¬ vians of this stressful and not infrequently distressing epoch. Almost every artist of the day was doing much the same sort of thing. It was the fashion to be impressive. The human countenance was given unwonted significance by Lenbach and his followers, and historical scenes were staged with a dramatic effectiveness which rivalled that of the theatre. Out of this world, which was largely composed of rhetoric and unreality, sound nevertheless a few virile and striking notes. You cannot forget the earnest, militant gaze of Eilif Peterssen’s Arne Garborg—painted, it is true, much later, but still in the approved Munich manner —nor do you fail to catch a hint of veritable arctic fortitude in the figure of von Rosen’s Adolf Nordenskiold, reso¬ lutely facing the illimitable expanse of ice and snow stretch¬ ing about on every side. Straightforward and indigenous as Danish art has ever been, it did not entirely escape the current fallacies of the hour. Though it is true that such men as Carl Bloch suc¬ ceeded in ignoring the obligations of a well-defined national style, such phenomena were, however, notably rare. The genteel provincialism of Danish art remained virtually undisturbed by extraneous sympathies for some time yet. It was not, in fact, until the coming of Krpyer that any per¬ ceptible change took place in the contribution of these peaceful apostles of objective verity, whose vision did not extend beyond the confines of their serene little country, 18 every corner of which reflects the most benign care and solicitude. The mention of Kr0yer brings us, by the way, to the very threshold of the modern movement, the first effects of which tended in the direction of internationalism, but which, after a brief period of clarification, became the obedient instrument of a national artistic expression reveal¬ ing hitherto unsuspected depth and chromatic brilliancy. Those same tendencies which had for years past developed so spontaneously and unconsciously with the Danes, now took definite shape with the Swedes and Norwegians. The inspiring period of self-discovery ably outlined by Director Thiis in the field of Norwegian art, was paralleled by the Swedes along kindred lines. Just as the early ’eighties saw Erik Werenskiold, Christian Krohg, Gerhard Munthe, and Eilif Peterssen back in Christiania, taking up the cudgels for the new cause, so that less belligerent but even more spirited group, which included Zorn, Larsson, Liljefors, Josephson, and Nordstrom, likewise carried the fight right the portals of the Swedish Academy, which they finally to succeeded in opening to the stimulating light of day. And what is still more significant, the movement was in no sense confined to painting alone. It was felt alike in all three countries and in all avenues of activity. As is usually the case it was the author who led the way, and the artist who followed with his still more highly developed sense of form and passionate quest of colour. In Denmark the eloquent mysticism of Grundtvig found its graphic counterpart in the cartoons of Skovgaard. In Norway Werenskiold and Kittelsen gave typical semblance to the idyllic figures of native folk tale, while Swedish landscape, first pictured with sympathetic accuracy in the novels of Strindberg, and the appealingly romantic periods of Verner von Heidenstam, came into its full richness and splendour in the austerely 19 beautiful panels of Karl Nordstrom, the star-studded can¬ vases of Eugene Jansson, and the noble exaltation of Prince Eugen’s luminous views of wood, water, and majesti¬ cally soaring cloud. The movement toward a more conscious appreciation of the very soul of the Scandinavian people seemed, however, to focus itself in the work and personality of that remarkable pioneer in a singularly fruitful field, Artur Hazelius, the virtual creator of the renowned Northern Museum in Stock¬ holm and the nearby Open Air Museum at Skansen. It is owing to the zealous energy and unflagging enthusiasm of Hazelius that the Scandinavian nation as a whole has been brought to a definite, objective realization of its place in European ethnic and esthetic development. No one had heretofore a concise idea as to what had actually been accomplished until Hazelius and his assistants began collect¬ ing the humble, anonymous treasure troves of peasant indus¬ try and arranging them with scientific precision and pre¬ senting them in the most enlightened and effective manner possible. Ancient wooden houses were transported bodily to Skansen and nestled among appropriately authentic gar¬ dens and grounds, or perched upon stony hillside corre¬ sponding as exactly as was feasible to their original sites. Rooms were re-erected and furnished precisely as they were in bygone days, and the incidental decorative and domestic arts, such as wood-carving, iron work, pottery, and weaving, found place in a broad scheme, the colour notes of which were contributed by the bright red, clear green, dauntless yellow, or discreet white and black of native dress. The work which Hazelius accomplished in Sweden under such difficulties, but in the end with such a supreme measure of success, was in part duplicated at the Danish Folk and Industrial Art Museums of Copenhagen, and later at the 20 Museum of Industrial Art in Christiania and the still more recent Open Air Folk Museum at Bygdp. It is impossible to over-estimate the value of this illu¬ minating work. The fast disappearing fragments of an eloquent and absorbing epoch were assembled and placed upon permanent record. Handicrafts of various descriptions were revived, and old customs and the spirit of a sturdy, wholesome past were kept alive and can never be entirely obliterated. The importance of what has been already described as the characteristically objective side of this great movement toward self-discovery—which in essence was merely a rediscovery—is far reaching. Its effects can be plainly felt in numerous widely separated channels of activity, and not least in the province of the fine arts. It has, above all, taught the general public what the Scandinavian peoples really are, and thus affords the soundest possible basis for judging that art which they to¬ day produce in such stimulating richness, abundance, and variety. It is work evolved under such conditions which you have in the present exhibition, though before approach¬ ing its latest manifestations we must resume a little more definitely the logical sequence of development. The painting of the naturalistic period, which is best exemplified in the robust, veracious excursions of Christian Krohg into the social, and of Bruno Liljefors into the animal world, gradually became more impressionistic in the hands of those Paris-trained men to whom an analysis of the shifting play of light seemed for the time being the end and aim of pictorial expression. The leading exponents of pleinairismwere Krpyer in Denmark, and Diriks in Norway, the latter being particularly successful in his ability to indi¬ cate motion. There is a grandeur, a touch of Ossianesque power and solemnity, in certain canvases by Diriks, which 21 give them high place in contemporary Norwegian painting. You see here the man who is a direct descendant of centuries of sea rovers, and who embodies in himself and his work their restless, questing spirit. Modern though they un¬ questionably be in their feeling for bright, sparkling tints and dexterous and vivacious surface effects, neither Zorn nor Thaulow, two of the most facile technicians Scandinavia has ever boasted, can with any strictness be termed Impres¬ sionists. Few of the Northerners, in point of fact, are explicit followers of the impressionist formula. Broken sur¬ faces and the minute and often meticulous suggestion of tonal decomposition, as practised by the Frenchmen, are rare in the work of these artists who as a rule prefer a more direct and flowing brush stroke. Instead of carrying mat¬ ters as far as the pointellists, most of them merely made use of the spirit of the new gospel, which they adapted to their several needs and purposes. The Swedes remained quite as Swedish as before, and in Norway you see even as early as the ’nineties signs of a reaction, notably in the restrained and fervent triumphs of the new romantic movement, fos¬ tered by the late Halfdan Egedius, and to-day exemplified in the deeply personal art of Harald Sohlberg, whose canvases recall in their zealous, conscientious craftsmanship and sub¬ dued emotional intensity the work of a still earlier period. And as before the painter did not stand alone, for by the side of Sohlberg wrote and dreamed with delicate ardour the brothers Thomas and Vilhelm Krag, who have enriched modern Norwegian prose and verse with some of its rarest flowers of fancy and most sensitive, penetrant observation. Although after Impressionism logically come Post- Impressionism, Expressionism, and all the other isms that latter-day art is heir to, we must not fail to recognize the fact that two veritable precursors of what is now termed the 22 modern movement, not alone in Scandinavian painting, but in the painting of Europe as well, were the Dane, Jens Ferdinand Willumsen, and the Norwegian, Edvard Munch. Both Willumsen and Munch are innate pathfinders. If you concede a hint of Raffaelli in certain of Willumsen’s early Paris studies and sketches, and a touch of Christian Krohg’s naturalistic integrity in the work of Munch’s first period, every trace of early dependence was lost in the invigourating, defiant canvases that shortly followed. Willumsen soon discovered that Paul Gauguin possessed a more progressive potency than did the narrowly Parisian painter of boulevard and banlieu, and as for Munch, he had merely to look into his own tremulous or feverishly exalted soul in order to summon forth a myriad teeming pictorial fancies. In Wil¬ lumsen you find, amid an impetuous torrent of creative ex¬ uberance, two essentially Danish qualities—sanity and humour. In Munch’s art one is confronted with an acute hypersensitiveness voiced now with masterly conviction, now in troubled, tortured accents. A profound awe, a cosmic fear, is the keynote of these canvases. He is as a child who sees terror in the most familiar shapes, or a man who shudders on the brink of an abyss, obsessed with the eternal mysteries of life, desire, and death. Matters have lately moved so fast in the field of art that men whose names half a dozen years ago were considered the synonym of modernity, to-day find themselves occupying a relatively middle position. Among these may be men¬ tioned the two superlatively talented Norwegians, Henrik Lund and Ludvig Karsten. They are both fluent, brilliant draughtsmen, and colourists of rare power and vivacity. The work of Lund in particular will doubtless command attention through its spirited verve of stroke and bold, yet delicately modulated colour values. There are, however, in 23 the present exhibition still more advanced notes. The Danes, Sigurd Swane, Edvard Weihe, and Harald Giersing, go even a step further, while in the two canvases by Per Krohg you have the ideals of the Salon des Independants, plus a certain touch of Northern seriousness and sobriety. There is scant question but that certain of this work will seem to timorous stay-at-homes the outcome of sheer, wilful exaggeration or deliberate perversity. It may be unpatri¬ otic to say so, but, judged by current European standards, we are distinctly behind the times when it comes to the matter of esthetic development. Whatever it may have accomplished in the political or industrial world, our much discussed progressive spirit has clearly not penetrated the subtler province of the fine arts. Even modest and ultra conservative little Copenhagen has had its glimpse of the Futurists, while copies of Der Blaue Reiter, Der Sturm, and Les Tendences Nouvelles are eagerly purchased in the more prominent book shops. While it is true that we have had our intermittently illuminating tabloid exhibitions at the Photo-Secession, nothing is yet known of modern art as a movement, and it is thus, and thus alone, that it should be studied, not merely from isolated, unrelated sam¬ ples, or specimens which confuse, without in the least degree clarifying, the popular mind. It is obviously too soon to predict with any measure of precision what effect the Expressionist propaganda may ultimately have upon Scandinavian art in general. One can only judge by what has taken place in the past. And yet one thing is certain, and that is that modernism must be reckoned with as a force possessing a vitality which cannot readily be ignored or extinguished. Copenhagen, as already noted, has lately been given the opportunity to judge for itself. Stockholm boasts its Salon Joel and The Eight— 24 whose leader is Isaac Griinewald—while in Per Krohg and kindred spirits Christiania possesses its isolated but earnest apostles of progress. All this is a far cry from the crisp, inviolate whiteness of Gustaf Fjaestad’s snow scenes, or the quiescent ambience of Vilhelm Hammershpi’s discreetly luminous little interiors. It is also far from the sterling objectivity of Ring’s closely painted landscapes, and from Sundborn, the bright-countenanced scene of Carl Larsson’s activity, snugly nestled among the birches of Dalecarlia. We have pushed rapidly forward during the past decade, perhaps a bit too rapidly, but still there is no cause for alarm, since that which holds within it the precious secret of permanency will survive, and that which is inconsequen¬ tial will be speedily consigned to the limbo of oblivion. There is one fact which stands clearly forth after a comprehensive survey of Scandinavian painting, and it is that, no matter what transitions may have been recorded during successive periods of development, the primal, elementary basis of this art has remained unchanged. It continues, as always, full of tender lyricism and heroic intensity. It is the typical expression of a race whose civilization is young, yet whose roots lie deep-anchored in the past, and whose present is the direct product of certain definite, prenatal conditions. And not only does the racial factor enter largely into this work, but back of it looms a still more sovereign source of strength. The marked unity of tone—that blond clarity so characteristic of the North which you will instantly recognize—is merely one phase of a general congruity of aim, a single broad harmony of purpose which exists between the land itself and its people. For centuries there has been going silently and irresistibly forward a subtle process of interaction be¬ tween these two elements which is reflected alike in litera- 25 ture and in art. There can be no question but that such facts are eloquently manifest in the work herewith under consideration. You instinctively feel, on studying these canvases, an exhilarating sense of direct communication with nature and natural forces. You note the naive zest of healthy, unfatigued sensibilities for fresh, tonic colour contrasts, and you feel the thrill of eternal aspiration in this fondness for great, open spaces and the magic radiance of the arctic aurora. From the very outset this sturdy, sea-faring and forest-loving folk have been in com¬ plete consonance with their surroundings. And we can only be grateful that they have conveyed their esthetic message in terms at once so robustly beautiful and so valiantly autonomous. The current exhibition which, in brief, may be char¬ acterized as a superb demonstration of pictorial pantheism, reveals to Americans Scandinavian art as it actually exists. It is distinctly more progressive than retrospective or reminiscent in spirit, and in being so is all the more true to artistic conditions as they obtain to-day in the three countries represented. Face to face with these stimulating, colourful canvases, you will doubtless find much to admire, and not a little that may prove disconcerting. Yet you must bear in mind one important thing, and that is to look at each separate picture, in as far as possible, with the eyes of the man who painted it. His vision is more individual, his soul more vigorously or subtly expressive than yours, and it is your duty to take his message on faith, in case you do not at first comprehend it. For it has always been, and will always be, the artist’s mission to lead, and the public’s privilege to follow. 26 THE ART OF SWEDEN By CARL G. LAURIN, of Stockholm I T IS not until comparatively late that Sweden makes her appearance in European art. It is true that in this country, where the same race had for thousands of years lived a free and hardy life, there had existed since time immemorial an excellent type of industrial art, which still survives in our textile peasant work, and which produced bronze ornaments and weapons of great artistic beauty even before Christian times. But it was not until the twelfth century that Christian architecture made its way up to us, and as for Swedish painting, one can hardly speak of it before some decades after New York, or, more properly, New Amsterdam, had been founded by the same industrious and artistically trained Dutchmen, who in painting were the leading nation of the seventeenth century, and from whom Ehrenstrahl, born in Hamburg, 1629, and called the father of Swedish painting, received instruction, even though the pompous Italo-German baroque style was to be predominant in his production. Ehrenstrahl painted three great sovereigns—Charles X, who made Sweden great, his son, Charles XI, who made it strong, and the latter’s son, Charles XII, who made it honoured the world over, and for whom even our vast country was too small. Sweden was great, but the population was scanty and poor, and the 27 eighteenth century was for us a much needed period of economic improvement. Like the rest of Europe, Sweden, too, during this century, turned admiring looks on the literary and artistic culture of France, which also politically had been our traditional ally since the alliance between Gustavus Adolphus II and Richelieu. Among the Swedes who won for themselves honoured and famous names in Paris were the pastel painter, Gustaf Lundberg, the por¬ trait painter, Alexander Roslin, the miniaturist, Hall, the gouache painter, Nils Lafrensen the younger, called Lavreince, and K. G. Pilo. Our first and greatest sculptor, Sergei, also received his preliminary training in the French school, though the then prevailing passion for the antique was to chill like a cold blast the warm, sensual treatment of marble which was at first characteristic of him. It might appear as though this Gustavian—for it gathered round King Gustavus III—this bright, technically thorough, and elegant art had been, so to speak, put to flight by the pistol shot at the masked ball at the Stockholm Opera in 1792, when Gustavus III was murdered. But the real cause was that the times had everywhere changed. Modern classicism, and almost simultaneously, romanticism, now entered the arena. Reynolds’s pupil, K. F. von Breda, visualizes the new aspect of the times in his portraits, at once dignified and romantic. During the nineteenth cen¬ tury Swedish painting was under the sway of the tendencies prevalent in European art at large, and we find among the painters excellent representatives of romanticism, among the most prominent of which may be mentioned August Malmstrom. In the middle of the century the Diisseldorf genre had admirable exponents in Fagerlin and A. Jernberg, and in landscape art Reinhold Norstedt ap¬ pears as a genuine Swedish successor of the Fontainebleau 28 school. In historical painting, as it had been developed in Munich, Brussels, and Paris, under the influence of deep studies in museums, J. Hockert, J. Kronberg, G. von Rosen and G. Cederstrom are well worthy to be placed alongside good German, Belgian, and French historical painters. Georg von Rosen’s portraits, with their lofty and noble style and their subtle interpretation of character, are works of great and enduring value, and will bear comparison with those of Lenbach. The year 1885 marks a new epoch in modern Swedish art. A group of young artists who had studied painting in Paris under the guidance of French masters, and who had come under the influence of Manet, Bastien-Lepage, and Cazin, exhibited their works in the spring and autumn of 1885 at Stockholm. They severed themselves from the Academy of Art and its method of teaching, found fault with its lack of interest in the arrangement of exhibitions, and accord¬ ingly adopted the name of “Opponents.” Some of these artists joined together in 1886, and called their association the Konstnarsforbundet, or Artists’ Association. To this organization belong, or have belonged, most of the best Swedish artists at the close of the nineteenth century, though some of them, it is true, were members of it only for a short time. Their greatest painter, though a somewhat erratic type, was Ernst Josephson, a combative character, full of melancholy and defiance, who became insane as early as 1887. His picture Stromkarlen—The Water-Sprite—in the possession of Prince Eugen, reflects both in subject and execution the quintessence of the life and work of this man of undoubted genius. Among those who returned home from France, bringing with them light and joy, and having acquired a marvellous skill of hand, which enabled them to 29 give a still more concise expression to the impressions from their own country with which they were teeming, were Carl Larsson and Anders Zorn. Another great artist, whom it is always customary to mention with them, is Bruno Liljefors. One must know Sweden very intimately in order to understand how it is that these three artists, above all others, have won the hearts of the Swedish people. Carl Larsson paints the home with all the associations of happi¬ ness and sunshine, of children and flowers, that the word calls up. Zorn, again, is pre-eminently the painter of the Dalecarlian people, that sturdy stronghold of the Swedish nation and, withal, of the Swedish peasant woman, full of health, vigour and unconscious sensuality, and fresh and hearty as a ripe cherry. Liljefors, in turn, reveals to us the forest with its mysterious life. No one has felt such deep sympathy as he with Swedish nature, with foxes, eagles, ducks, loons, and other birds and beasts following the instincts of their kind in the solitude of the primeval forest. The Swedish people have always loved to penetrate nature’s secrets. Linnaeus, Swedenborg, Celsius, Berzelius, and Arrhenius are in this respect the true children of a people whose science, poetry, and art have refreshed them¬ selves, with almost religious ardour, at the maternal breasts of nature. This absorption in the universe is also seen in the paintings of Eugene Jansson. Though there is a touch of lyrical delicacy in his work, there is a breadth and a grandeur about it which, to my mind, are unique in the art of our time. With austere, manly defiance, which at certain periods has appeared harsh and gloomy, but which has now dis¬ solved into an intense revelling in colour, this same feeling for nature comes to light in Karl Nordstrom, at present 30 the strong hand that holds together the painters who have remained in Konstnarsforbundet. The art of Nils Kreuger is deliberate, composed, and reliable. He has delineated the domestic animals as they live in the open—cows placidly chewing their cud in juicy green pastures, shy horses, and stupid sheep. Seldom have realism and monumentality grown into one as in the pictures of Krueger. We have too few figure painters in current Swedish art. Prominent among them is Richard Bergh, our foremost modern por¬ trait painter, whose likenesses of Strindberg and the poet Froding are a study for the psychologist as well as for the art lover. Bergh does not paint much, but what he paints is usually of real significance. He is at once a thinker and an artist, without, as is often the case, allowing the former to encroach upon the latter. A faithful depictor of the life of the Swedish people is Carl Wilhelmson. With thin, bright colours he paints the lean peasant girls, and has discovered a kind of beauty in things poor and scanty. The exact antithesis to him in all but the bright colours is Gosta von Hennigs, whose canvases are veritable orgies in red and blue. He is intoxicated by colour—colour for its own sake. The subjects he is most addicted to are clowns, dancing girls, and other picturesque types outside the pale of prim and respectable society. It cannot be denied that Sweden at present is not merely an art producing, but also an art loving country, and a country where art is bought. If struggle means life, we have been very much alive in art during the last twenty years. Unfortunately, there has been rife among us far too much of the spirit of dogmatism and bias, and this spirit has often hindered us from uniting our forces and appearing in full muster when it has been a question of exhibiting all of our best, either at home or abroad. 31 In virtue of his high position and his universally acknowl¬ edged artistic talent, through his judicious patronage of art, and not least by virtue of his personal amiability, Prince Eugen, whose whole bent is toward the ideals represented by the Konstnarsforbundet, has exerted a most beneficial influence. In his beauiful home in Djurgarden Park there is an excellent collection of modern Swedish art. And here he paints pictures in which, with discreet passion, if the expression be permitted, he gives a personal expression to nature, particularly the Swedish summer night, with all its lyrical harmony. It is only in the northernmost parts that Sweden is a mountainous country; otherwise it is a land of forests and lakes, and few have depicted the wide prospects over blue ridges in the far distance as has Otto Hesselbom. G. Kall- stenius paints pine forests and lakes so as to make one almost feel the smell of resin and the cool shade under the trees, and Gunnar Hallstrom lends a true Swedish char¬ acter to the waters of Lake Malaren and the stolid, earnest peasant culture which obtains thereabouts. Sweden is indeed a peasant country, and we are proud to possess a race of peasants which has for thousands of years been healthy, free, and self-reliant. The humour of Swedish peasant life has its artistic interpreter in Albert Engstrom, a man admired all over Sweden—admired for his quaint, untranslateable verse, his prose which in national pith and vigour is unequalled by that of any living Swede, and not least for his drawings, in which he has revealed to us the very fundamentals of our being. Three of our sculptors are clearly in the front rank. Foremost perhaps is Carl Milles, a sculptor of genius, a man bubbling over with creative power, and endowed with monumental force. Alongside of him stands Christian 32 Eriksson. A consummate artist in all he touches, whether small or great, particularly in his treatment of surfaces, he has the feeling for nature and the love of detail so character¬ istic of the sculptors of the Early Renaissance. Eriksson’s best works are his big reliefs on the walls of the new Dra¬ matic Theatre in Stockholm, but his characteristic Lapp subjects in wood, bronze, or stone, also bear abundant testimony to his originality and taste. Woman has a glowing interpreter in the sculptor, Eldh, who has also admirably depicted the complicated type of the woman- hater as exemplified in Strindberg. In this brief review, where regard has been paid only to the very best, there has not been room even for the names of many Swedes who are endeavouring to give personal form to those elements which the people of our nation especially love and admire. For small nations, even more than for big ones, quality is a matter of supreme and vital import¬ ance, particularly in the province of the mind, where the small nations’ , thinking or thirst for beauty may sometimes bring forth one supreme master—a Plato, or a Rembrandt— outweighing all that has been produced for centuries in the same department in different quarters of the world. The Swedish historian Gejier maintains that every one can do something better than any one else. I believe this to be also true of nations, and I believe that the great world- symphony is decidedly enriched by the chords, the hymns, of Swedish clang-colour which our people set up in praise of beauty—beauty as our eyes see it. 33 THE ART OF DENMARK An Epistolary Preface By KARL MADSEN Director of the Royal Gallery, Copenhagen My Dear Christian Brinton: S URELY you still remember the Pavilon on Langelinie where two or three times we lunched so congenially together. Through the great windows of the restaurant we had an outlook eastward over the Sound and the ships, westward over the tranquil moat to the green trees of the Citadel, where we heard at times a blackbird’s whistle. In the restaurant, near the entrance, sat loyal German tourists with beer mugs and souvenir postcards. At other tables my countrymen were laughing at their own jokes. We Danes are—as you correctly observed—a people who are fond of amusing ourselves, and who do not think very much about the morrow; indeed, altogether too little. Some¬ times, however, on beautiful summer evenings you will meet people here who, silent and dreaming, gaze out over the sea. This, also, is perhaps characteristic of our nation. We have grown up with Andersen’s Fairy Tales, and have had other good authors with whom you are doubtless familiar. When from Langelinie I see the beautiful clouds floating over a gently rocking sea, I often find myself recalling an 34 artist who, near a hundred years ago, long before the Pavilon was built and souvenir postcards were invented, went modestly on his evening walks from his professor’s quarters in the Academy at Kongens Nytorv out to this spot. He was neither poet nor dreamer. His sharp eyes made purely scientific observations upon the formation of clouds, he examined the construction of ships with the eye of a professional, and sought to explain the laws govern¬ ing the perspective of the shifting waves. The artistic ambition of this upright soul was to give the most precise picture possible of nature, as true as a mirror. His can¬ vases are old-fashioned; all objects present themselves as though seen through a strong field glass, but the tones are fine and clear as day. When I now look from Langelinie out across the sea, Danish painting in later years does not seem to have produced works that, in striking fidelity to nature, surpass those of Eckersberg. And over there in the Citadel behind the tranquil moat his pupil, Kjsrbke, had his home. Even to-day, both in fact and in the art of KjoLke, these old fortifications are an idyllic spot. His sister’s pink dress against the green trees of the rampart, the sunshine on an empty wagon in the Citadel bakery yard, the Dannebrog flying over a boat landing, or a pair of poplars in the twilight, were for K.erbke motives sufficiently rich in interest. You, dear Mr. Brinton, at once understood how to value his pictures from these realms of peace, his portraits of relatives, friends, and plain townsfolk. They are as modest and unpretentious as the violets on the Citadel terrace. When Marstrand, K^rbke’s contemporary and fellow- pupil under Eckersberg, walked here on Langelinie, he looked, I fancy with greater interest upon the promenaders than on the sea and the Citadel. Here he must have met 35 young girls, whose graceful necks, blushing cheeks, and bright eyes reminded him of the beautiful women of Rome—unforgettable memories of his youthful student days. Here, too, he met droll Copenhagen types, who served as capital models for his character figures from Holberg’s comedies, and perhaps, also, the tall, gaunt officers he may have used for his representations of Don Quixote. Marstrand, the most richly endowed and many- sided of our older painters, had himself the noble knight’s thirst for lofty deeds. His sketches and drawings show a vast range of happy inspiration, but when he had to carry out his work according to the demands of the time, evil and invincible forces paralyzed his hand. The colouring became crude, the form characterless, the features rigid, and life itself had departed. During this entire period exact execution was regarded as the hallmark of respectable painting. In all our art, from Eckersburg down, this was held in highest honour. It was the flowering time of the so-called national art. Poets had sung the praises of the fatherland, and an eloquent critic pointed out the importance of purely native themes. Landscape painters sought to epitomize the peculiar beauty of Danish nature. Genre painters glorified the • Danish peasantry. Art, they held, should be Danish in form as well as content, and borrow nothing from other nations. In our separation from the world many virtues flourished, but also many vices, for of course men ought to strive to be themselves, yet, as Henrik Ibsen says, only the devil is self-sufficient. And so, when Danish paint¬ ing came to be exhibited at the World’s Exposition at Paris in 1878, it made such a sorry showing that an old Danish artist seriously believed that the canvases were covered with dust, which had been overlooked in cleaning. It stuck 36 so tight and thick that they seemed lustreless, poor in colour, and strangely antiquated. For this reason several young Danish painters went to school in Paris and in due course brought home new conceptions of the aim of painting. Later, other Danish artists, when they had opportunity, have looked about in the world, though it cannot be said that they have learned overmuch from foreign art. We are a little nation, and our national independence is for us the most precious quality we possess. A local news¬ paper has recently given some sound advice regarding the forthcoming exhibition of Danish art in America. Regard for the purely artistic merit of the canvases ought, as a matter of principle, to be subordinated. It is far more important that the pictures bear the familiar national stamp. As yet I do not definitely know how the exhib¬ ition which is shortly to be placed before the tribunal of America will be constituted. But I know that you, dear Mr. Brinton, have wished that it might be free from banalities. You have preferred the characteristic to the commonplace, the fresh to the dusty, the vigorous to the vapid. You have sought to combine that which in your opinion is good art with that which recommends itself as national. And in any event the exhibition would not have lacked the national impress. This factor does not depend upon a peculiar manner of treatment or style of painting; Tiepolo is just as Italian as Botticelli. Nor does the national note depend upon subject. Every good artist expresses his nationality in new forms. The invited painters are all legitimate children of their land, and many of them have inherited some of their best qualities from those same art¬ ists who, beside the Sound and in the Citadel, founded the Danish school of painting. Truthfulness is quite as precious 37 to Ring as to Eckersberg, and Vilhelm Hammersh-eri has seen, just as K^bke, that the most unobtrusive lives and the simplest scenes and incidents can contain a world of marvellous poetry. But the individual characterization of these painters I resign to you, my dear Mr. Brinton. You have studied our art with a sympathetic interest and understanding for which I offer you my heartfelt thanks. Yours sincerely, KARL MADSEN. 38 THE ART OF NORWAY By JENS THUS Director of the National Gallery, Christiania O N FESTIVE occasions we Norwegians are prone to speak of “Old Norway,” yet to tell the truth there is much that is both young and new in “Old Norway.” Our national painting—to mention one instance—is by no means old in years, for it was not until after the dissolution of the union with Denmark that the nation awoke to con¬ sciousness and began to assert its independence in the domain of art. In less than a generation from that time— 1814—a little band of painters appeared, who in popular opinion stood out clearly as a true Norwegian school, although every member of the group had obtained his artistic education abroad, and was still obliged to seek a livelihood there. At home in Norway the people were wholly engrossed in the struggle to improve the economic position of the country, and secure her political indepen¬ dence under the new union with Sweden. Hence many years passed before this little band of Norwegian artists could find a footing on their native soil. Yet although every member of the older school of Norwegian painters obtained his training in German academies—Dresden, Diis- seldorf, or Munich—and to a great extent resided in foreign countries, they nevertheless painted the homeland, and by 39 means of summer visits and frequent journeys to the mother country, they maintained a connection with the people and the scenery which was reflected in their art. No Norwegian painter is more worthy of mention in a rapid survey of the history of our art than Johan Christian Dahl, the father of our painting. Not only chronologi¬ cally, but in precedence, he stands in the front rank, as the earliest and one of the most inspired interpreters of Nor¬ wegian scenery. In an artistic sense, Dahl was the dis¬ coverer of Norwegian landscape. Although as professor of the Academy at Dresden he was obliged to live far from his native land, he never ceased to interpret and glorify Norway in his art. During his summer journeys he traversed the valleys and mountain wilds, sailed the long coast and penetrated the deep fiords, so that later he might return to his studio at Dresden with a rich harvest of studies that were wonderfully fresh in treatment, and true in colouring. Dahl died at Dresden the 14 October, 1857. He was the Constable of Norwegian art, and one of the greatest figures among European landscape painters of that period. Dahl’s talented pupil, Fearnley, followed in his master’s footsteps, and gave greater decorative effect to the healthy poetic naturalism of the older artist. But Fearnley died young, just as his art reached its zenith, and thereby the line of tradition from Dahl was broken, and the further develop¬ ment of Norwegian painting considerably retarded. The next group of painters, which appeared in the ’forties, and influenced the character of Norwegian art for nearly twenty years, sought its education in the studios of Diissel- dorf. At that time a new romantic school was predominant there, differing from Dahl’s fresh, natural romanticism in its more literary and eclectic outlook, with a preference for the theatrical, the sentimental, and a pretentious magnificence 40 of colouring. Nevertheless, the period of Norwegian art which followed—-the Diisseldorf Period—must in certain respects be regarded as a sort of golden age, rich in talent, and in definite harmony with other movements in our national culture. The time immediately before and after the July Revolution was a period of reawakening after the days of affliction that succeeded the war and the union of 1814. The courage which long had lain crushed under financial troubles and political difficulties now rose and expanded during the so-called Patriotic Period. Recovered freedom, growing independence, and the glorious traditions of the past which the nation was now ambitious of main¬ taining, inspired the people with faith in the powers of their country and themselves, a faith which found focus in the personality of that great poet and national leader, Henrik Wergeland. Alike in verse and in speech all praised the “gallant Norwegian yeoman,” and his rock- bound land, but neither the yeoman nor his country were very well known at that epoch. Therefore, in the ’forties, we note an intense desire to study the people and the country, a period of self-discovery in Norwegian intellec¬ tual life, when scholarship, poetry, and art went hand in hand, each being accorded equal significance. Dahl and Fearnley, it is true, began this work by the discovery of Norwegian mountain scenery, the beauties of the fiords, the majesty of the mountain wilds, and the pic¬ turesque grandeur of waterfall. But as yet no great poet or painter had really approached the people. The character of the Norwegians still lay hidden and obscure in the dark¬ ness of the saga ages. Hence the work of the investigator was needed, and a desire to unite the past with the present was steadily persistent throughout the years of later romanticism which now followed in Norway. The work of 41 historical research was begun, its most famous exponent being P. A. Munch, the author of The History of the Norwegian People. Simultaneously began the systematic labour of investigating and preserving the great monuments of the past, and of collecting the rich and varied treasures of the Norwegian imagination. It was in those years that our curious wooden churches were discovered, and our fairy tales, our ancient legends and folk songs were collected and interpreted, while our composers began to imbibe at the fountain head of folk melody. Nor must we forget such painters as Tidemand and Gude, the principal representatives of the Diisseldorf school, and the only really popular Norwegian painters of the older period. Tidemand desired to be an historical painter, and to depict our heroic age, but he soon perceived that there was a task nearer at hand which no one thus far had attempted—the depiction of the Norwegian people of his own time. It was thus that Tidemand selected the special field from which he rarely departed, that of painting the life and surroundings of the Norwegian peasant. Tide- mand’s art suffers from the same faults as do the majority of German paintings of the Romantic Period—it exhibits the same tendency toward the literary and the sentimental, and it reveals the same undeveloped colour sense and lack of individual execution. Nevertheless, his pictures of national life proved a valuable factor in the onward march of Norwegian culture. The name of Hans Gude is intimately associated with that of Tidemand, and the two artists are often mentioned together. The younger landscape painter, who both as friend and fellow-worker stood so near Tidemand, is the second central figure in Norwegian painting of the middle of the nineteenth century. Gude’s art shows a wide range. 42 He portrayed the mountains and lakes, the narrow fiords of the West, and the smiling landscapes of the East—all with happy, harmonious feeling, and a keen sense of the idyllic. Gude was also an academy teacher of high repute, first in Diisseldorf, later in Karlsruhe and Berlin, and as such occupied an important position as insturctor of the younger generation. However, during the ’seventies the young Norwegian painters, instead of turning to the above cities for edu¬ cation, selected the new art center at Munich, and thither repaired most of the prominent painters of about the year 1880 who were destined to play such an important part in the development of native art—e.g., the “men of the ’eighties”—Munthe, Werenskiold, Eilif Peterssen, Skredsvig, Kittelsen, Harriet Backer, Kitty Kielland, etc. Two of the most gifted members of the same generation, Krohg and Thaulow, obtained their education elsewhere, Krohg in Berlin under Gussow, and Thaulow first under Gude at Karlsruhe and later in Paris, yet in spite of subsequent influences from other quarters, the work of most of these painters shows traces of German training. By degrees, however, the ties that bound Norwegian painters to Germany were loosened. Munthe and Isaach- sen, the two senior members of the group, were the earliest to visit Paris and to receive first-hand impressions of French art, and just as this latter school was celebrating its superiority at the International Exhibition of 1878, its fame appears to have reached the academy students at Munich. Hence after the year 1880 we find nearly all the young Norwegian painters assembled in Paris, eager to learn and to participate in the fight for the cause of modern art. The golden age of naturalism had just dawned. The old studio traditions were broken, Manet had propounded a 43 new and fresher view of reality, and with his inspired tech¬ nique had made giant strides toward the further develop¬ ment of painting. Simultaneously Monet had revealed the claims of landscape painting in the open air and sunlight, and was engaged in preparing a new and cleaner palette, and in developing the technique of impressionism and studying the decomposition of colour tones. Even though our Nor¬ wegian painters did not always come into close contact with the actual exponents of the new art, they lived, nevertheless, in a productive period, when fresh ideas were disseminated far and wide. From Paris they journeyed northwards. About the year 1883 nearly every unit of our artistic strength was gathered in Christiania, determined to remain in the old country, to work and struggle at home. We now enter a new epoch in the history of Norwegian painting. The Period of Emigration is past and the National Period begins. The younger men sought to free themselves from the traditions of the German school, from its eclecticism and studio taste, its dark and brownish colour. From this time forward the influence of France is predominant, even though foreign technique is always adapted, as far as possible, to the requirements of our own scenery and temperament. Werenskiold and Gerhard Munthe, in particular, displayed a firm desire to Nor- wegianize themselves, and under their guidance a new period of self-culture was introduced. The plain, unroman¬ tic landscape of the East, and the genuine, realistic Nor¬ wegian peasant, without any extraneous adornment, now appeared for the first time in Norwegian painting. The early years of naturalism in Norway were both stormy and noisy. The air resounded with shibboleths, war cries, taunts, wranglings, and squabbles. The public was quite at a loss for a clear understanding of this new 44 open-air movement in landscape, and was full of illwill and bitterness toward this naturalism which set itself the task of portraying social life with brutal frankness, without pity or mercy. The people at home had never seen other art than that of the aftermath of the German romantic school, and it is small wonder that this fresh tonality and free hand¬ ling were completely foreign and distasteful to them. Moreover, the lack of a critic with a right understanding of the issues at stake widened and deepened the gulf that separated the public and the painter. The artists themselves, on the other hand, revelled with no little delight in this troubled sea of contempt. Seen from the outside, their fight often had the appearance of a torrent of youthful outpourings and exaggerations. These men were above all accused of being one-sided, but they won strength in proportion as they developed this very quality, for behind their defiance stood a sturdy faith in the cause for which they struggled. Better fighters were, in¬ deed, never seen. We are compelled to admire the courage and fortitude displayed by this little band, crushed as they were by poverty, accused of heresy, and despised by the world at large. Yet they remained undaunted. They painted, argued, drank, and battled bodily, even,'for the new gospel. And at last the art of painting, after centuries of thraldom under the overpowering prestige of the old masters, under the discipline of academies, and the formulae of pedantic esthetes, cast off its fetters, and dared to view nature directly and paint her as she really appeared. With this newborn faith in actuality, this pantheistic enthusiasm for nature and truth, the men of the ’eighties wrote, spoke, and painted. In literature the main themes were social problems and stormy demonstrations of bellicose 45 individualism. In art men were occupied with breaking tradition, and securing a victory for clear-eyed reality. The fight against the public and press was wild and reckless, but when the victory was won—comparatively quickly— and this young, radical art after the lapse of a few years was not only tolerated but even understood, when painting in Norway finally achieved official recognition, there can be little doubt that it was the result of the artists’ courage and sagacity, yet first and foremost because of the abundant talent possessed by this band, a generation that claimed Werenskiold, Krohg, Thaulow, and Munthe. Nor must we forget to mention the rise of a younger group, with such a genius as Edvard Munch at its head. Indeed, the ’eighties produced an enormous amount of good art—a disproportionate amount in fact, for so small and poor a nation as ours. Undoubtedly during these years both painting and literature flourished, and despite all this juvenility and bustle, the lives and struggles of these artists were traced in strong and characteristic lines. The very idealism which they scorned by name was in reality their inspiration—the idealism of life, action, and opinion. Yet their efforts alone could not have achieved the victory so quickly. The naturalistic tendencies of painting had as a background our national development and the revolution in public consciousness that took place during those years. The artists were but a tiny group in the advancing army which at that period forcibly made its way through traditional barriers. The strong, vital cur¬ rents of thought from Ibsen’s dramas swept through the intellectual life of Norway, and thence across that of Europe. The fresh mountain breezes that issued from the verse and prose of Bj^rrnson, the caustic fire of Georg Brandes’s criticism, the passion for truth in the works of 46 Garborg and Jaeger, the wave of radicalism that mounted high in the political world—these were the secret forces in the background. This background shortly developed into a universal one. Positivist philosophy, with its revaluation of old values, scientific research, with its sobering effect in all departments of intellectual life—even in art—all were factors in the case. People began to pay more systematic attention to the experiences of the senses, and naturalism waxed strong in art, becoming a kind of twin brother to empiricism in science. We feel that democracy is the soil from which all these movements sprang, spreading restlessly about on all sides, seething with discontent and with dreams of happiness. A longing for social revolution everywhere makes itself felt, and the revival of Norwegian painting in the ’eighties was merely a reflection of those deep-seated currents of thought that surged back and forth at this period. The most prominent painters in the fighting line of the naturalists were Thaulow, Krohg, Werenskiold, and Munthe. Of these Frits Thaulow first entered the lists, and was also the first to withdraw and turn his back upon the narrow artistic conditions of his native country. Thaulow was a typical cosmopolitan with a refined and elegant taste for colour, who did not feel at home among the naturalists with their bold strength and unadorned truth. Weary of the rank smell of earth, so attractive to the open-air school, he returned in his latter years to the studio, where, with dainty touch and technical cleverness, he won for himself a Euro¬ pean reputation, and for his productions a large market in America. Christian Krohg is gifted in quite another direction. Originally a bold and vigorous colourist, he reached, under the influence of Manet, a higher measure of picturesque 47 strength and raciness than any other Norwegian painter before or since. Moreover, he evinced decided social sympathies, both as painter and journalist, and above all regarded art as a reflex of society. His work was charac¬ terized by actuality, frequently with a definite purpose; he usually selecting strongly marked types and a genuinely veracious milieu. Krohg was first and foremost the demo¬ cratic portrayer of modern social life, especially of the Christiania proletariat, but at the same time he found a special field in depicting seafaring life, and in particular in painting the old Norwegian pilots with remarkable sym¬ pathy and skill. The third, and in certain respects the most significant figure in the art of the ’eighties, was Erik Werenskiold, a painter who despite his fifty-eight years still retains his full vigour, and keeps abreast even of the younger mem¬ bers of the school, always unprejudiced and clear-sighted with regard to the relative status of modern painting. In Werenskiold’s artistic temperament we find strength of purpose, cool calculation, and a quiet, happy enthusiasm. He is a mixture of the logician and the lyrist. The fame of Werenskiold as an artist is chiefly connected with his now classic illustrations to Norwegian fairy tales, in which he depicts each story with a happy insight into the char¬ acter of the people, and, as it were, sees with the eyes of a peasant. With masterly tact the scenes are laid in an indefinite yet not very distant past, imagination and real¬ ity alternating and supplementing each other in the most delightful manner. As a painter Werenskiold has divided his talents between a portrayal of the Norwegian peasant in a typically Norwegian landscape and portrait painting. His artistic development has proceeded evenly and without lapses, yet marked by constant experiment and self-reno- 48 vation as to newer tendencies, so that of late he has unreservedly espoused the modern movement in its striving after strength of colouring and decorative effect. Gerhard Munthe early joined the three pioneer painters mentioned above and, in fact, constituted the rarest element in the resulting quartette. He is Norway’s fore¬ most landscape artist of the naturalistic period, and at the same time he is the imaginative renewer and recreator of our present-day decorative art, conceived in the old Norse spirit. It is a matter for sincere regret that this original and stimulating talent is not represented in our exhibition. The whole artistic development of the ’eighties culmi¬ nated, however, about 1890, in the work of Edvard Munch, unquestionably the most gifted of all Norwegian painters. With his intuitive genius, the profound spiritual depths of his vision, his richly varied and soulful, though not always technically finished production, he remains, in the author’s opinion, the most interesting and compelling perso¬ nality in Scandinavian painting of to-day. The only artist with whom he can be compared in point of creative strength and poetic genius is his great contemporary, Gustav Vigeland, the sculptor. Munch was the product of the na¬ turalism of the ’eighties. He was originally influenced by Krohg, and during his fruitful period of the latter part of the ’eighties, he painted some of the ablest figure com¬ positions and portraits which can be found in the entire range of our art. His great canvas, Spring, in the Natio¬ nal Gallery, as a pictorial arrangement, a portrayal of humanity, and a colouristic achievement, is an indisputable masterpiece, and perhaps the most important and most mature work in all Norwegian painting. It is the first warm day of Spring. The young girl’s invalid chair has been placed by the open window, and, 49 languidly reclining on the pillows, she sits and breathes the air that sighs through the room. A light breeze laden with the fragrance of the fields at this moment fills the window curtain, so that it swells like a sail. As if in gratitude the glance of the convalescent is directed toward her aged mother, who is seated knitting close by, and who eagerly scans the expression on the invalid’s countenance. No words are uttered, but the silence is full of quivering expectation, while the vernal sunshine floods every corner of the simple interior. There is another canvas, earlier in date, but with a similar motive, although quite differently handled, entitled The Sick Child, of which a later replica may be seen in the present exhibition. Out of warm twilight tones gleams the pale profile of a child with a halo of reddish golden hair. At her side appears the kneeling form of the mother, bowed in grief. The lines of composition are incomparably blended in this picture, over which flutter the shadows of the wings of Death, and in which two beings, so fondly united, are about to be gently separated one from the other. As a landscape painter Munch is first and foremost the portrayer of the northern summer night. No one has ren¬ dered as he the mystic suggestion of those light nights, with mighty tree tops swaying above slumbering white houses and the pale, blurred outlines of the surrounding country. Often against this soft background he masses the striking splendour of pure colour, as seen in the bright summer costumes of young girls and women in the foreground. It is very characteristic of Munch’s art that it oscillates between the tender and the poetic and the most powerful demon¬ strations of chromatic strength which sometimes do not stop at sheer brutality. He is typically Norwegian, both in his 50 lyrical feeling and in his violence, in his morbid fantasy and his alert and sensitive apprehension of reality. Munch’s contribution marks the parting of the ways in the development of Norwegian painting, the turning point from photographic realism and illusionism to a purely per¬ sonal interpretation and picturesque strength and beauty. Not one among the young men of talent can be found who has not received vivid impressions from his work, and most of all is this true of his gifted follower, Ludvig Karsten. This painter, who is justly considered the strongest and most spontaneous genius among the younger group, goes even a step further than Munch in the direction of out and out subjectivism, but in his best work he displays qualities so buoyant, so strong, and at the same time so varied and refined, that he may even be said to compete with Munch himself. The talented portrait and landscape impressionist, Henrik Lund, although he now pursues his own path, also clearly stands in a position of indebtedness to Munch. The key¬ notes of Lund’s art are his shrewd psychological analysis and his pointed presentation of character. None can equal him in catching a fleeting expression and transferring it to canvas—a glance, a half smile, a feature that reveals and yet conceals personality. He handles his brush with dexter¬ ous and virile strength, which fact makes him one of the few virtuosos of Norwegian painting. Allied to the fore¬ going artists we find the painter of still-life, Folkestad, with his gay, decorative pictures of flowers and fruit, while at a somewhat greater distance should be placed the tasteful and subdued colourist, Kavli, with his captivating silver- grey harmonies. The painters Thorvald Erichsen and O. Wold-Tome are modern colourists of another type. Both obtained solid, 51 thorough training in the Danish schools, and both subse¬ quently received strong impetus from French impressionism and from Cezanne. We can readily trace this latter rela¬ tionship in their brilliant yet subdued and richly saturated colouring, often showing an iridescent surface, and their fondness for tones of violet-blue. Thorvald Erichsen from quite an early age was a purist in art, and, freed from all restrictions, he espoused the cause of Vart pour I’art , and added to Norwegian painting elements of taste and ele¬ gance that were previously lacking. In this respect he has faithfully co-operated with his comrade and congenial fellow-spirit, O. Wold-Torne, a genuine, beauty loving still- life painter, who, in company with Werenskiold and Munthe, has led Norwegian naturalism further toward refinement of style and colouration. Lastly, we must mention Harald Sohlberg, a solitary and unique figure, who belongs to the new romantic group of the ’nineties, and has remained isolated from the impres¬ sionist movement. No one can fail to remark the carefully drawn and minutely detailed landscapes of this artist, with their rich, enamel-like colouring, affording an extremely in¬ teresting combination of stylistic and naturalistic motives. Sohlberg’s art goes its own way, but its earnestness and tense sincerity are the loadstars that keep it from straying too far afield. Art with such a strong stamp of individuality will always achieve its ends, nor can it fail to rejoice and inspire sympathetic spirits. Had we space we might also mention Holmboe, with his boldly and broadly painted landscapes; Onsager, with his sensitive and subdued figure compositions, as well as many others. Yet this brief introduction does not aim at com¬ pleteness, so we shall herewith permit the pictures to speak for themselves. 52 SWEDISH SECTION Under the Gracious Patronage of HIS MAJESTY GUSTAV V King of Sweden ANNA BOBERG — From a photograph 54 PAINTINGS BOBERG, Anna, Stockholm Anna Boberg was born the 3 December, 1864 at Stock¬ holm. She is a daughter of F. Scholander, who played such a prominent part in the development of modern Swedish archiecture, and is the wife of Ferdinand Boberg, one of the most eminent architects in Sweden. With that daunt¬ less energy so characteristic of the highly talented family to which she belongs, she has, during the past few years worked her way up to European fame. The locality from which she takes her subjects is the Lofoten Islands, off the coast of Norway, and there she has painted those huge mountains rising out of the sea, surrounded by fleets of fishing boats, which have the same form as the old Viking ships, and the crews of which have not a little of the hardiness and courage of the Vikings. Though certain Swedish critics have not infrequently treated the work of this talented artist with unjustifiable harshness, yet abroad, and especially in Venice and in Paris, these paintings from the North, rendered by a woman of uncommon artistic talent, who combines with her love of art the true Scandi¬ navian fondness for outdoor life, have been greeted with distinct enthusiasm. Mrs. Boberg often spends long periods in the solitude of these far-away islands, where something of the sturdy spaciousness of old Northern times still survives. 1 Sunlight and Showers 2 At Rest, Sunday 3 Dragonheads 4 After the Day’s Work 5 Boats and Fisher Huts 6 Not a Ripple 7 Putting Out to Sea 55 EUGEN, H. R. H., Prince Eugen, PRINCE Eugen, son of Oscar II and Queen Sofia, was born the 15 August, 1865 at Drottningholm Castle. He began to paint about 1885, and studied in 1887 at Paris, where Puvis de Chavannes seems to have aroused his taste for decorative art. He exhibited for the first time in 1889 in Paris, and during the last few years has lived at Valdem- arsudde, in Djurgarden Park, Stockholm, occupying the beautiful villa built for him by the distinguished architect, Ferdinand Boberg. The services Prince Eugen has rendered modern Swedish art are inestimable. He has generously aided and supported a large number of young painters, has exercised an extensive patronage in the shape of orders for pictures, and finally has himself created genuine works of art and studied his craft deeply and without a trace of dilettantism. It is particularly the Swedish summer night, with all its feeling of unison and melting into one great har¬ mony, that he depicts as no one else has done. Tegner describes the Scandinavian summer night with the words: “ ’Twas not day, ’twas not night—a-poise between the two,” and for the Swedes, Prince Eugen’s pictures wake into deep and rich life their innermost and profoundest feelings for nature. Yet Prince Eugen paints not alone the more remote appeal of distant wooded and watered landscape, but also devotes his energies to recording the constantly shifting panorama of life and scene in and about Stockholm. And to no theme does he fail to impart that note of refined and exalted lyricism which is the dominant characteristic of his temperament. 8 Swedish Summer Night 9 After Rain FJ7ESTAD, Gustaf Adolf, Arvika GuSTAF FJjESTAD was born the 22 December, 1868 at Stockholm. He studied at the Academy of Arts from 1891 to 1892, and also under Liljefors. Fjsestad, like the 56 57 X X Naona aoNiad latter, is both sportsman and painter. In his art he views native landscape with something of an arbitrarily chosen viewpoint, now bringing out the decorative elements in rip¬ pling water, mosses, and snow-drifts heaped together by the wind, and again applying his stylistic vision to textiles and furniture. It is, however, through his snow scenes from wintry Sweden that he has won such appreciation abroad, and rarely have snow and frost effects been painted so con¬ vincingly. Fjaestad devotes himself extensively to applied art, and in his rustic furniture has striven to produce true Scandinavian decorative motives, and in his carpets and wall-hangings he gives artistic expression to mosses and flowers of the forest, or the quaint surface formation of water-rings. In all this work he has unquestionably said new and personal things concerning the treasury of beauty, left unregarded for centuries, to be found in the fantastic and varied shades and shapes the snow can assume, the snow which had previously been regarded in art and litera¬ ture from but one point of view—that of white, virgin purity. 10 Winter Morning 11 Part of Waterfall 12 Hoarfrost 13 Meditation 14 September Night 15 Ripples 16 Sun and Snow 17 Running Water 18 Winter Night—Tapestry- 19 Running Water—Tapestry 20 Thaw—T apes try 21 Below the Falls—Tapestry 58 GUSTAF ADOLF FJA2STAD — From a photograph 59 HALLSTROM, Gunnar, Bjorko Gunnar Hallstrom was born the 2 May, 1875 at Stockholm. He studied from 1893 to 1897 at the Academy of Arts, and has resided during the past ten years at Bjorko in Lake Malaren. In this beautiful island, where the town of Birka was once situated, and where the French monk, Ansgar, in the middle of the ninth century, first preached the Christian faith, there still survives something of the ancient Swedish peasant culture, and this profoundly ima¬ ginative artist has made Bjorko the focus of his esthetic activity. He paints and draws not only ancient graves, over which birches are soughing, but also young, living Sweden—light-haired men and women, dancing round the Walpurgis Night fires, or speeding on skis over the frozen waters of the lake. Hallstrom is an entirely independent artist. He has a strong feeling for the decorative, which is displayed to advantage in his tapestries and vignettes, and notably in the strikingly suggestive and characteristic poster which he has designed for the present exhibition. 22 On the Frozen Snow 23 The Gladness of the Earth 24 On the Border of the Field HESSELBOM, Otto, Seffle o OTTO Hesselbom was born in 1848 at Animskog, in the Province of Dalsland, and it is in this province, situated on Lake Vanern, the largest lake in Sweden, that he has painted and still paints his typically Swedish views over blue heights and broad waters. His artistic develop¬ ment was slow, and it is strange to think that the meek Mission School boy, who so tardily began his studies at the Stockholm Academy of Arts, should have been appreciated in Germany and Italy before his name was even known to Swedish artists or patrons of art. He strives after simplicity and monumentality, giving his pictures a lyric quality and a 60 GUNNAR HALLSTROM — From a photograph 61 quiet grandeur which are typical of certain aspects of the Swedish landscape. Hesselbom now resides at Seffle in Varmland, near Lake Vanern, and has recently had the satisfaction of seeing himself better and better appreciated. His pictures have been purchased by leading museums at home and abroad, and he is an artist who has made his way by dint of extraordinary energy and singleness of purpose. 25 My Country 26 View Over Lake Arran 27 My Parental Home 28 Evening Landscape, Lake Arran LARSSON, Carl, Sundborn CARL LARSSON was born the 28 May, 1853 at Stockholm, where he studied at the Academy of Arts from 1869 to 1876. He meanwhile supported himself by illustration, went over to Paris in 1876, and in 1883 revealed his first independent artistic style in a series of bright and delicate water-colours. As an illustrator, too, he shortly attained a much higher plane. Residing first at Gothenburg and then at Stockholm, he devoted himself to mural decoration, his most important work in this line being his six frescoes in the National Museum and his great ceiling-piece in the foyer of the Dramatic Theatre in Stockholm. He is best known, however, by his water-colours, abounding with true Swedish feeling, love of home, and good humour. These pictures, executed with a consummate mastery of line, have, by their wide yet merited popularity, doubtless prevented the gen¬ eral public from fully realizing his greatness as a mural painter. Rarely has the sheer joy of esthetic creation so come to light as in Carl Larsson and his art. These emana¬ tions from a singularly rich personality have influenced and invigourated the entire nation. At Sundborn, near Falun, Carl Larsson has built for himself a home in every way 62 OTTO HESSELBOM — From a photograph 63 worthy the artist, a home which he loves, and which it has been his delight to depict with inexhaustible charm and variety. 29 Myself 30 My Wife 31 Shelling Peas 32 The Love Park 33 In Mother’s Bed 34 Theatrical Cogitations 35 In the Snow 36 Nerium 37 Kersti at the Window 37 A In the Study LILJEFORS, Bruno Andreas, Bullero Bruno Liljefors was born the 14 May, 1860 at Upp¬ sala, and studied from 1879 to 1882 at the Academy of Arts in Stockholm. The great animal painter travelled in Ger¬ many, Italy, and France, but has been little influenced by other painters. He has spent nearly his whole life in Sweden, in the country, first near Uppsala, and, during the last twenty years, some miles south of Stockholm. Lilje¬ fors is pre-eminently the painter of the forest. It has been said of him that he paints natural history, and, indeed, in his pictures everything is reproduced with the exactness of the hunter and the lover of nature. He delights in depict¬ ing the protective mimicry of animals, such as evoking sym¬ phonies of colour from a group of brown-speckled waders on the sandy beach. Liljefors paints animals as they are when no one sees them. He surprises them in their life and death struggles, without being visible himself. It is within his power, and his alone, to show us the ducks as they quack mysteriously in the light summer night, or the foxes slinking farther and farther into the forest, where the music 64 * €AR L LARSSON — Portrait of self. Bonnier, Stockholm. Collection of Mr. Karl Otto 65 of the pines has been soughing since time immemorial, and where everything gives forth a compelling sense of the unity of all organic life. 38 Foxes 39 The Hunter 40 Fox Shooting 40 A Birds in the Snow ZORN, Anders Leonard, Mora ANDERS ZORN was born the 18 February, 1860 at Mora, in Dalarne, the son of a brewer from Bavaria and a Dalecarlian woman. He was brought up as a peasant boy on the banks of Lake Siljan, and when but a small child gave evidence of his passion for art by carving wooden figures, which he coloured with berry juice. At the age of fifteen he went to Stockholm. Though he first studied sculpture at the Academy of Arts, it was as a water-colour painter that he made his initial mark. As early as 1881 he began to travel, spending considerable time in Spain, and later residing for some years in London. During the ’nineties he passed no little time at his home in Mora, upon which he has lavished his most ardent love, but he has also resided in Paris and the United States, where his breezy freshness, his spirit and dash, his inimitable blending of rusticity and elegance, and the vigour and healthy sensuality of his line and stroke readily found both enthusiastic and discriminating admirers. Zorn may sometimes be uncon¬ vincing in his painting, but when he does succeed, he con¬ jures up reality itself, and gives his work a definite some¬ thing which recalls Frans Hals, though Zorn never tried to learn from the masters of either the seventeenth or the eighteenth centuries. Technically he has chiefly aimed at giving proof of his supremacy as a painter of light and of fleeting chromatic effects. He has endeavoured to repro¬ duce that which he most loves—the fullness of life— 66 BRUNO A. LILJEFORS — Portrait by Anders L. Zorn 67 and his personality shines forth in every line, every patch of colour. 41 Mona 42 Matins on Christmas Day- 43 Djos-Matts, Clockmaker of Mora 44 Skeri-kulla 45 At the Window 46 Dagmar 46 A Hall Kesti SCULPTURE EDSTROM, David, Stockholm David Edstrom was born in Sweden in 1873, and came to America as a mere child, his parents settling in Iowa. Until nearly twenty he lived in the West, at which age, desirous of pursuing an artistic career, he returned to his native country and began his studies at the Stockholm Academy. He early revealed remarkable talent, particu¬ larly in the field of plastic portraiture, and continued his apprenticeship in Florence and in Paris. Edstrom was seen to particular advantage with his associates of the Konst- narsforbundet at the Berlin Secession in 1910, and still more recently at Stockholm and Amsterdam, having held this summer in the latter city an important collective exhi¬ bition conjointly with his countryman, Carl Larsson. His portrait busts of Ernest Thiel, Esq., of Professor Knut Kjellberg, of the publisher, Karl Otto Bonnier, and other notable men, display uncommon vigour of characterisation and psychological analysis. 47 Ernest Thiel, Esq. — Bronze 68 ANDERS L. ZORN — Portrait of self 69 MILLES, Carl, Stockholm CARL Milles was born the 23 June, 1875 at Lagga, near Uppsala, but received his artistic training in France, where he studied under Fremiet. Milles, who has been residing in Stockholm for about a decade past, is a fertile artist, rich in creative power. He is as full of ideas and projects as he is conscientious in their execution, plunging into the biggest and most arduous tasks with joyous enthusi¬ asm. The statue of the Swedish chemist, Scheele, at Koping, is considered one of his best works, and the huge seated statue of Gustaf Vasa, in the Northern Museum, at Stockholm, shows that Milles has already entered into the popular consciousness, for this Gustaf Vasa stands for Swedes as the true type of the king who “built up Sweden from floor to roof.” Eagles, elephants, giant lizards, and bears, at once grotesque and monumental, have also been fashioned by Milles in granite and in bronze. His work is free and broad in treatment and never fails to reveal a wel¬ come measure of spirited, graphic verity. 48 Dancing Girl — Marble 49 Dancing Girl with Drapery — Marble 50 Lost in Thought — Polychrome marble 51 After Six O’Clock — Bronze 52 At the Farrier’s — Bronze 53 Elephants — Study — Bronze 54 Dutch Milkmaid — Bronze 55 Six Studies from Holland — Silver PETTERSSON, Axel, Doderhult Axel PETTERSSON was born in 1868 at Doderhult, in Smaland. He is from the same province as the great humourist, Albert Engstrom, and, like the latter, depicts the lean, shrewd old peasants and peasant women 70 CARL MILLES — From a photograph 71 AXEL PETTERSSON — From a photograph 72 with their quaint air of assurance. He also carves similar subjects, and, like the Japanese, puts something at once grotesque and artistic into his wooden statuettes, which are now known and prized the world over. Pettersson is himself a peasant’s son. He first began work as a joiner. He is wholly self-taught, and a man of unusual originality. His style of execution, his feeling for the requirements of the material, and for broad, simple planes, constituting a sort of impressionism in wood carving, render his emacia¬ ted hacks, his obstinate bulls, and burlesque peasant wed¬ dings and funerals really remarkable works of art. 56 The Christening — Wood 57 At the Photographer’s — Wood 58 The Burial — Wood DANISH SECTION Under the Gracious Patronage of HIS MAJESTY CHRISTIAN X King of Denmark THORVALD BINDESB-CLL—Portrait by Vifhelm Hammersh^i, Collection of Dr. Alfred Bramsen, Copenhagen 76 THORVALD BINDESBCrLL The late THORVALD BlNDESB^rLL, whose countenance so characteristically adorns the opposite page, was indisput¬ ably the most virile and fecund force in the entire field of contemporary Scandinavian decorative art. Born at Copenhagen in 1846, he died sixty-two years later in the city which he strove so variously to beautify, and of which he remains to-day one of the imperishable glories. The career of this remarkable individual was an incessant struggle toward an ever richer and more typical esthetic self-expression. His energy was boundless, and his activity as unceasing as his flow of wit and lusty good humour which were tempered now and again by a manly and merciless sarcasm. He touched current artistic endeavour at an infinite number of points, and everywhere left the impress of his vigorous personality and unflagging inventive ex¬ uberance. The son of the well-known architect who planned the Thorvaldsen Museum, he was himself trained in the paternal profession, which he practised whenever opportunity offered. It was, however, in the province of creative design that he attained highest rank, and no one familiar with his work in pottery, furniture, silverware, tapestry, book-binding, or decorative ornament of any description will fail to recognize the abundant freedom and rhythmic eloquence of his contribution. While there are echoes in this art of such widely divergent influences as the Romanesque, Baroque, and Chinese, still, in the final analysis, all that he has left behind remains sheer Bindesb^ll in its opulent breadth of form, fluent individuality of stroke, and sonorous richness of tone. It is a pleasure to offer herewith even such an inconsiderable fragment of Bindesb.edrs art as may be noted in the cover and incidental decorative features of the present catalogue. The designs are published with the special sanction of Director Karl Madsen, and have been adapted and arranged, in as far as has been necessary, by Bindesbjsdl’s favourite pupil, Mr. SvendHammersfuad, brother of the Danish painter, Vilhelm Hammershjsri, and himself an artist of distinction. 77 PAINTINGS GIERSING, Harald, Copenhagen Harald Giersing was born in Copenhagen and oc¬ cupies a prominent place among the younger group of Danish painters who have lately done so much toward shattering the chrysalis of a comfortable past. They have one and all derived their chief impetus from the ever fruit¬ ful city by the Seine, which, at stated intervals, takes it upon herself to revolutionize and renovate the field of art. If his friend and fellow worker Edvard Weihe leans vaguely toward Cubism, Giersing goes further back and takes his in¬ spiration mainly from Cezanne. He exhibits of course at the Frie Udstilling, the stamping ground of modernism, his group last spring and summer being a particularly interesting one consisting of eight portraits and nature studies. While it cannot be said that Giersing has as yet found himself in an artistic sense, he has nevertheless given evidence of uncommon talent. In order to be comprehensive, an exhibition should look courageously forward into the future, as well as safely and placidly back to the past, and Harald Giersing is one whose work clearly points to newer and fresher accomplishment. 59 Girl with Blue Skirt HAMMERSH0I, Vilhelm, Copenhagen Vilhelm Hammershoi, was born the 15 May, 1864 in Copenhagen, and pursued his artistic studies at the Royal Academy of Arts from 1879 to 1884, after which he was for sometime a pupil of Kroyer. In the spring of 1885 he made his first appearance at the annual Charlotten- borg Exhibition, on which occasion he displayed the celebrated Portrait of a Young Girl, now in the Hirsch¬ sprung Collection. There was little trace in any of his early work of the facile pleinairism of his master, Kreyer, for from the very outset Hammershoi began to see life 78 HARALD GIERSING —Portrait of self 79 and nature after his own inherently subtle and in¬ dividual manner. In their delicacy of vision, subdued ambience of tonality, and premeating quietude of spirit these interiors and genre studies are quite without parallel in the province of modern artistic achievement. They re¬ call in a measure the modest triumphs of the Dutchmen of the seventeenth century, yet no Dutchmen ever showed the tense and tremulous subjectivity which these incom¬ parable little panels reveal. In 1891 Hammersh^ri, to¬ gether with a number of the more progressive Danish painters, left the dull official somnolence of Charlottenborg in order to imbibe the fresher atmosphere of the Frie Udstilling, and year by year his work has gained in depth and esthetic penetration. He is now recognized through¬ out Europe as a unique artistic personality, and in 1911 won the Grand Prize at the International Exhibition in Rome. Although the early stages of his career were not marked by a conspicuous measure of success, Hammersh.©i was fortunate in finding a discriminating and enthusiastic patron in Dr. Alfred Bramsen, of Copenhagen, to whose courteous generosity we are indebted for the present characteristic group of canvases. 60 Western Portal, Christiansborg Castle 61 The Church, Christiansborg Castle 62 The Young Virtuoso, Mr. Henry Bramsen 63 Sunbeams 64 Kronborg, Hamlet’s Castle 65 Open Doors 66 Montague Street, London 67 Entrance to Asiatic Company, Copenhagen 68 The Balcony Door 69 Bedroom 70 Drawing-room, Lady Reading 80 VILHELM HAMMERSH0I —Portrait of self. Courtesy of the artist’s brother Mr. Svend Hammershj©'i. 81 J 0 RGENSEN, Axel, Copenhagen AXEL Jorgensen was born the 3 February, 1883 in Copenhagen, and thus obviously belongs to the younger group of Danish painters who are to-day winning their laurels with such remarkable rapidity and assurance. Studying first at the Technical School at Copenhagen, Jorgensen made his debut at Charlottenborg in 1908, and two years later attained signal success on the occasion of his appearance at the exhibition of The Thirteen, a group of young radicals who have already given excellent account of themselves. The same year— 1910 —he was invited to send to the Frie Udstilling, or Free Exhibition, and sub¬ sequently made his appearance at the International Ex¬ hibition at Rome. The painter’s recent retrospective dis¬ play at Blomqvist’s in Christiania stamped him as con¬ siderably more than a promising newcomer. His style reveals welcome breath and freedom, his grasp of character is firm, and, both in his work in black and white and on canvas, he proves himself the possessor of a distinctly marked esthetic individuality. It is a pleasure to add that Jorgensen is another of that group of talented progressives who have lately won favour with Director Madsen of the Royal Gallery. 71 Portrait 72 Portrait of Young Man KYHN, Knud, Copenhagen Knud Kyhn was born the 17 March, 1880 in Copen¬ hagen, and received his preliminary training at the Royal Academy of Arts, where he at once displayed his fondness for pure colour and refreshingly decorative effects. He made his first professional appearance at Charlottenborg in 1906, and since 1908 has been regularly invited to ex¬ hibit at the Frie Udstilling where he finds himself in dis¬ tinctly more congenial company. Although still a young 82 AXEL JORGENSEN — Portrait of self 83 man he has already won recognition on the Continent, having recently been seen to advantage at the Salon des Independants in Paris and also at the Berlin Secession, his group of three brightly tinted panels having been parti¬ cularly admired in the latter galleries last summer. Both in spirit and in practice an essentially decorative painter, Kyhn adds a welcome note to Danish art, which, until now, has shown marked neglect of those tendencies which may be briefly characterised as stylistic, and with which the Swedes evince such pronounced sympathy. 73 Ducks in Flight 74 Mowgli in the Jungle LARSEN, Johannes, Kjerteminde Johannes Larsen was born the 27 December, 1867 at Kjerteminde, on the Island of Fyn. He did not receive formal instruction from any of the Danish art schools or academies but from 1884 to 1893 pursued his studies in more leisurely and stimulating fashion under Kristian Zahrtmann. In 1891 he made his appearance for the first time at the Charlottenborg exhibition, and since 1893 has been a member of, and regular contributor to, the Frie Udstilling. Larsen has also studied and painted at different intervals in Paris, in Italy, and even Boston, where he resided for sometime in 1907. Together with his fellow- pupils under Zahrtmann, Fritz Syberg and Peter Hansen, Johannes Larsen forms the nucleus of what is known in modern Danish painting as Den fynske Skole, a group of sincere and earnest nature worshippers who find their chief inspiration in the Island of Fyn and whose best pro¬ ductions are to be seen in the provincial museum of Faaborg. Larsen is Denmark’s foremost painter of bird life, and inva¬ riably lends his work a verity of observation and char- 84 JOHANNES LARSEN — From a photograph 85 acteristic truth of setting and colouration which never fail to attract interest both at home and abroad. 75 At the Window 76 Peahen and Young 77 Summer by the Sea 78 Goldfinch in Cage MADSEN, Viggo, Lyngby VlGGO Madsen was born the 5 March, 1885 at Lyng¬ by, one of the numerous beautiful suburban resorts in the vicinity of Copenhagen. Like his distinguished father, Director Karl Madsen of the Royal Gallery, Viggo Madsen early gave evidence of marked artistic talent, and in 1903 made his entry at Charlottenborg. The following year he became a member of the Frie Udstilling, the magnet which inevitably draws into its energizing radius the younger and more progressive exponents of Danish art as well as not a few of the older spirits who thereby seek to postpone as long as possible the impending process of fossilisation. In his portraits, genre studies, and landscapes Viggo Madsen displays no little fresh charm of vision and freedom of handling. 79 Portrait of My Mother 80 View from My Bedroom Window NIELSEN, Einar, Hellerup ElNAR Nielsen was born the 9 July, 1872 at Copen¬ hagen. After studying for a brief period at the Technical School he entered the Royal Academy of Arts where he remained from 1889 to 1893, making his appearance the latter year at the Charlottenborg exhibition. Owing largely to considerations of health he has, since 1905, resided mainly in Italy, returning occasionally to pass the 86 EINAR NIELSEN — From a photograph 87 summers at Gern, in Jutland, and but rarely opening his modest white house set among the trees of Hellerup. His position in Danish art and, indeed, in the art of Europe is unique. His tense, scrupulously designed, and penetrant portraits and character studies are unlike anything in modern painting. Almost achromatic in tone, yet incom- parately faithful in line, instinct with psychological feeling and imbued with a deep sense of human misery and suffer¬ ing, these canvases exercise a powerful appeal wherever they make appearance. His own lack of physical vigour has unquestionably coloured his vision of external reality and conferred upon his art its acutely sensitive modernity and sympathetic affinity with that which is most enduring in the production of the past, particularly the work of the Italian primitives. 81 Evening Bells 82 Portrait 83 Brittany Woman PAULSEN, Julius, Copenhagen Julius Paulsen was born the 22 October, 1860 at Odense, where he began his artistic career in humble fashion as pupil in the Technical School, and was subse¬ quently apprenticed to a local house painter and interior decorator. Encouraged chiefly by his mother to continue his studies, he moved to Copenhagen, remaining at the Royal Academy of Arts during 1879-1882. His debut was made at Charlottenborg in 1879 and since then he has been a constant exhibitor and has at various intervals been accorded the highest official honours. As a member of the Royal Academy, a member of the Academy Council, and an Academy Professor he has enjoyed unusual prestige, a prestige in the main justified, though within the past few years taste has decidedly changed respecting the more academic side of his production. As a landscape painter, and in the province of portraiture he however continues 88 to hold his own, being indeed the only Danish artist save Knoyer, and in a lesser degree Tuxen, to give his sitters that touch of cosmopolitan elegance so currently admired in social and diplomatic circles. 84 Portrait of Baron Rosenkrantz RING, Lauritz Andersen, Baldersbremde Lauritz Andersen Ring was born the 15 August, 1854 in the village of Ring, in Seeland, where his ancestors had for generations been humble cottagers. There being scant opportunity to pursue his artistic studies in the nearby town of Prsestjsr he came to Copenhagen in 1875 and remained at the Academy for a considerable period. In 1882 he made his first appearance at the Charlottenborg exhibition, and it is on the historic walls of this same venerable institution that his canvases are still annually seen. Save for a few brief trips abroad this essentially home-loving artist has passed most of his quiet, industrious lifetime in Denmark, the flat, wide-horizoned scenery of which he loves so deeply and paints with such endearing truth and sincerity to fact and to spirit. Ring continues the line of that older generation of artists who were the veritable founders of Danish landscape. His art is purely traditional, and has nothing in common with that of the younger men now so much in the public eye. To visit his modest, vine-covered and flower-fronted home near Roskilde is like finding one’s self back in the fragrant, repose¬ ful atmosphere of past existence and patient endeavour. 85 The Postman 86 Winter Day 87 The Farewell 88 Karrebaksminde 89 Marshland 89 SCHOU, Karl, Valby Karl Schou was born the 9 March, 1870 in Copen¬ hagen, and at the age of seventeen became a pupil of Kris¬ tian Zahrtmann, than whom no one has done more toward opening the eyes of the younger generation of Danish and Norwegian painters to the myriad possibilities of nature in¬ terpretation and the colouristic beauty of wellnigh any speci¬ fic object or scene either within or out of doors. Like so many of his comrades, Karl Schou made his first public appearance as a painter at Charlottenborg (1891), after¬ ward joining forces with the Frie Udstilling of which he has been a member since 1896. Continuing his studies in Paris, London, and Italy, he returned to his native country where he has won a distinct place for himself as a subtle and poetic apostle of delicately varied atmospheric effects. Schou in essence belongs with the tonalists. His freely handled little canvases are usually conceived in a single carefully sustained key, and seldom fail to reveal refinement of taste and true esthetic sensibility. His art is subjective in appeal, and stands in direct antithesis to the clear-eyed objectivity so characteristic of Ring. 90 Miss B. at the Piano 91 The Farm 92 Farmyard After Rain 93 In the Garden SWANE, Sigurd, Copenhagen SlGURD Swane was born the 16 June, 1879 at Frederiks- berg, Copenhagen. During 1900-1902 he studied at the Royal Academy of Arts, and from 1904 to 1906 was under the sound and stimulating guidance of Kristian Zahrtmann. He meanwhile, before going to Zahrtmann, made his debut at Charlottenborg, and in 1907, after completing his studies at home, spent considerable time in Paris. It was in Paris that he absorbed to the full the new gospel which at that 90 LAURITZ ANDERSEN RING — From a photograph 91 period had barely become known in Copenhagen, and on his return naturally cast his lot with the Frie Udstilling of which he is one of its strongest pillars. Swane’s work is marked by a pronounced degree of colouristic vigour and beauty. He also draws with freedom and power, and his grasp of character is uncommonly sure. In that great struggle for self-expression along novel and independent lines, that fight for simplification of contour and of tone which is so completely changing the complexion of modern painting, Swane is already making his personality felt, and will doubtless prove a prominent factor in the forward march of contemporary Danish art. 94 Four Artists 95 Early Spring 96 The Forest, Afternoon SYBERG, Christian Friedrich Wilhelm Heinrich, Copenhagen Fritz Syberg, as he is somewhat more expeditiously known, was born the 28 July, 1862 at Faaborg, and it is as a prominent member of Den fynske Skole that he takes well defined place in the minds of the Danish public. Like his comrades Johannes Larsen and Peter Hansen, a pupil of Kristian Zahrtmann, with whom he studied from 1885 to 1891, Syberg made his debut at Charlottenborg, and sub¬ sequently joined the Frie Udstilling where he has regularly exhibited since 1893. At different intervals he has con¬ tinued the study and practice of his profession in Germany, Italy, and Paris, and from 1909 has resided in Pisa. While in no sense brilliant or dexterous, the art of Fritz Syberg compensates for any seeming lack of manipulative mastery by its manifest sincerity of purpose and fidelity to fact. There is an inborn as well as voluntary rusticity of theme and treatment to the work of this particular group which at once commends their production to the quiescent, home- 92 SIGURD SWANE — Portrait of self 93 loving Danes. They represent that national note in Danish painting so dear to Director Madsen, and which, though it is never lost, is at times in danger of being obscured by extraneous influences. 97 The First Day of Spring 98 September Sunshine 99 Gulls at Meilo 100 Sunshine and Mist, Kattegat WE I HE, Edvard, Copenhagen Edvard WEIHE was born the 18 November, 1879 and received his preliminary training at Copenhagen under Zahrtmann during 1905-07. It is, however, Paris and the restless ferment of latter day artistic effort which have had the most pronounced influence upon him as, indeed, upon so many of the younger Copenhagen painters of his generation. He has lately joined the Frie Udstilling where his recent canvases displayed distinct traces of that wave of wholesome radicalism which is at present causing con¬ sternation among the ranks of the timid and conservative devotees of precedent. Weihe is to-day engaged in casting off the shackles of a smooth, insipid beauty that has long since lost all significance and seeking, in the sturdier and more simplified creed of the progressives, a characteristic esthetic programme. Judged according to the most advanced standards he cannot be called an extremist, though he is thus regarded in Copenhagen, and will doubt¬ less be considered even more so in America. It is such young men as Swane and Weihe who should help to con¬ vince us that we are artistically stagnant, and their presence in the current exhibition is to say the least—opportune. 101 Portrait of My Mother 102 Flower Market, Copenhagen 94 EDVARD WEIHE —Portrait of self 95 WILLUMSEN, Jens Ferdinand, Hellerup Jens Ferdinand Willumsen was borti the 7 September, 1863 at Copenhagen, and received his prelimin¬ ary training at the Technical Institute, later entering the Royal Academy of Arts where he remained from 1881 to 1884, subsequently studying for a time under Knoyer. His first public appearance was made at Charlottenborg in 1883 and after a brief period of work and struggle in Copenhagen, he settled in Paris where he resided continu¬ ously for over a decade. Few artists have displayed such restless creative activity or attacked so many different phases of esthetic endeavour. Willumsen is not alone a painter, but also sculptor, architect, and decorative de¬ signer. In 1891, largely through his efforts, was organized the now famous Frie Udstilling which has played such an important role in the emancipation of modern Danish painting. From 1897 to 1900 he was Artistic Director of Bing and Gr^mdahl’s Pottery, to which firm his efforts lent unexampled prestige. It was again Willumsen who was mainly responsible for the success of the Friluftsteatret or Open Air Theatre at Dyrehaven and, in brief, no one save perhaps the late Thorvald Bindesb^edl has left so strongly personal a stamp upon the varied field of current Danish artistic development. Willumsen is an avowed internationalist in his attitude. He is the enemy of that confiding provincialism so dear to many of the Danes even in these progressive days. He holds that art is a universal language, and flaunts his viewpoint squarely in the face of the Copenhagen public. For years his pictures, so un¬ compromisingly modern in feeling and technique, aroused the angry scorn or good natured sarcasm of his countrymen, but recently the tide has turned in his favour. The day has been won through sheer force of his superb creative energy and enthusiasm, and he now enjoys a rapidly increasing prestige both at home and abroad. Like Munch in Norway, Willumsen is one of the young Titans of con¬ temporary Scandinavian art, a trifle battle-scarred perhaps, 96 A ^ ^ \jJ J. F. WILLUMSEN —Portrait by Johan Rohde 97 for his fight has been a long and bitter one, yet the victory— and the vindication—have fortunately not come too late. 103 Youth and Sunshine 104 The Painter and His Family 105 A Mother’s Dream 106 The Mountain Climber 107 Paseo de las Delicias, Sevilla 108 Plaza de San Fernando, Sevilla 109 Sehora de Valencia 110 Summer Night, Denmark PORCELAIN ROYAL COPENHAGEN 111 VILHELM FISCHER — Vase, Pelican Motive 112 VILHELM FISCHER — Vase, Heron Motive 113 C. MORTENSEN — Vase, Danish Land¬ scape Motive 114 C. MORTENSEN— Vase, Crow Motive 115 Small Pieces, Various Motives 98 NORWEGIAN SECTION Under the Gracious Patronage of HIS MAJESTY HAAKON VII King of Norway EDVARD DIRIKS — Portrait of self 100 PAINTINGS DIRIKS, Karl Edvard, Dr 0 bak EDVARD Diriks was born the 9 June, 1855 in Chris¬ tiania, and at the age of seventeen went to Germany with the intention of devoting himself to architecture. He studied successively in Stuttgart, Karlsruhe, and Berlin, and it was in the latter city, while a pupil at the Bauaka- demie that, under the influence of his countryman Christian Krohg and the magnetic German, Max Klinger, he re¬ nounced architecture and found more congenial expression in the field of painting. He shortly repaired to Weimar where, after a brief period under Theodor Hagen, he re¬ turned to Christiania in 1879 and has subsequently divided his time between Norway and Paris. Diriks is one of the heroic figures of contemporary Norwegian art. He was intimately connected with the great struggle for clearer vision and cleaner palette, and was one of the earliest Scandinavian exponents of Impressionism. He is to-day that rare and welcome phenomenon—a man of middle age who has remained fresh and buoyant in feeling and in brush stroke. The fight for recognition at home was for his generation a long and bitter one, but he enjoys at last assured position as a poetic and colourful interpreter of the changing beauty of fjord, mountain, and sky. 116 Clouds Mirrored in the Sea 117 Pine Trees by the Fjord ERICHSEN, Thorvald, Gudbrandsdalen THORVALD Erichsen was born the 18 July, 1868 in Trondhjem. After beginning his artistic studies in Berg- slien’s School in Christiania he went to Copenhagen where, in company with other young compatriots, he spent some time under the sagacious and inspiring eye of Kristian Zahrtmann. In order further to enlarge his vision and 101 develop his maturing taste he later visited Paris and Italy, returning home to identify himself with that significant movement which in the ’nineties was headed by such men as Sohlberg and Egedius, and which may be characterized as the new romanticism. Erichsen, however, possesses distinctly more painterlike qualities than either of the foregoing artists. His technique is freer and more ex¬ pressive, and he has learned, possibly from the Danes, to give his work a soft, almost luscious richness of tone and texture quite unlike Sohlberg’s more constrained surfaces. His most important canvases have been painted in Gud- brandsdalen, and such of those as attain the excellence of the Telemarken Landscape in the National Gallery are certainly a distinct contribution to Scandinavian art. 118 Twilight 119 Snow After Sunset 120 Red Cliffs FOLKESTAD, Bernhard, Christiania Bernhard Folkestad was born the 13 June, 1879 in London, and received his preliminary training in Copenhagen and Paris, exhibiting for the first time at Christiania in 1901. In common with Wold-Tome, Erichsen, and other young Norwegians who have come under Danish influences, Folkestad displays an opulent harmony of vision which has added a welcome note to modern Norwegian painting. There is indeed nothing in the art of the past generation that in any way challenges comparison with these splendidly seen and eloquently handled bits of fruit and flowers or these studies of poultry feeding in sunlit cottage kitchen-garden. The talented group to which Folkestad belongs seems to have decided in favour of tonalism instead of crisply dazzling outdoor effects. Their work is always discreetly sumptuous in colouring. It is an appeal to the senses rather than a scientific analysis of light or a rigorously simplified arrange- 102 THORVALD ERICHSEN — From a photograph 103 ment of line. They are avowed beauty lovers, these men, and as such their art year by year gains both in distinction and in maturity of utterance. 121 Still-life 122 Summer Day HOLMBOE, Thorlof, Christiania THORLOF HOLMBOE was born the 10 May, 1866 in Vefsen, Helgeland, and from the age of six exhibited dis¬ tinct talent for drawing. In 1886, somewhat before—it must be added in extenuation—that the old regime was completely swept away, he went to Berlin in order to pursue his studies under Hans Gude. After a brief interval passed in Christiania he turned toward France, studying for awhile in Paris with Bonnat and Cormon. A confirmed traveller, and a manifest cosmopolitan in his general attitude toward life and art, Holmboe is nevertheless fundamentally Nor¬ wegian in his artistic expression. He was for a time more or less closely identified with the younger romantic group, and particularly in his illustrations attained heights of decorative romanticism which placed him quite by himself. Of late his style has considerably broadened and his colour¬ ing has become more positive, and there is to-day in these wind-tossed pines and towering, snow covered peaks a note of vigour and virility which is alone the gift of a true son of the Northland. Happily for his progress, Holmboe early repudiated the .-academic pedentry of Bonnat and Cormon. 123 Mountains, Lofoten 124 Landscape with Pine Trees 125 Autumn 126 View of Christiania Fjord 126 A Landscape 104 105 KARSTEN, Ludvig Peter, Christiania Ludvig Karsten was born the 8 May, 1878 at Chris¬ tiania, and prepared himself for his future career at the Munich Academy and in Paris under Eugene Carriere. His first appearance as a professional painter was made at Christiania in 1901, since which date he has travelled, studied, and resided at different intervals in Germany, Italy, Spain, and France. The most powerful and decisive influence in Karsten’s esthetic development has been that exercised by the compelling personality of his own country¬ man, Edvard Munch. From Munch Karsten has learned much, yet in the end without undue sacrifice of his own sovereign artistic individuality. The freest draughtsman, and the boldest, and at the same time one of the subtlest colourists of the younger Norwegian school, Karsten has already placed to his credit a number of exceptionally interesting canvases. His temperament is restless, he is constantly seeking new and fresh effects and may without hesitation be pronounced one of the most talented figures in present day Norwegian art. It would indeed be hard to find anywhere a man of his age possessing such a vigorous grasp of character and such chromatic strength. 127 Still-life KAVLI, Arne Texnes, Christiania Arne Kavli was born 27 May, 1878 in Bergen, and received his first restricted initiation into the world of artistic expression at the Technical School in his native city, afterward studying in Copenhagen under Krdyer, at the Antwerp Academy, and in Paris. The son of a well known actor, it is not unnatural that Kavli should from the outset have excelled in the province of character interpretation and portraiture. His debut was made at the Bergen Kunstforening in 1895, since which date his efforts have been attended with no little success and have seldom failed to enlist the most discriminating interest and appre- 106 LUDVIG KARSTEN — Portrait of self 107 ciation. It was toward the subtle, almost monochromatic harmonies of Whistler and the sober, decorative vision of William Nicholson that Kavli first turned for sympathetic assistance, achieving at this period effects that were not alone imitative but at times even inspiritional. Of late, however, his eyes have been cast in the direction of Paris, and more especially attracted by the violet grey clarity and broad, expressive contour of Cezanne. Yet Kavli’s recent landscapes from West Norway and the Christiania Fjord are no more lacking in individuality than were the early portraits and figure compositions. 128 In the Pine Forest 129 Grey Day 130 Northern Summer Night KROHG, Christian, Drpbak CHRISTIAN KROHG was bom the 13 August, 1852 in Christiania. Educated for the bar he was however not slow to relinquish the law and begin the study of painting which he did in 1873 as a pupil of Gussow at Karlsruhe. When the latter removed to Berlin Krohg followed, continu¬ ing his apprenticeship under the same master from 1875 to 1878. He visited Paris for the first time in 1880 and a decade later returned for a sojourn of several years. Un¬ questionably the most picturesque figure in contemporary Norwegian art, Christian Krohg early made his reputation as a hardy and uncompromising exponent of naturalism with distinctly social sympathies. He has always believed that painting should express brain force as well as a feeling for beauty, and his close association with Klinger in Berlin, and his admiration for the writings of the Goncourts, Zola, and Maupassant have had no little influence upon an inherently intellectual and reasoning temperament. He stands to-day an epic figure, the once phenomenal power of eye and hand somewhat diminished, the characteristic vigour of thought unimpaired. It is impossible to under- 108 Olf CHRISTIAN KROHG—Portrait of self. Collection of Otto Benzon, Esq., Copenhagen 109 stand the development of Norwegian painting without visiting Krohg in his unpretentious fjord-side, home at DrObak. He remains the sturdiest and most consistent of that great group of pioneer naturalists who laid the foundations of his country’s art. 131 Portrait of Myself 132 Dangerous Waters 133 “Look Out!” KROHG, Per, Drpbak PER KROHG, the indisputably talented son of Christian Krohg, was born the 18 June, 1889 in Asgardstrand, near Christiania. When but eight years of age he went to live with his parents at the home of his uncle, Fritz Thaulow, at Dieppe, and from thence onward his association with France and particularly with the modern movement in contem¬ porary French art has been close and intimate. Before ten he was sketching at the Academie Carlorossi and had made his debut at a Children’s Exhibition at the Petit Palais. At fifteen he became a regular pupil at Carlorossi’s under his father, later continuing his studies with Mile. Olga de Boznanska, with the Spanish painter Anglada, and finally with Henri-Matisse. If Christian Krohg represents so staunchly the older regime, his son is a veritable modern of the moderns, and has already grasped considerably more than the mere rudiments of the new gospel. He ; s one of those young radicals who are to-day knocking so lustily and so eloquently at the door, and to whom the door cannot fail shortly to open. 134 Danse 135 Carnival no HENRIK LUND — From a photograph 111 LUND, Henrik Louis, Christiania Henrik Lund was born the 8 September, 1879 in Bergen, and received his preliminary training at the Chris¬ tiania School of Design, later studying in Copenhagen and travelling extensively in Holland, Belgium, Germany, France, and Spain. Although virtually self-taught, Lund’s progress was rapid, he having won in quick succession the Thaulow Prize, Schaffer’s Stipend, and the State Stipend. While the chief esthetic influence during the formative stages of his development was unquestionably that of Edvard Munch, Henrik Lund to-day stands squarely upon his own feet, his achievements in the province of impres¬ sionistic portraiture, landscape, and genre being marked by pronounced individuality of tone and treatment. His accurate and ready analysis of character is little short of phenomenal, and his stroke unexcelled in contemporary Norwegian art for spirited freedom and breadth. In point of colour Lund’s work is typically Northern in its fresh, blond clarity. If, indeed, one were to venture a comment in connection with such brilliant production as he has already placed to his credit it would merely be to the effect that he possibly suffers from a sheer super¬ abundance of talent. Once he attains maturity, and com¬ plete sovereignity over his truly astonishing powers, there is literally nothing Lund should not be able to accomplish after his own vigorous, stimulating fashion. 136 Andreas and Margit 137 Portrait of Hans Jaeger 138 Portrait of Herman Gade, Esq. 139 Portrait of Gunnar Heiberg 140 Landscape 141 Portrait of Finn Rpnn 112 EDVARD MUNCH — Portrait of self. 113 MUNCH, EDVARD, Hvitsten Edvard Munch was born the 12 December, 1863 at Lcriten, Hedemarken, and following the removal of his parents to Christiania began his artistic training at the Royal School of Design, later studying with Christian Krohg and in Paris under Bonnat. His debut took place at the autumn exhibition of 1883, from which date his periodical appearances in Christiania art circles have been the signal for the most bitter and insensate campaign of wilful misinterpretation and villification that could pos¬ sibly be imagined. The battle waged a generation before against the apostles of naturalism was nothing compared with the chorus of crude denunciation which has been heaped upon Edvard Munch. About 1900, however, Munch, like Ibsen, was fortunate in finding a valiant, authoritative champion in Director Thiis, whose services in behalf of the young painter in many respects recall those which Georg Brandes rendered the sorely maligned poet and dramatist. Ibsen and Munch have in addition not a little in common. They are both poets at heart, they are both exponents of that psychic restlessness so characteristic of the Norwegian temperament, and they both look at life with searching, penetrant gaze, seeking not the obvious but that which is fundamentally significant. Ever since the appearance of the first version of The Sick Child, Munch has given pictorial form to one of two typical themes—sickness or sex. You will find in these beseechingly beautiful or feverishly troubled canvases, now the most exalted and sensitive response to human suf¬ fering, now the scarlet trail of the serpent. 142 The Sick Child 143 Portrait of Hermann Schlittgen 144 In the Garden 145 Summer Night 146 Starlit Night 147 In the Orchard 114 EILIF PETERSSEN — Portrait of self 115 ONSAGER, S 0 ren, Christiania S0REN ONSAGER was born the 6 October, 1878 in Holmestrand, and received his early artistic training from the well known Norwegian painter of interiors Harriet Backer, afterward studying in Copenhagen under Kristian Zahrtmann. As the recepient of both the Finne and the Rosenkrans Stipends, each of which he was twice awarded, he has been enabled to travel and study at considerable leisure on the Continent, having visited at different inter¬ vals France, Italy, and Spain, and at one period passing considerable time in Paris where he made successful entry at the Salon in 1908. It is in the province of figure painting that Onsager excels, his sketches of young girls and maidens asleep or in the act of adorning themselves having of late years proved his favourite themes. Onsager is a delicate and spirited draughtsman, and a colourist of considerable independence of taste and vision. He belongs without question to the advanced group of young Norwegian painters who owe not a little to the contemporary French¬ men, yet like most of them is able to reveal his personality in fresh and congenial fashion. 148 Sisters 149 Girls Asleep 150 Young Girl PETERSSEN, Hjalmar Eilif Emanuel, Lysaker Eilif PETERSSEN was born the 4 September, 1852 in Christiania, beginning his studies with Eckersberg in his native city and subsequently continuing at the Copenhagen Academy, at Karlsruhe, and at the Royal Academy, Munich, under Professor Diez. Like Krohg and Weren- skiold, Eilif Peterssen belongs with the old guard whose ranks are year by year growing thinner. He stands in the history of modern Norwegian painting as a transition figure. He has enjoyed unusual prestige in his profession. 116 has been awarded numerous distinctions, and has placed to his credit many admirable canvases, yet he has rarely displayed that compelling, whole-hearted conviction which so notably characterizes the work of Krohg. The rich, dark tonality of Munich days and a lingering love for the discreet sumptuousness of the Venetians alternates in his production with the open air stimulus and clarity of a later date. A conscientious and scholarly craftsman, Eilif Peterssen has given proof of his powers in landscape, portraiture, genre, and decorative composition. He attains perhaps highest rank in his likenesses of the sturdy and thoughtful men and women of his generation—a generation rich in significant personalities, among whom he himself has won enduring place. 151 Osterdalen Sater 152 Summer Night, Western Norway SKREDSVIG, Christian, Eggedal CHRISTIAN SKREDSVIG was born 12 March, 1855 in Modum, and received his preliminary training from Eckers- berg in Christiania and Vilhelm Kyhn, Copenhagen. He continued his studies in Munich from 1875 to 1879, and in Paris from 1880 to 1885. A year or more was spent at Grez, and it was there that Skredsvig made the acquaintance of the talented Swedish painter Ernst Josephson and with him journeyed to Spain. It was not, however, the mag¬ netic Josephson who most influenced the young Norwegian but the considerably milder Frenchmen, Corot, Millet, and Bastien-Lepage. Skredsvig, who, despite his humble origin, was one of the earliest to affect the delicacy of hand¬ ling and somewhat monotonously grey tonality of the Frenchmen of the early ’eighties, has won perhaps greater distinction abroad than at home. The celebrated canvas Menneskens s0n in the Christiania National Gallery dis¬ plays considerably more social sentimentality than sound- 117 ness of observation, and indeed most of his work suffers from similar defects. 153 Astray SOHLBERG, Harald, Christiania HARALD SOHLBERG was born the 29 November, 1869 in Christiania, and received the groundwork of his artistic training at the Royal School of Design in his native city, also studying for a brief period with Sven Jdrgensen at Slagen. On leaving Jdrgensen he went for a time to Werenskiold and to Harriet Backer, completing his appren¬ ticeship under Zahrtmann in Copenhagen, and later spend¬ ing a year at Weimar and another year in Paris. The decade from 1890 to 1900 found Sohlberg among the group known as the new romanticists, at the head of which stood the late Halfdan Egedius, but since then, and particularly after he settled amid the primitive isolation of Rdros, where he resided winter and summer, he has revealed himself as a wholly original and independent artistic personality. There is nothing in the entire range of Scandinavian painting comparable with these carefully wrought and tensely keyed canvases. To the patient exactitude of the Italian primi¬ tives, as seen in the pellucid landscape backgrounds of panels Tuscan or Umbrian, has been added, with kindred restraint, all the grandeur and austerity of the North with star-studded sky and illimitable stretch of snow covered mountain. Sohlberg’s canvases possess to a wellnigh unique degree the quality of emotional concentration. 154 Autumn Landscape 155 Fisherman’s Cottage 156 Mountains, Winter Landscape 157 Afternoon 158 Wagon Road 118 HARALD SOHLBERG — Portrait of self 119 WERENSKIOLD, Dagfin, Lysaker Dagfin WERENSKIOLD was born in 1892 in Chris¬ tiania, and is the son of the well known portrait and landscape painter and illustrator Erik Werenskiold. This talented youth, who has the distinction of being the youngest ex¬ hibitor in the present display, studied with his father and also in Paris where he naturally became allied with the modern group of French painters. It is not, however, with brush and palette that Dagfin Werenskiold is seen to best advantage, but in the field of decorative wood-carving. Already an accomplished craftsman, he not only designs but cuts and colours these clearly conceived and boldly executed panels. His favourite motives are birds and flowers or decoratively distributed foliage, and his work is strong in accent and discreetly vigourous in tone. It is in¬ teresting to watch this slender, blond giant patiently carving one of his compositions on the piazza of the family home at Lysaker. There is much of the old Norse spirit alike in this work and in the youthful workman. It strikes a healthy, virile note, and implies a concentration and self- discipline manifestly lacking in the production of certain of the young painters of his generation. 159 Turkey Cock Family—Decorative Panel WERENSKIOLD, Erik Theodor, Lysaker Erik Werenskiold was born the 11 February, 1855 in Kongsvinger, and after studying at the University of Christiania began his artistic training at the Royal School of Design. From 1876 to 1880 he attended the Munich Academy in the classes of Professors Lofftz and Linden- schmidt, and from 1881 to 1883 continued his apprenticeship in Paris, to which city he has returned at subsequent in¬ tervals. His debut was made at Christiania in 1878 with an admirable portrait of his father, since which date he has devoted his energies alternately to portraiture, illu¬ stration, and landscape, mainly in combination with the 120 ERIK WERENSKIOLD — Portrait of self 121 O. WOLD -TORNE — Portrait of self 122 figure. Werenskiold enjoys a prestige second to that of no living Norwegian artist. While it is possible that he may be longest remembered through his series of earnest, characterful portraits of the leading figures of his day—Ibsen, Bjprnson, Collett etc., he has lately added not a little to his varied accomplishment by embracing, with studious sincerity and rare open-mindedness, the best features of the modern movement. He lives on the pine-crested heights of Lysaker, overlooking the Christiania Fjord, drawing daily from nature fresh stimulus and inspiration and, like nature, illustrating the eternal principle of self-rejuvenation. 160 Two Little Girls 161 Norwegian Boy 162 By the Christiania Fjord 163 Flowers WOLD-TORNE, Oluf, Christiania O. WOLD-TORNE was born the 7 November, 1867 in Soon, and, as has been the case with so many of the gifted young Norwegian painters of the day, received his preliminary training under Kristian Zahrtmann in Copenhagen. On leaving Zahrtmann he went to Paris where he studied awhile with Roll, and subsequently travelled on the Continent. His debut was made in 1893, and though he has devoted his energies with no little success to portraiture and land¬ scape, his most congenial field is that of the decorative arts, his designs for book-bindings, tapestry, porcelain, and faience marking a veritable epoch in Norwegian ornamental handicraft. 164 Portrait of Self 165 Flowers 123 ILLUSTRATIONS 127 (2) ANNA BOBERG — At Rest, Sunday 129 (9) H. R. H. PRINCE EUGEN — After Rain (12) GUSTAF A. FJ^ESTAD — Hoarfrost 131 (15) GUSTAF A. FJ7ESTAD — Ripples (121) BERNHARD FOLKESTAD — Still-life \ 132 133 (64) VILHELM HAMMERSH0I — Kronborg, Hamlet’s Castle. Collection of Dr. Alfred Bramsen, Copenhagen 134 (63) VILHELM HAMMERSH0I —Sunbeams. Collection of Dr. Alfred Bramsen, Copenhagen 135 (25) OTTO HESSELBOM — My Country (124) THORLOF HOLMBOE — Landscape with Pine Trees 137 138 (127) LUDVIG KARSTEN — Still-life (131) CHRISTIAN KROHG — Portrait of Myself 139 (135) PER KROHG — Carnival 140 141 (38) BRUNO A. LILJEFORS — Foxes. Courtesy of Mrs. Joseph T. Jones and the Albright Art Gallery, Buffalo 142 (34) CARL LARSSON — Theatrical Cogitations 143 (31) CARL LARSSON — Shelling Peas (137) HENRIK LUND — Portrait of Hans Jseger 144 (136) HENRIK LUND —Andreas and Margit (80) VIGGO MADSEN — View from My Bedroom Window 146 (142) EDVARD MUNCH —The Sick Child J 147 148 (147) EDVARD MUNCH —In the Orchard % 149 (81) E1NAR NIELSEN — Evening Bells 150 (148) S0REN ONSAGER — Sisters -!{ (84) JULIUS PAULSEN — Portrait of Baron Rosenkrantz 151 152 (156) HARALD SOHLBERG — Mountains, Winter Landscape (94) SIGURD SWANE — Four Artists 153 (97) FRITZ SYBERG — The First Day of Spring 154 (101) EDVARD WEIHE — Portrait of my Mother 156 M (103) J. F. WILLUMSEN — Youth and Sunshine (105) J. F. WILLUMSEN —A Mother’s Dream 157 (42) ANDERS L. ZORN — Matins on Christmas Day 158 (46 A) ANDERS L. ZORN —Hall Kesti Collection of Hugo Reisinger, Esq., New York 159 LIST OF ARTISTS Bindesb0ll, Thorvald Page 77 Boberg, Anna. 55 Diriks, Edvard. 101 Edstrom, David .... 68 Eugen, H. R. H., Prince Eugen 56 Erichsen, Thorvald .... 101, 102 Fischer, Vilhelm .... 98 Fjsestad, Gustaf Adolf 56, 58 Folkestad, Bernhard 102,104 Giersing, Harald .... 78 Hallstrom, Gunnar .... 60 Hammersh0i, Vilhelm 78, 80 Hesselbom, Otto .... 60, 62 Holmboe, Thorlof .... 104 J0rgensen, Axel .... 82 Karsten, Ludvig .... 106 Kavli, Arne. . 106, 108 Krohg, Christian .... 108,110 Krohg, Per. 110 Kyhn, Knud. 82,84 Larsen, Johannes .... 84, 86 Larsson, Carl. 62, 64 Liljefors, Bruno A. 64, 66 161 Lund, Henrik Madsen, Viggo . Milles, Carl Mortensen, C. . Munch, Edvard Nielsen, Einar . Onsager, S0ren Paulsen, Julius . Peterssen, Eilif . Pettersson, Axel Ring, Lauritz A. Schou, Karl Skredsvig, Christian Sohlberg, Harald Swane, Sigurd . Syberg, Fritz Weihe, Edvard Werenskiold, Dagfin Werenskiold, Erik Willumsen, J. F. Wold-Torne, Oluf Zorn, Anders L. Page 112 86 70 98 114 86, 88 116 88 , 89 116 , 117 70 , 73 89 90 117 , 118 118 90 , 92 92,94 94 120 120,123 96,98 123 66, 68 162 LIST OF ILLUSTRATIONS Page Bindesb0ll, Thorvald — Portrait of . 76 Boberg, Anna — Portrait of.54 “ “ (2) At Rest, Sunday. .127 Diriks, Edvard, Portrait of.100 Eugen, H. R. H., Prince Eugen — Portrait of 57 “ “ “ “ (8) Swedish Summer Night 128 “ “ “ “ (9) After Rain 129 Fjaestad, Gustaf A. — Portrait of .... 59 “ “ (12) Hoarfrost . .130 “ “ (15) Ripples . . .. 131 Erichsen, Thorvald — Portrait of.103 Folkestad, Bernhard — (121) Still-life 132 Giersing, Harald — Portrait of.79 Hallstrom, Gunnar — Portrait of.61 “ (22) On the Frozen Snow 133 Hammershpi, Vilhelm — Portrait of . . 81 “ “ (64) Kronborg, Hamlet’s Castle 134 “ “ (63) Sunbeams . . 135 Hesselbom, Otto — Portrait of.63 “ “ (25) My Country . .136 Holmboe, Thorlof—Portrait of.105 “ “ (124) Landscape with Pine Trees 137 163 j0rgensen, Axel — Portrait of. Karsten, Ludvig — Portrait of .... “ “ (127) Still-life . Krohg, Christian — Portrait of. “ “ (131) Portrait of Myself Krohg, Per— (135) Carnival. Larsen, Johannes — Portrait of. Larsson, Carl — Portrait of. “ “ (34) Theatrical Cogitations “ “ (31) Shelling Peas . Liljefors, Bruno A. —Portrait of. “ “ “ (38) Foxes . Lund, Henrik — Portrait of. “ “ (137) Portrait of Hans Jaeger . “ “ (136) Andreas and Margit Madsen, Viggo — (80) View from Bedroom Window . Milles, Carl — Portrait of. Munch, Edvard — Portrait of. “ “ (142) The Sick Child . “ “ (147) In the Orchard Nielsen, Einar — Portrait of. “ “ (81) Evening Bells . Onsager, S0ren — (148) Sisters. Paulsen, Julius — (84) Portrait of Baron Rosenkrantz Page 83 107 138 109 139 140 85 65 142 143 67 141 111 144 145 146 71 113 147 148 87 149 150 151 164 Page Peterssen, Eilif—Portrait of.115 Pettersson, Axel — Portrait of.72 Ring, Lauritz A. — Portrait of.91 Sohlberg, Harald — Portrait of.119 “ “ (156) Mountains, Winter Land¬ scape 152 Swane, Sigurd — Portrait of.93 (94) Four Artists .153 Syberg, Fritz — (97) The First Day of Spring . .154 Weihe, Edvard — Portrait of.95 “ “ (101) Portrait of My Mother 155 Werenskiold, Erik — Portrait of.121 Willumsen, J. F. — Portrait of.97 “ “ “ (103) Youth and Sunshine . 156 “ “ “ (105) A Mother’s Dream . 157 Wold-Torne, Oluf — Portrait of.122 Zorn, Anders L. -— Portrait of.69 “ “ “ (42) Matins on Christmas Day . 158 “ “ “ (46 A ) Hall Kesti . . . .159 165 VENTIS POT V IT-DVRERrVTORA PHILirPI AyENTEAV NON POTViTPINGERE-DOGTA --WANV.S Telephone 810 Stuyvesant RUDOLF SECKEL RARE AND OLD ETCHINGS AND ENGRAVINGS 31 EAST 12TH STREET NEW YORK B105 PORTRAIT OF PHILIP MELANCTHON Engraving by Albrecht Durer C. G. MACKLIN, President J. SUSTER, Secretary Newcomb-Macklin Company Makers of PICTURE FRAMES Hand Carved Carton Pierre and Composition Modern and Antique Styles SALESROOM 233 FIFTH AVENUE, NEW YORK CITY GEORGE A. McCOY, Manager FACTORY STATE AND KINZIE STREETS, CHICAGO 166 E. 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