50,2 x 34,3 cm, signed and dated HS. 1883.
Autumn exhibition 2024
26 October – 16 November
Opening hours Mon – Fri 10–18 Sat 12–16
Selected Works
Martina med matkorgen, oil on canvas,
60 x 80 cm, signed C.L.
Carl Larsson
(1853–1919)
The 193 x 408 cm oil painting Breakfast in the Green, which Carl Larsson worked on in 1910-13 and which has belonged to Norrköping Art Museum since 1946, is one of the artist's most famous monumental works. As is customary with larger and more complex compositions, it was preceded by a large number of studies and preparatory work in various materials, of which Martina with the food basket is one. Until recently (2024), Martina with the Food Basket belonged to Martina's family. It was originally given to her as a gift by the artist, as a token of his great appreciation of her. Martina was a true servant of the Larsson household. She accompanied the family wherever she was needed, including to Stockholm and the school household in Falun, and, like the other servants on the farm, she modelled for Carl on several occasions. Two very famous and beloved works are Martina med frukostbrickan (1904), which was reproduced for many years as the cover image for Hemmets kokbok, and Nu är det jul igen (1907), in which Martina pauses for a moment in her endeavours and looks tenderly at little Esbjörn, who stands fascinated and admires the decorated Christmas tree.
View from Malaga, gouache on paper, 51 x 66 cm,
signed and dated Malaga -33 Grünewald.
Isaac Grünewald
(1889−1946)
During the period 1920-1932, when Isaac Grünewald and his family lived in Paris, he established the habit of taking a long car journey south every summer. In the summer of 1933, Grünewald nevertheless made a long and eventful road trip through Europe. Hjertén was too ill to join him, so Grünewald instead contacted his friend and colleague Ingeborg ‘Bojan’ Markström, with whom he had spent much time in the latter half of the 1920s. In Grünewald's car Fågel Blå, a blue cord he bought in 1930, they travelled south via Denmark, Paris and the southern French town of Collioure all the way down to southern Spain. View from Malaga was painted during this journey. The subject is taken from the part of southern Andalusia now known as the Costa del Sol, where the city of Malaga is the provincial capital. However, it is not the city itself that is depicted here, but rather a peaceful suburban area where the houses stand alone, free from traffic and commerce and surrounded by small, splendid gardens.
Shipwreck on a Rocky Coast, oil on canvas, 99 x 128 cm,
signed and dated Marcus. Larson. 1860.
Marcus Larson
(1825−1864)
Marcus Larson was born in 1825 in Åtvidaberg and during his short but productive career as an artist became known for his virtuosic and dramatic paintings of the forces of nature. Stylistically, Larson had one foot in Romanticism and the other in Realism and is noted by posterity for his spectacular seascapes, often with a burning or sinking ship as the subject. The striking Shipwreck on a Rocky Coast is a storm picture of an unnamed coastline where two ships are struggling with the heavy seas, one of which has been defeated and shipwrecked against the sharp rocks. The sea is heaving in the harsh weather. The view of the white foam and the glowing rocks, bathed in the light of the piercing rays, is as magnificent as it is harmonious. The painting is characterised by a raw power and a sense of the great dangers of the weather, accentuated by the romantic rays breaking through the chasing clouds and the bright green burning of the angry waves.
Pigeon Feeder, olja på duk, 65 x 69,5 cm,
signed R S. Executed 1936.
Ragnar Sandberg
(1902−1972)
One artist Ragnar Sandberg admired enormously was the Frenchman Pierre Bonnard. Bonnard's bright colours and everyday, fun and lively subjects amused and inspired him in many different ways. The painting Pigeon Feeder from 1936 is a very fine example of Sandberg's painting from the mid-1930s. The colours, especially the bold juxtaposition of violet and green, and the movement of the picture, where different parts of the motif seem to overlap, are typical of his experiments with colour and form at that time. The light-hearted everydayness of the motif may well have been inspired by Bonnard's work, but at its core there is still something that feels unmistakably Sandbergian.
Cavalrymen and hayrides on the boulevard , oil on panel,
20 x 20,5 cm, signed and dated Kreuger -83.
Nils Kreuger
(1858−1930)
Nils Kreuger's paintings from the early 1880s include several motifs from the boulevards. But he depicts neither the flâneurs, nor the elegant, nor the floating masses. His desolate boulevard pictures are populated by workers, soldiers, farmers and their animals. It is the play of light on proletarian and everyday atmospheres that seems to interest him. Cavalrymen and hayrides on the boulevard depicts a lively environment. The street scene is dominated by the pulling of the hölasses, as big as elephants. In his study of the movement of horses and the aesthetics of the city, Kreuger comes close to the contemporary Impressionists in terms of bold observation and skilful brushwork, while a quiet atmosphere prevails. Thus, Cavalrymen and Hölasses on the Boulevard is very typical of the artist's images from the Paris period.
Suorva in autumn, oil on canvas on panel,
57 x 72 cm, signed Helmer OSSLVND.
Helmer Osslund
(1866–1938)
In the late 1910s, the area around Suorva in Abisko National Park underwent fundamental changes. The growing energy needs of the industries of northern Sweden had led to a decision to boost the electricity generated by the Porjus power station since 1915 by damming the Stora and Lilla Sjöfallet waterfalls in such a way that the flow of water in the Stora Luleälven river became more constant. The project was made possible by breaking out a section of the national park just north of the falls and creating the Suorva dam there. Suorva in Autumn is probably an example of how Helmer Osslund returned to a memory of the nature around Suorva before the dam was built. The work is executed on canvas in a relatively large format, which suggests that it was not painted directly in front of the subject, but in the artist's studio. The brushwork is strong and rather abrupt, the form is concise and coherent, and the colouring is highly driven.
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opening hours:
monday-friday 10-18
saturday 12-16 during exhibitions
