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PAINTING.
427
In the center of this group stands the most prominent Swedish painter of the
period, count G. v. Rosen (born 1843), who, after studies at home but chiefly,
though, under the direction of Ley, the Belgian, undertook several travels for
study, two of which he directed to the Orient. As a history-painter, he has mostly
kept to the 16th century, especially to Erik XIV and the people surrounding
him: Karin Månsdotter and Göran Persson; also The Prodigal Son is depicted in
the style of that age. Moreover, he is a portrayer of supreme rank (his Father,
Nordenskiöld, Pontus Wikner, and the painter’s own portrait for the Uffizi gallery
in Florence). H. Salmson (1843/94) began as a history-painter but then passed
over to pictures out of the people’s life, with subjects mostly from France (Picardie),
but also from Skåne. G. Cederström (born 1845) entered the military
career but turned painter and has, in this capacity, in several pictures treated
the time of Charles XII. But besides, he has also painted other subjects, amongst
which The Salvation Army in Paris is considered to be a most successful grasp.
His Magnns Stenbock in Malmö is not to be forgotten either. J. Kronberg (born
1850), like the two preceding ones an eminent painter of the time, has studied
chiefly in Munich and Rome and displayed his activity within all the spheres
of painting. His Dryad was the first work to spread his fame, and it was followed
by several similar pictures of imagination; later on, he produced his famous
»David and Saul». He has also accomplished two large decorative pieces of work,
namely the plafond paintings in the western stairway of the Royal palace and the
cupola of Adolf Fredrik’s Church. Finally has N. Forsberg (born 1842) depicted
an episode out of the French-German war, »A Hero’s Death», and Gustavus
Adolphus at Lützen, and K. G. Hellqvist (1861/90) has in pictures out of our
old history stood up as a representative for contemporaneous German historical
art. Specimens are: Valdemar Atterdag in Visby, and Olaus Petri and Peder
Gallé — both in the National Museum.
Like at many other places in Europe, the artists of our country were during
the eighties and nineties divided in two separate groups, one of which comprises
those following the traditional course, the other again those striving for the
liberation of painting from authoritative bonds in conception and for bold experiments
in execution. To the former tendency — also called the academical — we reckon
many good artists, most of whom are landscape-painters. The oldest amongst
them is O. Arborelius (born 1842), who has studied principally in Düsseldorf
and Munich, and preferably pictures the scenery of his native province, Dalarne,
and the mining districts with accessories of people and animals, e. g., Chalet
pasture in Dalarne, and Mora Church in winter-time. Then comes R. Norstedt
(born 1843), natural poet with French colouring, who, however, mostly paints
Swedish scenery with motives from his native place, Vingåker; also his wife, Anna
Norstedt (Miss Munthe, born 1854) is an excellent paintress of still life and flowers.
Further, A. Lindman (born 1848), who has studied in France and Italy,
produces sea-paintings; quite lately one representing the Norrström in Stockholm.
Particularly eminent was the låte marine-painter K. Skånberg (1850/83), the
first who knew how, in an illusory way, to render water in motion, chiefly in
Swedish and Dutch sea-ports but, above all, with motives from Venice. Here
we must remember a couple of lady-portrayers: Miss Hildegard Norberg (born
1844), who studies in Paris and has distinguished herself for good and characteristic
likenesses of elderly men, e. g., Rector Selggren, Professor Lindhagen a. o., and
Mrs. Hildegard Thorell (Miss Bergendal, born 1850), who has studied in Paris
and Copenhagen, and among whose first productions the portrait of a lady, now
in the Gothenburg Museum, attracted attention. A thorough artist is E.
Rosenberg (born 1858), who, choosing his motives from the Södermanland side of
Stockholm, pictures the poetry of nature in the environs of that town; most
mightily he has done so in the stately picture »March Evening», the result of a
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