Åmell's annual Spring Exhibition reflects the breadth of our Nordic art treasure. The exhibition's modern section is very colorful and full of energy. It represents several of our most popular artists, for example Olle Olsson Hagalund (1904-1972), Ivan Ivarson (1900-1939) and Inge Schiöler (1908-1971). Hand-picked specifically for this occasion is GAN's (1884-1965) painting Vagnväxling II / Carriage Change II. The motif, a regular wagon change, is depicted dramatically and intensely. It becomes a very fine example of GAN's well-developed kaleidoscopic painting in 1919. The painting's composition is based on conscious parallels, diagonal and zigzag lines, which are reinforced by the broken flat image surface without depth. Instead, GAN has, as so often, focused on depicting the movement, drama and dynamics of the scene.
The exhibition also presents several paintings by Isaac Grünewald (1889-1946). When Grünewald painted Det röda draperiet / The red curtain in 1915, he and his wife Sigrid Hjertén had been living in Stockholm again for almost four years after experiencing the dynamic art life of Paris in the early 1910s. It is a magnificent and very representative example of the expressive art that Grünewald created during the war years. It represents an interior from the family's then combined home and studio on Katarinavägen in Stockholm, which had a small balcony with a view of Slussen and the Old Town with Mälartorget and Riddarholmskyrkan's spire.
The older segment of the exhibition presents, among other things, an adorable Copenhagen motif by Paul Fischer (1860-1934), a delightful portrait of a child by Maria Wiik (1853-1928) and crisp summer bouquets by Olle Hjortzberg (1872-1959). Distinctive is one of Carl Larsson's (1853-1919) most interesting child portraits from the Sundborn period. In Teaterfunderingar / Theatre Thougths, Dagmar sits on a red bench in Carl Larsson's home studio in Lilla Hyttnäs. In the found is a plaster cast of the relief presented which was part of Carl Larsson's so-called Fürstenberg triptych from 1888–89 and behind the far end of the bench is a stack of sketches leaning against the studio wall. Among them is a drawing of a rising horse, which has been identified as a detailed study of Larsson's large mural Gustav Vasa's entrance into Stockholm in 1523. The dramatic shift in perspective allows most of the picture surface to be occupied by the studio floor's rustic wooden planks. Together with the girl's mood, they strengthen the viewer's incentive to fill the painting with content.
Welcome to view the exhibition in the gallery or online on the webpage!
Isaac Grünewald Damen i blått / Lady in blue (Nina) Oil on canvas, 199 x 89 cm signed and dated Isaac G. 1915
Isaac Grünewald (1889−1946)
Damen i blått / Lady in blue (Nina)
Isaac Grünewald's broad artistic repertoire also included portraits. In the 1910s, he made some particularly striking portraits, where bold color clashes and unexpected shifts in perspective reinforce the character traits of the depicted. Well-known examples are his two portraits of the author Ulla Bjerne from 1916 and 1917, respectively, and that of the actress Tollie Zellman in 1919. The portrait Lady in blue dated 1915 presents Nina Lublin from the successful wholesaler family Lublin in Djursholm, whose fortune came from the company Lublin & Co which Joseph Lublin (1832-1905) founded in Stockholm in 1861.
Carl Larsson Teaterfunderingar / Theater Thoughts Watercolor, signed C.L. (in circle) preformed 1904
Carl Larsson (1853–1919)
Teaterfunderingar / Theater Thoughts
The painting Theater Thoughts is one of Carl Larsson's most interesting child portraits from the Sundborn era. It was preceded by a smaller (62 x 71 cm) study in watercolor with the same title and also appears as a cartoon vignette in Carl Larsson's own publication Andras barn from 1913. The young modelling girl in all three versions is Dagmar Grill. She was the daughter of the Larsson family's good friends Baltzar and Violet Grill from Djursholm, and during their visit to Sundborn in the summer of 1904, Carl Larsson took the opportunity to depict both her and her brother Theodor.
Gösta Adrian-Nilsson (GAN) Vagnväxling II / Carriage Change II Oil on paper panel, 85.5 x 63 cm signed with monogram G-A-N in an anchor dated 11 Nov/19 a tergo
Gösta Adrian -Nilsson (GAN) (1884-1965)
Vagnväxling II / Carriage Change II
Gösta Adrian-Nilsson (GAN) is regarded as one of the pioneers of Swedish 20th century art. In the summer of 1919, GAN visited his friend and patron Egon Östlund in Halmstad. Here, he was also joined by three of the young men who ten years later would be involved in forming the Halmstad Group: Erik and Axel Olson, as well as Waldemar Lorentzon, a meeting that came to leave deep marks on the three young artists. During the summer in Halmstad, GAN painted his first version of Carriage Change. In the autumn of 1919, GAN lived for a time in Gothenburg, where he hoped to board a cargo ship to South America or the South Pacific as a free passenger. However, the dream was not fulfilled but Carriage Change II came to be.
Maria Wiik Virkande flicka / Crochet Girl Oil on canvas mounted on wooden panel, 16.5 x 14 cm
Maria Wiik (1853−1928)
Virkande flicka / Crochet Girl
Maria Wiik was one of Finland's most prominent female painters of the late 19th century. Her portraits of children are in high demand and several of them are today in high-class private and museum collections around the world. The adorable little painting Crochet Girl does not seem to be a commissioned portrait, but just such a work that Maria Wiik performed for her own sake. This lovely portrait of a beautiful girl has been in the Princess Mirza Riza Khan Arfa of Monaco’s collection among many other important collections.
Hilding Linnqvist Stadsbild med Serafimerlasarettet / Cityscape with Serafimer Hospital Oil on canvas, 16 x 22.5 cm. Performed circa 1919
Hilding Linnqvist (1891–1984)
Stadsbild med Serafimerlasarettet / Cityscape with Serafimer Hospital
Hilding Linnqvist is one of the earliest representatives of the Swedish Naïve art genre. Linnqvist had a period when he tuned his palette in very dark tones towards the end of the 1910th decade. The motifs then appeared either as nocturnes (night moods) or as the most delicious still lifes in bright colors against an almost black, solid color background. Cityscape with the Serafimer Hospital is taken from the southwestern most part of Klara lake in Stockholm, very close to its endpoint in Riddarfjärden.
Carl Milles Jakob brottas med ängeln / Jacob's battle with the angel Green patinated bronze, height 29 cm, width 19 cm, depth 18 cm signed C. MILLES. Cast marked Herm. Bergman
Carl Milles (1875–1955)
Jakob brottas med ängeln / Jacob's battle with the angel
Many artists and writers have been fascinated by the story of Jacob's struggle with the angel and have reproduced or referred to it in their works: Rembrandt, Eugène Delacroix and August Strindberg are just a few examples. Preserved drawings of Carl Milles' hand indicate that the motif of Jacob's struggle strongly engaged him as well. In one of these drawings we see a large angel, at the foot of which a small human figure clings. Under the drawing, Milles has written: Jacob's fight with the Angel. J (acob) meandering with all his might around one of the angel's legs. Engeln a la Niki de S (amothrake). Around the group a volcano of water. (Söderlund 1989, cat no. 38).