Carl Larsson In the snow Watercolor, gouache and pencil on paper mounted on canvas, 65 x 100 cm signed C.L. (within circle) and dated 1910.
White expanses Winter landscapes in art December 11 - January 15
Open 10-18, Sat 12-16
In this year's winter exhibition, Åmells highlights the shifting stages of the Nordic winter and rich variation in art. Early winter, midwinter, high winter, spring winter, late winter: we find many names for what we love, and wintertime is probably held dearly to us all in one way or another. Winter is the season of contrasts, a dark and light season at the same time. For artists in general and landscape painters in particular, winter is both a challenge and a fascination, and this exhibition depicts the many faces of wintertime in archipelago environments and forest areas as well as in lakes, city motifs and northern panoramas. The snowy winters of ancient times may be over, but in art the white expanses still exist in the landscapes. Boreal is called the part of the temperate zone in the northern hemisphere where Scandinavia is located. In Greek mythology, Boreas was the god of the cold north wind and the bringer of winter. In the exhibition, the effects of the cool breezes can be seen just as clearly in Roland Svensson's and Axel Sjöberg's captivating paintings of the scandinavian archipelago in different stages of winter garb as in Helmer Osslund's highly chilled northern scenery and Gustaf Fjæstad's frost-shimmering water mirrors. Not least, King Bore's progress is also noticeable in Carl Larsson's stylish watercolor, where the dampening effect of the thick snow immerses the village in a peaceful tranquility. In addition to these, the exhibition contains an example from Frits Thaulow's art with a winter motif bathing in moonlight from his native Norway and the animal painters Mosse Stoopendal and Thure Wallner's depictions of winter life in the animal kingdom. The capital's quays in snow suits are represented by paintings by Prince Eugene and Nils Kreuger respectively. In the exhibition, the artists have depicted the moments when the ice settles in the bays, when the snow pulls away in patches on the meadows and where spring seems to take its very first staggering steps as the evenings become brighter.
Carl Larsson In the snow Watercolor, gouache and pencil on paper mounted on canvas, 65 x 100 cm, signed C.L. (within circle) and dated 1910.
Carl Larsson (1853-1919)
In the snow
In this frost-shimmering winter scene, Carl Larsson has depicted two sisters from Sundborn standing hand in hand on a snow-covered meadow on the outskirts of the village. The girls were the daughters of one of the village's local carpenters and were probably already well acquainted with the artist. The motif is taken from Sundborn's village and the red houses that can be seen at the top left of the picture form parts of the farm buildings around the artist's own home, Lilla Hyttnäs. The Sundborn-river flows in front of the houses, which looks like it is about to freeze.
Bruno Liljefors Grouse in snowy bushes Oil on canvas, 70 x 105 cm, signed and dated Bruno Liljefors -92.
BRUNO LILJEFORS (1860–1939)
Grouse in snowy bushes
Bruno Liljefors went out in the nature in all weather conditions, he portrayed all seasons. The winter, of course, placed special demands on his endurance, as his fingers solidified rapidly while the oil paint dried slowly in moisture and cold. However, that did not stop him from drawing in au plein air. In this painting, Orrar in snowy bushes, we see a female and two males balancing on thin branches in a dense bushes, or possibly a smaller tree. The artist has placed them far forward in the image plane, and the shimmering pink environment fills the painting from edge to edge.
Helmer Osslund Sonfjället with Duvknätten Oil on canvas pasted on panel, 48.5 x 74 cm. Signed HELM. OSSLUND. Done 1904-05.
Helmer Osslund (1866-1938)
Sonfjället with Duvknätten
Sonfjället is a mountain massif in Härjedalen. As early as 1909, the mountain was classified as a national park, making the area one of the oldest national parks in Europe. During the first years of the 20th century, Osslund traveled in these areas on several occasions. Sonfjället thus existed in Osslund's consciousness long before the mountain tourists found their way there. From 1903, for example, there is a painting with exactly the same title as the current one, but which is now included in the Gothenburg Art Museum's collections (GKM 2347).
Gustav Fjæstad Early winter, Duved (Jämtland) Oil on canvas, 119 x 147 cm, signed and dated G. Fjæstad 1914-17.
GUSTAV FJÆSTAD (1868−1948)
Early winter, Duved (Jämtland)
Gustav Fjæstad's attraction to landscape painting was connected with a great interest in nature and outdoor life. Winter and cold did not in any way deter him from staying outdoors. In his youth he was a celebrated skater and his fascination with snow, ice crystals and hoarfrost persisted throughout his life and work as an artist. Like his contemporary colleagues within the Swedish Artists' Association, Gustav Fjæstad was keen to paint "true". Therefore, he did careful nature studies, both with the eye and with the help of the camera. Many times he started from several different photographs and compiled details from them into a whole, which reproduced the eternal, uplifted weightlessness that he personally experienced in soulful moments out in nature.
Prins Eugen Port of Stockholm from Waldemarsudde Oil on cardboard panel, 35 x 46 cm, signed and dated Eugene 1931 A verso with the inscription: “Stockholm harbor from W.udden. Eugen 1931 ”
Prins Eugen (1865–1947)
port of stockholm from Waldemarsudde
In Port of Stockholm from Waldemarsudde, Eugen's fascination with boat motifs emerges from another side. Here he has painted a number of motorized cargo ships moored along Stadsgårdskajen on a cold winter day. In contrast to the many steamboat motifs that the prince reproduced in the evening light around the turn of the century 1900, he has in this later painting captured his motif late in the afternoon. The air is raw cold and the faint winter sun leaves only a light yellow-pink shimmer in the sky. Despite the unmistakable cold and humidity, the prince is able to convey an atmospheric beauty on this gray-cloudy winter day in the port city of Stockholm.
Carl Milles The Skating Princess Brown patinated bronze 33 x 21 cm signed and dated Carl Milles 1954. On the plinth casting marked signed and stamped by H. Bergman Fud. 12/12.
Carl Milles (1865–1947)
The Skating Princess
The Skating Princess is a fine example of the quest for weightlessness that characterized Carl Mille's art at the end of the 1940s. She balances on the right tip of her toe, but the vertical line of her body goes straight below her knee. In this way, the sculpture is given stability, even though its clearly diagonal shape seems to want to accentuate the direction of the girl's movements and the speed at which she shifts.
monday-friday 10-18 saturday 12-16 during exhibitions