Konstnärsförbundet

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Richard Bergh Konstnärsförbundets styrelse , 1903, Swedish National Museum, based on a photograph by Tekla Nordström
Catalog of the exhibition of 1890, cover sheet by Karl Nordström

Konstnärsförbundet was the name of a Swedish artists' association founded in 1886 and dissolved in 1920 . He emerged from the group of Swedish painters founded in 1885 called Opponenterna , whose driving force was Ernst Josephson .

prehistory

Towards the end of the 1860s, Swedish painters such as Alfred Wahlberg and Hugo Salmson (1843–1894) preferred to train in Paris rather than in Düsseldorf or Munich, as was the case up to now. In France they became supporters of open-air painting and realism . On their return, these painters and their works, like their Norwegian colleagues in their homeland, met with rejection from the major art institutions. The Kungliga Akademien för de Fria konsterna and the Swedish National Museum , built in 1866, preferred mythological and history painting for their collections and annual special shows. But there was also rejection on the part of those who had returned home, who could no longer do anything with these claims and demanded a reform of artist training and talent promotion.

There were various reasons for the return of Swedish artists: on the one hand, the situation for foreigners in France had worsened as part of the Dreyfus affair , the Panama scandal and under the influence of Georges Boulanger , on the other hand, many artists harbored a longing for Sweden and its peculiarities . So there was a reassessment of the Swedish landscape, which was previously considered unsuitable for painting. A popular motif for the production of "stämning" was midsummer .

On the occasion of the 150th anniversary of the academy, Ernst Josephson had already expressed criticism of the existing art scene in two essays published in Dagens Nyheter on November 29 and December 10, 1884 , respectively. On March 27, 1885, the Academy received a declaration he had written and signed by 86 Swedish artists. On April 1, 1885, the exhibition "Från Seinens strand" (From the banks of the Seine ) opened in Blanchs konstsalong on Kungsträdgården with around 100 works. Were represented Carl Larsson , Anders Zorn , Nils Kreuger , Bruno Liljefors , Karl Nordström and Georg Pauli , a total of 18 artists. "Opponenternas utställning" followed on September 15, 1885, again in Blanchs konstsalong. This time with 155 works by 50 artists. It was shown in Gothenburg the following summer. It can be seen as a turning point in the history of Swedish painting.

founding

On August 16, 1886, many of the exhibitors in Paris joined together under the direction of Josephson to form Konstnärsförbundet. They saw their primary goal in organizing an annual exhibition. However, no academy members were allowed to take part. The first took place in Stockholm on October 8, 1886 and featured 150 works by 59 artists. Until 1892, the association had another seat in Paris in addition to its headquarters in Stockholm. He also organized the participation of Swedish artists in the Paris World's Fair in 1889 . Sweden's government under Gillis Bildt did not want to officially take part in an honor for the French Revolution in the anniversary year and left the association to represent the country.

development

However, there were also disputes within the association about the execution of exhibitions and possible cooperation with the academy. Josephson had already left the association in the spring of 1887. In 1890 the association had 96 members. In 1900 it had only 29 members and in 1910 21. But the group was now much more homogeneous and managed to put together many exhibitions, including 1910 in Berlin under the title "Swedish Secession ".

Members (selection)

literature

  • Sixten Stromböm: Konstnärsforbundets Historia. 2 volumes (Volume 1: Till och med 1890. Volume 2: Nationalromantik och radicalism, 1891–1920. ) A. Bonnier, Stockholm 1945–1965.

Individual evidence

  1. ↑ Hildor Arnold Barton: Sweden and Visions of Norway. Politics and Culture, 1814-1905. Southern Illinois University Press, Carbondale IL et al. 2003, ISBN 0-8093-2441-5 , p. 134.
  2. ^ Opponenterna. In: Nationalencyklopedin . Volume 14: Möns - parå. Bra Böcker, Höganäs 1994, ISBN 91-7024-621-1 , p. 460.
  3. ↑ Hildor Arnold Barton: Sweden and Visions of Norway. Politics and Culture, 1814-1905. Southern Illinois University Press, Carbondale IL et al. 2003, ISBN 0-8093-2441-5 , p. 137.
  4. ↑ a b c d Konstnärsförbundet . In: Theodor Westrin (Ed.): Nordisk familjebok konversationslexikon och realencyklopedi . 2nd Edition. tape 14 : Kikarskten – Kroman . Nordisk familjeboks förlag, Stockholm 1911, Sp. 866-868 (Swedish, runeberg.org - here Sp. 866).
  5. ^ Michelle Facos: Nationalism and the Nordic Imagination. Swedish art of the 1890s. University of California Press, Berkeley CA et al. 1998, ISBN 0-520-20626-6 , p. 16.
  6. ↑ Hildor Arnold Barton, Sweden and Visions of Norway. Politics and Culture, 1814-1905. Southern Illinois University Press, Carbondale IL et al. 2003, ISBN 0-8093-2441-5 , p. 135.
  7. ^ A b Michelle Facos : Nationalism and the Nordic Imagination. Swedish art of the 1890s. University of California Press, Berkeley CA et al. 1998, ISBN 0-520-20626-6 , p. 23.
  8. ^ Michelle Facos: Nationalism and the Nordic Imagination. Swedish art of the 1890s. University of California Press, Berkeley CA et al. 1998, ISBN 0-520-20626-6 , p. 24.
  9. ↑ Konstnärsförbundet . In: Theodor Westrin (Ed.): Nordisk familjebok konversationslexikon och realencyklopedi . 2nd Edition. tape 14 : Kikarskten – Kroman . Nordisk familjeboks förlag, Stockholm 1911, Sp. 866-868 (Swedish, runeberg.org - here Sp. 867).