OTHER

Emma Ekwall (1838-1925) Sweden

Hide and Seek

oil on wood panel
signed E Ekwall
panel dimensions: 33 cm x 22.5 cm (12.99 x 8.86 inches)
frame dimensions: 48 cm x 38.5 cm (18.90 x 15.16 inches)

Provenance:
A Swedish private collection. 

Essay:
We are pleased to present a very charming painting by the Swedish artist Emma Ekwall (1838-1925), titled 'Hide and Seek'. As the title suggests, the painting depicts a young girl hiding behind a wall, her gaze fixed on the shadow of someone approaching. Her expression is one of amusement and playfulness. She is elegantly dressed, with a hat hanging on her back, her hair tied up with a pink and purple hairband, a red top, a blue dress, striped socks, and high leather boots. Next to the girl is a small bench, upon which sits a copper milk pail. The painting dates back to the late 19th century.

The game of hide and seek, or 'kurragömma' in Swedish, is a timeless children's game that has been played for generations. The painting captures the essence of childhood, a time of innocence, and play, and evokes nostalgia for a simpler time.

Emma Ekwall was a Swedish artist known for her detailed and delicate genre paintings and portraits. Born in Lund in 1838, she studied at the Royal Swedish Academy of Fine Arts in Stockholm and later in Paris. Her work was exhibited widely during her lifetime and is held in several museums and private collections.

'Hide and Seek' is a delightful example of Ekwall's skill in capturing the nuances of human expression and her attention to detail in depicting clothing and objects. The painting would make a charming addition to any art collection. 

Condition:
Restored by professional art conservator 2023. Very good condition. 

Isaac Grünewald (1889-1946) Sweden

Postcard Depicting A Farmer With His Three-Pronged Pitchfork

watercolor on a postcard

dimensions: 14 cm x 9 cm (5.51 x 3.54 inches)
frame: 22.5 cm x 17.5 cm (8.86 x 6.89 inches)

Provenance: 
The Aschberg family

Essay:
We are delighted to offer for sale a unique watercolor painting by the renowned Swedish artist, Isaac Grünewald (1889-1946). This special piece is painted on a postcard and depicts a farmer holding a pitchfork, ready for a day's work. The farmer is adorned in yellow shoes, checkered trousers in shades of pink and green, a blue jacket, and a straw hat. The features of his nose and lips are distinctly rendered, and the pitchfork is held high, signaling his readiness to work.

On the back of the postcard, Isaac penned a New Year's greeting to the Aschberg family. According to the postmark, the postcard was sent in 1923, making it exactly 100 years old. The postcard has been recently framed in a specially crafted, reversible frame handmade by Stockholms Bildhuggeri.

Isaac Grünewald was one of Sweden's most prominent modernist painters. Born in Stockholm in 1889, he studied at the Royal Swedish Academy of Fine Arts and later in Paris under Henri Matisse. Grünewald was heavily influenced by the Fauvist movement, and his work is characterized by its bold use of color and expressionist style.

This watercolor postcard is not only a testament to Isaac Grünewald's skill as an artist but also a piece of history, providing insight into the artist's personal connections and the way in which he used his art to communicate with friends and loved ones. The detailed depiction of the farmer, combined with the personal message on the back and the expertly crafted, reversible frame, make this artwork a fascinating and valuable addition to any art collection.

Ture Ander (1881-1959) Sweden

Floral Symphony, 1936


oil on board
signed and dated Ture Ander 36
board dimensions 24,41 x 18,90 inches (62 x 48 cm)
frame 29,13 x 24,02 inches (74 x 61 cm)

Provenance: 
A private collection, Värmland, Sweden. 

Essay:
Nestled in the repertoire of Ture Ander (1881-1959), a notable member of the Rackstagruppen (Racken Group), is this breathtaking bouquet, capturing the essence of nature's flowering beauty. The artwork offers a glimpse into a moment frozen in time—a moment where flowers in full bloom exude their ephemeral charm.

Anchoring the composition is a resplendent bouquet, housed in a striking blue glass vase, which stands gracefully upon a round wooden table. Ander's choice of blossoms is both eclectic and symbolic. From the towering Digitalis and gentle Poppy to the elegant Iris, passionate Snapdragons, rustic Cornflower, and the delicate Buttercup, each flower brings its unique aura to the bouquet. Collectively, they create an opulent tapestry of color, form, and texture, demonstrating the artist's profound understanding of botany and aesthetics.

The tradition of flower still life, holds a revered place in art history. Such compositions, apart from their aesthetic appeal, often delve deeper, addressing themes of transience, beauty, and the cyclical nature of life. Ander's piece, too, is more than just a visual treat—it's an invitation to meditate on the fleeting beauty of existence, reminding us of the transient nature of life itself.

The painting comes with a beautiful dark brown frame.
It is signed and dated '36, this artwork is not just a testament to Ture Ander's unparalleled prowess but also a window into the vibrant art scene of the 1930s, especially within the Racken Group—an influential art collective that profoundly shaped the Nordic art landscape.

Johan Christoffer Boklund (1817-1880)

The Young Artist 

oil on canvas mounted on board
canvas dimensions 40 x 31.5 cm
frame 53 x 45 cm

Essay:
Introducing a captivating oil painting by Johan Christoffer Boklund (1817-1880). The artwork depicts a young boy practicing his painting skills. Seated beside him is a wooden horse that he is diligently recreating on a round wooden panel. His painting style is simple, revealing his early stage as an artist. The horse he paints consists of straight lines, almost resembling a stick figure, which adds a charming element when juxtaposed with the actual wooden horse.

In 1837, Johan Christoffer Boklund arrived in Stockholm and joined the Royal Academy of Fine Arts. In 1846, accompanied by Johan Fredrik Höckert, he embarked on a journey to Munich, where he stayed for eight years. It was during this period that he developed his artistic skills further. In 1853, he sent his painting "The Curious Trumpeter" back to Sweden, which earned him a government scholarship and paved the way for his subsequent journey to Paris. In Paris, he worked at Thomas Couture's studio from 1854 to 1855. Boklund returned to Sweden in December 1855.

Upon his return, he became a teacher at the Academy of Fine Arts in 1856 and was appointed as a professor. That same year, he played a key role in the establishment of the Artists' Club (Konstnärsklubben). From 1856 to 1872, he served as the tutor to King Charles XV. In 1861, he became a member of the committee responsible for organizing the interior of the National Museum and acted as the acting treasurer at the Royal Museum. In 1866, he became the head curator of the Art Department at the National Museum and, in 1867, the court curator, overseeing Karl XV's painting collection, as well as serving as the director of the Royal Academy of Fine Arts. Boklund was also a committee member involved in organizing the Nordic Art Exhibition in Stockholm in 1866.

His works can be found in various art institutions, including the Nationalmuseum in Stockholm, the Gothenburg Museum of Art, the Vänersborg Museum, the Norrköping Art Museum, and the Kalmar Art Museum.

Provenance: 
Ruth Dagmar Brovall (1885-1971), Who was a relative of Boklund; Later - inherited within her family until 2005; Sold at Roslags Auctions, Norrtälje. 

Unknown Artist, Follower of Godfried Schalcken 

Old Woman and Boy with Candles

oil on wood panel
painted in the 1800s
panel 28.5 x 23.5 cm
frame 40 x 33.5 cm

Condition:
Good condition, newly restored by our professional art conservator in Stockholm. Please contact us for a more in-depth CR.

Essay:
In this painting titled "Old Woman and Boy with Candles" an intriguing scene unfolds before our eyes. An older woman gazes ahead, her eyes shielded from the flickering candlelight, while a young boy stands behind her, holding his own candle, ready to ignite its flame. This artwork's play of light and darkness harks back to the technique employed by the renowned artist Rubens (Mauritshuis, inv.no. 1150), who drew inspiration from Caravaggio's mastery of capturing light and shadow. Notably, this motif has been replicated by other artists such as Godfried Schalcken and Johann Georg Trautmann. Although the artist of our painting remains unknown, it bears a striking resemblance to Godfried Schalcken's interpretation of Rubens' original composition (National Museum in Warsaw, MNW). Several well-known copies of Schalcken's version of the painting exist, each capturing the essence of the scene in their unique way.

The painting "Old Woman and Boy with Candles" exudes a sense of quiet anticipation and serenity. The central figures, the older woman and the young boy create a powerful contrast between youth and age, while their candles symbolize the transient nature of life and the hope they bring. The woman's contemplative expression hints at a hidden story, inviting viewers to imagine the thoughts and emotions that lie within her mind. The careful positioning of the candles and the interplay of light and shadow add depth and atmosphere to the composition, immersing the viewer in the scene.

The artist's skilful use of chiaroscuro, a technique that emphasizes the stark contrast between light and dark, enhances the dramatic effect of the painting. The soft glow of the candlelight illuminates the woman's weathered features, casting a gentle radiance upon her face. The warm and cool tones further enrich the visual experience, evoking a sense of harmony and balance.

Victor Ravet (1840-1895)

A Young Woman With Her Dog, 1876

oil on wood panel
signed and dated J.V.Ravet 1876 
panel dimensions 14.17 x 9.25 inches (36 x 23.5 cm)
frame 18.50 x 13.58 inches (47 x 34.5 cm)

Essay:
In this exquisite painting by Victor Ravet, we are transported to an elegant interior setting reminiscent of the grandeur of high-class homes. The focal point is a woman adorned in a shimmering pink gown, radiating grace and sophistication. Bathed in gentle light, her dress catches the glimmer, accentuating her beauty.

She holds a treat for a dog in her hand, enticing the furry companion who stands on its hind legs in eager anticipation. The canine's eyes fixated on the delicious morsel, capturing a moment of playful interaction between the woman and her loyal companion.

The scene takes on a narrative quality as the young woman's other hand delicately lifts a curtain, hinting at another room beyond. This subtle gesture adds depth to the composition, suggesting a world of hidden secrets and intriguing possibilities within the opulent surroundings.

Victor Ravet took inspiration from the Dutch Golden Age painters of the 17th century, such as Vermeer, Jacob Ochtervelt, and Gerrit Dou. This homage to their style and subject matter pays tribute to the timeless allure of domestic scenes, capturing a slice of life in a bygone era.

With meticulous attention to detail, Ravet masterfully recreates the textures and fabrics, immersing the viewer in the sumptuousness of the period. The soft play of light and shadow adds depth and a sense of tranquillity to the composition.

"A Young Woman With Her Dog" invites viewers to appreciate the beauty and serenity of an intimate moment frozen in time. It transports us to a world of refinement, evoking a sense of nostalgia for an era steeped in elegance and sophistication.
This wonderful painting by Victor Ravet is a testament to his skill and artistry, as he seamlessly blends historical influences with his own unique vision. It captivates with its charm, inviting us to immerse ourselves in a world where grace and beauty intertwine.

Karl Weise (1890 - 1947) Germany

Reflections of Contemplation, 1919 

oil on canvas
signed upper right Karl Weise 
canvas dimensions 25.19 x 34.44 inches (64 x 87.5)
with frame 30.70 x 39.76 inches (78 x 101 cm)
painted 1919

Essay:
This painting features a young girl sitting on a chair in a dimly lit room, illuminated by the soft glow of an orange-tinted ceiling lamp. This painting captures the essence of the candle-light genre of art, which originated in the 17th century and was popularized by Dutch and Flemish artists.

The candle-light paintings were characterized by the use of a single source of light, which was usually a candle, and were often accompanied by the inclusion of reflective surfaces such as mirrors, to create an ambiance of warmth and intimacy. Weise's painting is a beautiful example of this genre, as he uses the same technique of a single source of light to create a sense of depth and realism in the painting.

The girl in the painting is dressed in a vibrant red dress and white stockings, and her expression suggests a moment of contemplation. On the table, there is a photo frame, perhaps containing a picture of someone dear to her, and its reflection is visible in the mirror in the background. The piano on the right side of the painting is in shadow, while above it is a portrait painting with a golden frame, which adds to the ambiance of the room.

Karl Weise was a renowned painter known for his exceptional use of light and shadow in his paintings, which created a mesmerizing play of light that evoked a sense of depth and realism in his work. His paintings were highly appreciated during his lifetime, and they continue to be admired today for their timeless beauty and artistic merit.

In conclusion, Karl Weise's painting is a beautiful example of the candle-light genre of art. The use of a single source of light creates a warm and intimate ambiance, while the shadows add depth and dimension to the painting. The young girl's expression and the inclusion of the photo frame and portrait painting add a sense of storytelling to the painting, making it a truly captivating classic artwork. 

 

Provenance:
A Swedish private collection. 

HENRIC ANKARCRONA (1831-1917) SWEDEN

MOTIF FROM THE THEATRE OF MARCELLUS, 1879
MOTIV FRÅN MARCELLUSTEATERN, 1879  

oil on paper
signed with monogram och dated HA 79
19.5 x 14.5 cm
with frame 29 x 24 cm    

Provenance:  A Swedish private collection

Nils Forsberg (1842-1934) Swedish

Oil Sketch for the Painting "Gustavus II Adolphus before the Battle of Lützen"

oil on canvas
painted c. 1895-1899
stamp signed on the front and authenticated a tergo
canvas dimensions 18.30 x 24.21 inches (46.5 x 61.5 cm)
frame 22.44 x 28.34 inches (57 x 72 cm)

 

This is an oil sketch for the famous painting "Gustavus II Adolphus before the Battle of Lützen" today in the Göteborgs Konstmuseum's collection.
There is something special with an unfinished oil sketch; we are invited to see how the artist's mind worked and how the motif was invented. The spontaneous process has captured art collectors in all of art history; for example, Rubens and Van Dyck often left their work "unfinished" and often quickly painted in under 1 hour.

Nils Forsberg left Sweden in his mid-20s to travel to Paris, this trip was only supposed to last for a couple of weeks, but he remained for 35 years, between 1867 and 1902, where he was, among other things, a student of the painter Léon Bonnat. During his time at Bonnat's school, he became acquainted with the contemporary Swedish artist Gustaf Cederström.

At the World Exhibition in Paris in 1900, Forsberg exhibited his largest painting, "Gustaf Adolf before the Battle of Lützen".
Our oil sketch is a preparatory study for one of the men in that painting; he can be found to the far right (see our video).

Provenance:
From a private collection, Sweden

John Henry Dolph (American 1835-1903)

Kittens Drinking Milk

The year was 1835, and John Henry Dolph was born near Lake George, New York. A few years later, his family moved to Ohio. When John Dolph turned fourteen, he began an apprenticeship as a carriage painter in Columbus. He moved back to New York City in 1864 and his works were annually exhibited in the National Academy of Design. In the 1860s, most of his oeuvre was landscapes, but after study trips to Antwerp and Paris, he developed his famous paintings with pets, such as dogs and cats. This painting which depicts three kittens drinking milk is a characteristic painting from his most famous period. When studying these three kittens, it is clear how talented John Dolph was when it comes to depicting pets; cleverly, he left the background in a grey/brown tone so we could focus just on the small cute kittens. Back in New York, Dolph became a member of the Kit Kat Club of avant-garde artists, the Lotus Club and the Salmagundi Club. He was elected into the National Academy of Design in 1877 as an Associate member and became a full Academician in 1898. Dolph lived in the Sherwood Studio Building at 57th and 6th. Sherwood Studio was the first apartment building in NYC made specifically for artists. John H. Dolph died in New York City on September 28, 1903.


signed JHDolph
painted c. 1880-1890
oil on canvas mounted on a board
dimensions 8.66 x 14.76 inches (22 x 37,5 cm)
frame 15.35 x 20.47 (39 x 52 cm)

Provenance:
From a Swedish private art collection

Jean-Louis-Ernest Meissonier (1815–1891)

Head of a Soldier

Ernest Meissonier (1815–1891) was one of the most internationally successful and celebrated artists of his time – but became almost completely forgotten in the 20th century. Not until now is the name of Meissonier starting to be re-introduced to its rightful place in art history, and this sketch "Head of a Soldier" is an example of why.

“–All of us will be forgotten, but Meissonier will be remembered" the painter Eugène Delacroix once said in a conversation with poet Charles Baudelaire. Back then, it was unthinkable to see Meissonier as anything else than one of the most famous and beloved artists alive. His paintings fetched the highest prices and audiences flocked to see his works on exhibitions. Through reproductions and prints the fame of Meissonier spread even wider, and when new major works were exhibited newspapers around Europe was quick to report. Napoleon III employed him as a member of the imperial court to paint military victories and Kaiser Wilhelm II of Germany, who also collected his works, said that Meissonier was “One of the greatest glories of the entire world”. John Ruskin, one of the most influential art critics of his day, was "marvelling at Meissonier's manual dexterity and eye for fascinating minutiae". So, what was it that captivated the 19th-century audience in the art of Meissonier?

Formally, Meissonier belonged to the academic tradition and is mainly known for his history paintings, motifs of Napoleonic battles and victories, genre pieces and some portraits. He was both a painter and a sculptor, and also an accomplished engraver. But beyond the motifs and techniques there were other, more intangible qualities to his art. Like no one else Meissonier could produce almost cinematic artworks filled with bombastic happenings, calm poetry or psychologically precise portraits; all balancing between an extraordinary sense of detail and striking compositions. He is often compared as an artistic parallel to writer Alexandre Dumas in his unique ability to convey stories of pre-Revolutionary France, with all its honourable chivalry and heroic tales.

Many of his motifs, especially the military scenes, were of great emotional value to the 19th-century audience and filled with symbols and references that have long lost their meaning. Meissonier knew how to set the scene and boil down to the perfect moment in a story where it reached its full dramatic potential. Whether he painted battle scenes or portraits, Meissoniers artworks had a curious ability to make the viewer submerged into the scene. Technically, what first seems like an extremely realistic and slightly formal way of painting is on a closer inspection shaped by fast, playful and almost carelessly performed strokes of paint that make the motifs vibrate of life. His tendency to only paint rather small formats also provided a kind of intimacy even to his more pompous sceneries.

The current sketch " Head of a Soldier" shows how Meissonier masterfully built up the composition with only a few brushstrokes. The man's gaze is determined and radiates self-confidence. A detail with extra fine finesse is the end of the brushstroke that is visible at the bottom right; the stroke goes back and forth almost in a circle until the paint runs out. This technique may look simple but is very difficult to master. Meissonier likely took inspiration for this sketch from Giovanni Francesco Barbieri (called Guercino), who made several similar sketches.

It is currently unknown what specific painting this sketch belong to, but as interest in Meissonier grows more research and comparisons can provide more knowledge in the future. Till then, this sketch remains a fascinating fragment of the working process behind one of the most successful yet forgotten artists of art history.

 

Title: Head of a Soldier
oil on canvas
signed with monogram EM
canvas dimensions 25.3 x 19,8 cm
frame 40,5 x 36 cm

Provenance:
Schmitz-Laurent (S.V.V.), Saint-Germain-en-Laye, France, 28 nov 2004, lot 15, Soldat à la bourguignotte; Drouot Paris, July 2021, Auction Art Rémy Le Fur & Associés, Lot 571.

Anonymous, Cuzco School

A Portrait of Archangel Raphael With Fish

oil on canvas
1800s
canvas dimensions 22.24 x 15.74 inches (56.5 x 40 cm)
frame 26.77 x 20.47 inches (68 x 52 cm)

Provenance: A Swedish private collection

Charles Bouchez (1811-1882) French

A Soldier Blowing the Trumpet

oil on canvas
signed and dated ch. Bouchez 1842
canvas dimensions 6.29 x 4.13 inches (16 x 10.5 cm)
frame 10.23 x 7.87 inches (26 x 20 cm)

Provenance:
A Swedish Private Collection

Carl Bille (1815-1898) Danish

A Ship in Stormy Seas

oil on paper mounted on canvas
signed and dated C Bille 1873
canvas dimensions 12.59 x 15.35 inches (32 x 39 cm)
frame 15.74 18.89 inches (40 x 48 cm)

Provenance:
A Swedish Private Collection

 

A beautiful maritime painting by Danish artist Carl Bille (1815-1898).
He is best known for his dramatic depictions of the sea, often with stormy weather, both daylight and moonlight appear in his paintings.

Alf Wallander (1862-1914) Sweden

Café Scene (Café interiör)

oil on board
signed Alf Wallander
frame 31.49 x 26.77 inches (80 x 68 cm)
panel size 23.89 x 19.29 inches (60.7 x 49 cm)

Provenance:
Sothebys London, lot 178, 07 June 2011, Sale Number: L11112;
Private Collection Sweden

Alf Wallander was the son of the architect Adolf Wallander and Hildegard Sofia Blom. Wallander studied at the Stockholm Royal Academy of Fine Arts 1880–1885, where he had his uncle as a teacher for a while. He further studied for Aimé Morot and Jean-Joseph Benjamin-Constant in Paris 1885–1889, where he also participated in the Paris Salon in 1889. At the 1889 World's Fair in Paris, he was awarded first prize for his pastel painting Tiggargubbe (Today in Göteborgs Konstmuseum collection). When he returned to Sweden in 1890, he stood behind the controversial group "Opponenterna" and participated in the group's exhibitions during the 1890s. He began his artistic career as a painter and was a member of the Swedish Artists' Association. Under the influence of his friend Oscar Björck in the 1890s, he adopted a symbolist style, which later reappeared in his ceramics.

From 1910 until his death, he was also curator of the Swedish General Art Association and, from 1908, headteacher of freehand drawing at the Technical School in Stockholm. With his wife Gerda Wallander, he exhibited at the Artists' House in 1910 and at the Swedish General Art Association in 1914 and with Oscar Björck, Bruno Liljefors and Prince Eugene at Blanch's Art Salon in Stockholm in 1891. He participated in the Art Academy's exhibition in 1885 arranged by Norrland Art Association in Sundsvall and Söderhamn and the Swedish Artists' Association's exhibitions in Gothenburg, Chicago, Munich, Berlin, Malmö and Paris.
Wallander is represented at Gothenburg Art Museum, Hallwylsiska Museet, National Museum Stockholm, Minneapolis Museum, Nordic Museum, Thielska Galleriet, Prince Eugens Waldemarsudde, Norrköping Art Museum, Uppsala University Library, Louvre Abu Dhabi and Behn. -House in Lübeck.

Dick Beer (b. London 1893 - d. Stockholm 1938) 

oil on canvas
canvas dimensions 54 x 47 cm
signed and dated Dick Beer 1914
painted 1914

Exhibited:
Varias Konstsalong, Stockholm, 1916;
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Dick Beer (1893-1938)

Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside.

Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred Bergström. 

At this time, Many artists went to Paris, and Dick Beer wasn't an exception; he rented a studio and took every spare time to visit academies such as Colarossi and Grande Chaumière and André Lhote. 

Dick Beer travels to Pont Aven in Brittany over the summer of 1913. In September, he went directly to Stockholm for his first solo exhibition with the French title Exposition des tableaux de Bretagne et autour de Paris; The exhibition was a big success with many visitors. 

1914-1917: First World War:

In the spring of 1914, Dick Beer undertook a longer study trip to Italy, Tunisia, Morocco and Spain.

When the French army mobilized, Dick Beer volunteered and was accepted into the French Foreign Legion. He was severely injured at Souain in September 1915, and the war injuries left him with severe deafness and nerve problems, which became increasingly noticeable over the years. During and after the war, he painted in a post-impressionistic style with a light palette, increasingly tuned in blue and green.

1918-1919

Dick Beer and Ruth Öhrling married in February, and in December, their only child, John, was born. During these years, Beer had a studio at Rådmansgatan in Stockholm. During this time, he paints several large Cubist compositions such as "In the Paddock" and "Arab Café". 

He participated in the Februarigruppen exhibition at Liljevalch's in 1919. His palette turned into a darker colour scheme dominated by green, blue, and red. 

Amedeo Modigliani made a portrait of him in Paris in 1919. 

Throughout his short life, Beer spent most of his time in France and exhibited almost annually in Paris.

The Scandinavian motifs were mostly landscapes around Lake Mälaren and from the Stockholm archipelago, cityscapes, many nude studies and some portraits. 

Dick Beer practised many styles during his 30 years as an artist, from post-impressionism, cubism, late cubism, expressionism and naturalism. 

Dick Beer (b. London 1893 - d. Stockholm 1938) 

oil on board
38 x 45 cm
signed and dated Dick Beer 1920
painted 1920

Exhibited:
The Royal Academy Stockholm, 1973;
Åmells Konsthandel  – En internationell kubist, Stockholm & London, 2008;
Hälsinglands museum, A Cubist 1910s, 2011
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Cubistic vision:
In the period following the First World War, the artist’s painting underwent a fundamental transformation. Dick Beer was influenced by various modernistic expressions. In Paris, the first wave of cubism, led by Pablo Picasso and Georges Braque, was established. It was a controversial artistic style. There was a heated debate about cubism, in which the artist broke up the motif into smaller components, sometimes called facets, in order to rebuild it on the flat surface of the pictorial plane. This manner of painting represented a complete break with preceding pictorial conventions and naturalistic painting.

Cubism was governed by theory, not practice, and critics claimed that the style was too intellectual for the general public and they predicted that it would disappear and that artists would return to a rather more classic expression.

The theories surrounding cubism and its various expressions opened up for a number of reinterpretations in the 1910s. Dick Beer was well aware of the cubist discussions. He embraced the ideas but created a varied, personal and emotive cubism in the years around 1918. His painting was often an explosive discharge with playful characteristics and a futuristic dynamism which accentuated the painting’s inherent speed and movement, as for example his works “Dancer” and “The Toy Box”. He also experimented with geometric compositions of buildings and landscapes, which were reminiscent of Paul Cézanne’s more cubic landscapes. Here, Beer’s colours were often muted, in blue, brown and red hues. He frequently returned to earlier motifs and reworked his canvases into a cubist style, as in “Dancer tying her shoes” and “Seated dancer“.

Contemporary art critics were appalled and Beer had to endure severe criticism. At one point, the artist published a reply in the daily Politiken, 1919, where he described his view on art:

“... because love for and understanding of art, ‘l’art pour l’art’, is not easy to achieve, and neither is it easy to comprehend the different movements’ or schools’ origin, goals, characteristic endeavours, etc. – These international phenomena require not only theoretical and art historical knowledge but (...) the ability to empathise with and feel for art, as its practitioners do”.

Dick Beer (b. London 1893 - d. Stockholm 1938) 

oil on canvas
73 x 60.5 cm
stamp signed 
painted 1920

Exhibited:
The Royal Academy Stockholm, 1942;
The Swedish-French Art Gallery, Memorial exhibition, 1942;
Gothenburg Art Gallery, Memorial exhibition, 1944;
Nationalmuseum Stockholm 1944;
Borås Art Gallery, 1952;
Åmells Konsthandel  – En internationell kubist, Stockholm & London, 2008;
Hälsinglands museum, A Cubist 1910s, 2011
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Cubistic vision

In the period following the First World War, the artist’s painting underwent a fundamental transformation. Dick Beer was influenced by various modernistic expressions. In Paris, the first wave of cubism, led by Pablo Picasso and Georges Braque, was established. It was a controversial artistic style. There was a heated debate about cubism, in which the artist broke up the motif into smaller components, sometimes called facets, in order to rebuild it on the flat surface of the pictorial plane. This manner of painting represented a complete break with preceding pictorial conventions and naturalistic painting.

Cubism was governed by theory, not practice, and critics claimed that the style was too intellectual for the general public and they predicted that it would disappear and that artists would return to a rather more classic expression.

The theories surrounding cubism and its various expressions opened up for a number of reinterpretations in the 1910s. Dick Beer was well aware of the cubist discussions. He embraced the ideas but created a varied, personal and emotive cubism in the years around 1918. His painting was often an explosive discharge with playful characteristics and a futuristic dynamism which accentuated the painting’s inherent speed and movement, as for example his works “Dancer” and “The Toy Box”. He also experimented with geometric compositions of buildings and landscapes, which were reminiscent of Paul Cézanne’s more cubic landscapes. Here, Beer’s colours were often muted, in blue, brown and red hues. He frequently returned to earlier motifs and reworked his canvases into a cubist style, as in “Dancer tying her shoes” and “Seated dancer“.

Contemporary art critics were appalled and Beer had to endure severe criticism. At one point, the artist published a reply in the daily Politiken, 1919, where he described his view on art:

“... because love for and understanding of art, ‘l’art pour l’art’, is not easy to achieve, and neither is it easy to comprehend the different movements’ or schools’ origin, goals, characteristic endeavours, etc. – These international phenomena require not only theoretical and art historical knowledge but (...) the ability to empathise with and feel for art, as its practitioners do”.

 

 

Dick Beer (b. London 1893 - d. Stockholm 1938) 

Portrait of Gabriele Varese (in Italian uniform), 1919

oil on canvas mounted on panel
116 x 90 cm 
stamp signature

Exhibited:
Solo exhibition, Stockholm, Nov-Dec 1917;
The Royal Academy Stockholm 1973;
Åmells Konsthandel  – En internationell kubist, Stockholm & London 2008
Hälsinglands Museum 2011
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Cubistic vision:
In the period following the First World War, the artist’s painting underwent a fundamental transformation. Dick Beer was influenced by various modernistic expressions. In Paris, the first wave of cubism, led by Pablo Picasso and Georges Braque, was established. It was a controversial artistic style. There was a heated debate about cubism, in which the artist broke up the motif into smaller components, sometimes called facets, in order to rebuild it on the flat surface of the pictorial plane. This manner of painting represented a complete break with preceding pictorial conventions and naturalistic painting.

Cubism was governed by theory, not practice, and critics claimed that the style was too intellectual for the general public and they predicted that it would disappear and that artists would return to a rather more classic expression.

The theories surrounding cubism and its various expressions opened up for a number of reinterpretations in the 1910s. Dick Beer was well aware of the cubist discussions. He embraced the ideas but created a varied, personal and emotive cubism in the years around 1918. His painting was often an explosive discharge with playful characteristics and a futuristic dynamism which accentuated the painting’s inherent speed and movement, as for example his works “Dancer” and “The Toy Box”. He also experimented with geometric compositions of buildings and landscapes, which were reminiscent of Paul Cézanne’s more cubic landscapes. Here, Beer’s colours were often muted, in blue, brown and red hues. He frequently returned to earlier motifs and reworked his canvases into a cubist style, as in “Dancer tying her shoes” and “Seated dancer“.

Contemporary art critics were appalled and Beer had to endure severe criticism. At one point, the artist published a reply in the daily Politiken, 1919, where he described his view on art:

“... because love for and understanding of art, ‘l’art pour l’art’, is not easy to achieve, and neither is it easy to comprehend the different movements’ or schools’ origin, goals, characteristic endeavours, etc. – These international phenomena require not only theoretical and art historical knowledge but (...) the ability to empathise with and feel for art, as its practitioners do”.

 

Henry Holmström (Swedish)

Dopparedagen, 1931

This is the original front cover for the Christmas Magazine - Dopparedagen 1931.
Watercolour on paper.