International studio . on of womens emanci-pation in the nineteenth century, a aIn 1891, Larsson moved to Stockholm,where an important task within the scope ofmonumental art attracted him. He hadsuccessfully taken part in a couple ofcompetitions for carrying out frescoes inthe National Museum, and after havingbeen chosen for the task in question, heaccomplished it according to his own plan-ning and after his own fashion in such away as to make this great work the centreof all his enormously rich Ehrenstrahl, the Hamburg painterwho became the father of the Swedish artof painting
International studio . on of womens emanci-pation in the nineteenth century, a aIn 1891, Larsson moved to Stockholm,where an important task within the scope ofmonumental art attracted him. He hadsuccessfully taken part in a couple ofcompetitions for carrying out frescoes inthe National Museum, and after havingbeen chosen for the task in question, heaccomplished it according to his own plan-ning and after his own fashion in such away as to make this great work the centreof all his enormously rich Ehrenstrahl, the Hamburg painterwho became the father of the Swedish artof painting, is seen occupied in XI; here stands the great archi-tect Nicodemus Tessin the younger, on thescaffolding of the castle of Stockholm, hislife-work ; here the French painter Tara-val teaches the first generation of Swedishart students in his life class; here isLovisa Ulrica, the clever and literary sisterof Frederick the Great, eagerly looking atthe French engravings shown her by the i8q CARL LARSSON. THE STUDY CORNERBY CARL LARSSON(In the collection of CarlPiltz, Esq., Stockholm) art collector and diplomatist, Carl GustafTessin, just back from Paris, while geniifloating in the air above her head bearBouchers The Triumph of Galathea, thecostliest treasure of the Tessin collec-tions ; here King Gustavus III, with atheatrical gesture of admiration and hom-age, receives at the palace of Stockholmthose antique marbles that he had broughthome from his Italian journey; here,finally, Sergei chisels his Amor and Psyche,while his friend the poet Bellman sings apastoral to his lute. All this is given in astyle equally firm and simple ; and as amanifestation of strongly personal, richlyexpressive art, it takes a prominent placeamong all the monumental painting which,during the latter half of the nineteenthcentury, was brought to light in new buildings for the Opera andthe Dramatic Theatre in Stockholm also190 secured large decorative paintings from hishand. H
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
