The art of painting in the nineteenth century . nd someof his contemporaries. An entirely different stand has been taken by Julius Kronberg (1850 ), who paints a la Makart voluptuous subjects ina voluptuous style. Hugo Salmson (1843-1894) 1S best mentionedas the last of this list of artists, because he is in asense the forerunner of the modern school ofSwedish painters. At first he was influenced byConstant and later by Meissonier, until the suc-cess of Bastien-Lepage caused him to become afollower of this master. At all times Salmson hasknown how to be the successful popularizer ofnew styles.
The art of painting in the nineteenth century . nd someof his contemporaries. An entirely different stand has been taken by Julius Kronberg (1850 ), who paints a la Makart voluptuous subjects ina voluptuous style. Hugo Salmson (1843-1894) 1S best mentionedas the last of this list of artists, because he is in asense the forerunner of the modern school ofSwedish painters. At first he was influenced byConstant and later by Meissonier, until the suc-cess of Bastien-Lepage caused him to become afollower of this master. At all times Salmson hasknown how to be the successful popularizer ofnew styles. No doubt he is a genius, but hisindividuality is not strong enough to make hima master. The new generation has started with Salm-sons Bastien-Lepage style, and has steadfastlyrefused to follow any but the most modern ofthe modern. Among the landscape painters Per Eckstrom, Prince Eugen (1865 ), Nils Kruger, and Karl Nordstrom (1855 ) are most favor-ably known. The solitude of nature appeals toall of them. Winter, too, is one of their favorite. c o c c c SWEDISH PAINTING 157 subjects. Georg Arsenius (1818 ) is an animal painter whose fame rests largely on his gay pic-tures of Parisian races. Among the figure painters Andreas Zorn (i860 ) enjoys an international reputation. His eye is quick and true and his hand is sees everything at a glance and seems topaint it with one bold stroke. This gives tohis work an immediateness which is most cap-tivating. Zorn is an experimenter in drawingand coloring, but he is always successful. Heis the favorite child of the muse of painting. Equally as facile as Zorn, but not so many-sided, CarlLarsson (1855 ) is known as a co-quettish, mobile, and capricious painter, who hasseen much and babbles about it in a way thatis witty and stimulating, if not novel. Like Zornhe does not confine himself to figure painting,but has created some excellent landscapes. Richard Bergh (1858 ) is less conspicuously brilliant than either of the preceding ar
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