Thursday, July 5, 2018

Early 20th-century Painting from Scandinavia

Gösta von Hennigs
Clown playing Violin
1915
oil on canvas
Nationalmuseum, Stockholm

Justus Lundegård
The Dining Room
1919
oil on canvas
Nationalmuseum, Stockholm

Vilhelm Hammershøi
Sunshine in the Drawing Room III
before 1916
oil on canvas
Nationalmuseum, Stockholm

The Light of Interiors

The light of interiors
is the admixture
of who knows how many
doors ajar, windows
casually curtained,
unblinded or opened,
oculi set into ceilings,
wells, ports, shafts,
loose fits, leaks,
and other breaches
of surface. But, in
any case, the light,
once in, bounces
toward the interior,
glancing off glassy
enamels and polishes,
softened by the scuffed
and often-handled, muffled
in carpet and toweling,
buffeted down hallways,
baffled equally
by the scatter and order
of love and failure
to an ideal and now
sourceless texture which
when mixed with silence
makes of a simple
table with flowers
an island.

– Kay Ryan (2003)

Vilhelm Hammershøi
Interior with Lady reading
1900
oil on canvas
Nationalmuseum, Stockholm

Richard Bergh
The Council of the Society of Artists
1903
oil on canvas
Nationalmuseum, Stockholm

John Sten
Landscape
1906
oil on canvas
Nationalmuseum, Stockholm

Eugène Jansson
Sunrise over Rooftops, Stockholm
1903
oil on canvas
Nationalmuseum, Stockholm

Nils Kreuger
March Evening
1900
oil on canvas
Nationalmuseum, Stockholm

Otto Hesselbom
Over Forest and Lake
1908
oil on canvas
Nationalmuseum, Stockholm

Carl Fredrik Hill
The Last Human Beings
before 1911
oil on cardboard
Nationalmuseum, Stockholm

Simplicity

Once the simplicity of my songs was their meaninglessness
satisfied with what they found, a shred of greenery
that shrouded our house and a larger shred that shrouded
the khaki creek, dark placid with unease, sparkling
of leaf death and offal, a mirror clearer than fresh days,
deeper than a cloudless night its never breaking and
never speaking surface. What else then were my yips
but acceptable amid sparrow chatter and the invisibles chiming,
crickets and cicadas, and the stir, the snaps, the blunders
of big grasshoppers, poplar-leaf-netherside in hue:
sounds of their legs releasing a stalk, that wags now, wild
grass or wheat, and then their claws catching another,
or the flight of one who fell, click, after which we'd find him
impassive, on a stone let's say or bald patch of baked field,
staring wisely, as if the journey had gone just as long planned.
So it's possible to know too much: for instance, now, that dying
was that place I woke to as life. So my first, simplest
songs, a child's shouts, nothing but life, soaked,
buried and smothered in life, lost in life's thorax,
were wrong. So my tongue was molded by an already old
community of disease and the glories of my eyes were a late
remnant, lute remnant, the feminine lusciousness
and green ray were a greyed-over rind of what had been
before I was formed, a phlegm spit up of the true,
the dead splendor that no one now alive could ever grasp:
our splendor was its corpse
and I had to go forward into the almost birdless treeless
town we had built by cannibalizing the hardened blocks of aftermath,
there to fight to live, even live well, as some did,
and fight to take away their words, steal them, deform,
make them my own, stones made adequate
to crumble and tower the song of gratitude that is still enjoined.

– A.F. Moritz (2003)

Nils Dardel
Portrait of writer Gustaf Hellström
1913
oil on canvas
Nationalmuseum, Stockholm

Anders Zorn
Portrait of painter Bruno Liljefors
1906
oil on canvas
Nationalmuseum, Stockholm

Robert Thegerström
Portrait of Vilhelm Stenhammar
1900
oil on canvas
Nationalmuseum, Stockholm

Anna Munthe-Norstedt
Wild Briar-Roses
1908
oil on canvas
Nationalmuseum, Stockholm

– poems from the archives of Poetry (Chicago)