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Author: Matt_Viinanen, Contributing Editor
| Three paintings from 1886 - 1887:
"In Top Capu", watercolour 26"x14" "In the harbour of Algiers", watercolour, 27"x17" "Summer pleasure", watercolour, 30"x22" |
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| The following trip south embarked on New Years, 1887, this time with a royal commission in his luggage. King Oscar of Sweden requested Zorn produce a studio painting of "The Golden Horn", located in Alger. Zorn tactfully tried to convince the King on settling for a scenery painting from the same area, but his request was denied, the King was adamant in his request. The subsequent journey to the Mediterranean gave Emma and Zorn the chance to pass through Paris and Marseille, and from there on to Alger. Zorn made many paintings of landscapes, parks and figures during these travels, but the King's painting stood out as the main piece of work undertaken at this time. The trip took them to Spain, Cadiz, Granada and Seville. Returning in May, the couple headed back toward Paris and attended a great number of exhibitions and shows. On May 25, they returned to London, shortly to be followed by Emma's trip back home. In London, Zorn launched straight into his work - the portrait of Cassel's daughter Maud and late that summer the couple reunited at Dalarö.
By fall, they returned to London, and traveled through Scotland. Zorn finished a portrait of Ms. Symons, commissioned by Cassel while residing in Cornwall which was to become a more permanent residency for the winter that followed. However St. Ives was to become the final destination for Ander's place of work. He instantly fell in love with the village, where a small international artist-colony was already established. They rented a house, and Zorn for the first time really started exploring oils. (It should be mentioned that Zorn now met and had got to know Whistler!) From his biography we can read: "Portrait of Mrs. Symmons", oil 1888, 50"x40" |  |
| "We immediately became friends with the other artists, and rented ourselves a cottage. I was anxious to begin painting in oils, and that is what I did - paint, paint, paint. I had a couple of months where I could relax and not worry about my economical future. Then I began on a painting, "a fisherman", who is flirting with a girl in a way I find somewhat peculiar. They stand side by side, leaning over a low wall and looking at the moon with the port in the background, fishing boats with red set sails ready to go to work on the ocean. It's the hour where the setting sun, with its warm shimmer, causes objects to glow. This, - my debut as an oil painter, was successful. It was bought straight off the easel by the French state, for the Museum of Luxemburg. They even gave me a "honourable mention", - How’s that?" |
| Zorn received one thousand francs for the painting and his international break-through was once again emphasised. During this stay he produced two masterpieces, a portrait of Emma, and "The fish market".
The summers of 1886, 1887 and 1888 were spent at Dalarö and Mora, where a plethora of paintings were born. Among these was, 'Our daily bread'. This was also the time of birth for a special motif that he held close to his heart, - 'nude women bathing'. He was increasingly attracted to the oil medium, and as his interest for older art began to dissipate somewhat, impressionism came to play a larger role in his life and work, helped extensively by his travels. By the fall of 1888, Zorn settled down in Paris in an attempt to establish himself there. The decision was taken after Mr. Cassel had given Zorn a mission: to portray the telephone-king, Ernest May's children. It proved to be a very rewarding mission for Anders Zorn. |
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