|
|
Channels:
|
Search for:
|
Author: Matt_Viinanen, Contributing Editor
![]() | Searching the outskirts of Paris he ran into many European art colonies. He became acquainted with artists like Max Liebermann, the Swedish prince Eugene (whom became very close friends with Zorn), Carl Larsson, PS Kroyer, among others. It should be said that the most common emotion directed toward Zorn was jealousy. From the outset, Zorn had not felt at home in Paris, and was seeking the right time to return to his own homeland. Three institutions dominated the Parisian art market: The Saloon, art traders and the public criticisms. As long as Zorn was active in Paris these institutions remained of importance for individual artist's official status and commercial success, regardless of art political developments.Back in Sweden, a national buying department of art was established, consisting of five life time-members of the National Museum’s boards. Each year they would reward Swedish artists by bidding on their works, with the intention to hang them in museums.
Zorn's artistic evolvement this time was breathtaking. He had finished "Love nymph" and "Our daily bread". In the latter one we see how he adapted his style, introducing a brighter scale of colour and value, highly detailed and very much under the influence of the French painter Bastien-Lepage. 1887 marked a turning point. Outdoor scenery painting had reached its peak. His control over water and figures in this relatively bright tone shows an assimilation from the modern art world which he had been better acquainted with in Paris. His production from Dalarö in this period is astounding; "Out", "A premier" are just two worth mentioning (he received awards for both of them in Paris). At this time he was also familiarising himself with oil painting, developing a self confident brush stroke which he placed with in a summary manner. Some considered his new broad and summery technique as appalling and the work of an amateur, whilst others thought those dabs of paint must have been painted by a genius. He was much influenced by Manet and Renoir in his impressionistic oil painting technique; he had also begun working with sculpture at this time. "A premiere", gouache 1888. 30"x22" |
| In 1893 the World Fair was held in Chicago, USA. This marked his first visit and proved to be very rewarding, though it accentuated feelings of jealousy from fellow artists at his social and financial success. At the fair, "Omnibus" was bought by Isabella Stewart Gardner, for one thousand, six hundred US dollars, two other paintings went for three thousand each, a sizeable sum in 1893! Now, with three important works by Zorn in America, he was a world-renowned artist. One of the world's leading collectors of French art, Mrs. Potter Palmer, hired Zorn as her portraitist. By fellow Swedish artists, Zorn was appointed commissary for the Swedish section of the fair. His duties, amongst others, were to overlook the shipment and the hanging of the paintings. The Zorn’s left Liverpool, England, in March 1893 and arrived at New York at the end of the month. They took a suite at the Grand Hotel, Broadway, East 31st street, and stayed there for two weeks. These were hectic days for the couple. According to Emma, they socialised with the upper class of New York, Mr. Charles Deering being one of these, and found them to be no different to the upper class the world over. Every day had scheduled lunches, dinners, visits to museums, musicals and so on.
The fair had its grand opening on May 1st, 1893. It was dedicated to the 400th anniversary of the discovery of America by Christopher Columbus, and stood on grounds amounting to 650 acres, occupied by 27,539 521 visitors! Zorn however, wasn't the least impressed. He summed up the fair and Chicago in one word: "Clumsy", and said "Culture can't be bought for money!". He was thinking how everything was made bigger and grander in the states, and how it lacked in taste when contrasted to Europe.Zorn painted his monumental portrait of Mrs. Potter Palmer. In Emma's letters to her mother we can read how irritated Anders was at the model's lack of patience, and how she had to move around all the time. The model had sent for her finest jewellery from the bank, letting Zorn choose which ones he wanted her to wear. He chose none. Zorn was never much for glitter when it came to his portraits. This portrait, of the nations leading hotel-queen, was to become a gateway for Zorn and his American portraits, many of which display shallowness, irony and dash. He was proud of his artistic knowledge, and even if you can say his art was adapted for the upper class's special needs, he never ever lost contact with his origins, as a human or in his art. | ![]() |
"Portrait of Mrs. Potter Palmer", oil 1893, 103"x56"
|
| The couple left America in 1894, to visit Mrs. Isabella Stewart Gardner in her Venetian residence, Palazzo Barbaro, where he completed a portrait of the hostess.
"Not all of my employees can be compared to Mrs. Gardner, as I cannot always place my model in front of the Canale Grande. It was a moment when the lady stood at the balcony, watching the sky lit up by fireworks. She turned around, called for me to join her, when I found my painting. I said - be still, I will paint your portrait right now, and so I did." |
Sweden, 1896-1920
|
| Quick Jump: | ||||
Copyright © 1998-2009, F+W Media, Inc. All Rights Reserved. FA |
||