Julius Kronberg, 1875 - Nymph and Fauns - fine art print

Summary

In 1875 the male painter Julius Kronberg created this 19th century work of art. The original creation was made with the size: Height: 269 cm (105,9 ″); Width: 130 cm (51,1 ″). Today, the piece of art is included in the digital collection of Nationalmuseum Stockholm. We are glad to reference that this public domain piece of art is being supplied with courtesy of Nationalmuseum Stockholm & Wikimedia Commons.: . On top of that, alignment is in portrait format with an aspect ratio of 1 : 2, which means that the length is 50% shorter than the width.

Additional artwork information from the museum's website (© - Nationalmuseum Stockholm - Nationalmuseum Stockholm)

English: Nymph and Fauns, Julius Kronberg’s breakthrough work, was one of the most popular paintings in Sweden in the 1870s. Kronberg had studied in Düsseldorf and Munich and particularly admired the art of Austrian historical painter Hans Makart. Makart’s love of using colour and sumptuous props to bold effect is clearly reflected in Kronberg’s depiction of the hunting nymph secretly being watched by two fauns. The painting had been shown in Munich to great acclaim in 1875, but when it was shown in Stockholm in 1876, it caused a sensation. Some felt the subject was far too sexually provocative. Other critics saw the painting as an absolute masterpiece that immediately had to be acquired by Nationalmuseum. One of the painting’s greatest admirers was a young August Strindberg, who at that time earned a living as an art critic. In the newspaper Dagens Nyheter, he wrote a lyrical review hailing Kronberg as a “triumphant artist”. Strindberg felt that the Munich School that Kronberg represented stood for a modern style of painting where effects of colour and light were the main feature, while the subject was of subordinate importance. Jaktnymf och fauner, som blev Julius Kronbergs genombrottsverk, hörde till de mest uppmärksammade målningarna i Sverige på 1870-talet. Kronberg hade studerat i Düsseldorf och München och beundrade särskilt den österrikiske historiemålarens Hans Makarts måleri. Makarts förkärlek för starka koloristiska effekter och överdådiga rekvisita avspeglas tydligt i Kronbergs skildring av jaktnymfen som i smyg betraktas av de två faunerna. Målningen hade med framgång visats i München 1875. När den 1876 visades i Stockholm växlade reaktionerna kraftigt. Somliga uppfattade motivet som allt för sexuellt utmanande. Andra bedömare menade att målningen var ett fullödigt mästerverk som omedelbart måste förvärvas av Nationalmuseum. En av målningens största beundrare var den unge August Strindberg, som vid denna tid försörjde sig som konstkritiker. I Dagens Nyheter skrev han en lyrisk recension där Kronberg beskrevs som en ”måleriets triumfator”. Strindberg menade att Münchenskolan, som Kronberg representerade, stod för ett modernt måleri där färgeffekterna var huvudsaken medan motivet i sig var av underordnad betydelse.

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