Nils Forsberg, 1888 - Nils Forsberg Jr. in the Paris atelier - fine art print

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In 1888 Nils Forsberg made the 19th century work of art "Nils Forsberg Jr. in the Paris atelier". The artpiece measures the size: Height: 73 cm (28,7 ″); Width: 55,5 cm (21,8 ″). Oil on canvas was applied by the painter as the technique for the artpiece. Today, this work of art belongs to the digital art collection of Nationalmuseum Stockholm, which is Sweden's museum of art and design, a Swedish government authority with a mandatet o preserve cultural heritage and promote art, interest in art and knowledge of art. With courtesy of - Nationalmuseum Stockholm & Wikimedia Commons (public domain license).The creditline of the artpiece is: . Moreover, alignment is portrait and has a ratio of 3 : 4, which implies that the length is 25% shorter than the width.

Artwork specifications by Nationalmuseum Stockholm (© Copyright - Nationalmuseum Stockholm - Nationalmuseum Stockholm)

English: New acquisition, February 2014: Studio Interior by Nils Forsberg Nationalmuseum has added an unusual studio scene by Nils Forsberg (1842–1934) to its painting collection. The subject is a young painter, the artist’s son and namesake, sitting in front of an easel using an upside-down sculpture as a platform. Forsberg’s painting follows a long tradition of self-portraits and depictions of artists that vacillate between conceit and reflection in the face of death. The painting has also been interpreted as a contribution to the contemporary criticism of the Royal Swedish Academy of Fine Arts in Stockholm. Nils Forsberg led a dramatic life. After running away from home and taking an apprenticeship with a painter in Helsingborg, he attended the college in Gothenburg run by the Swedish Society of Industrial Design. In 1867 he arrived in Paris, and he did not return to Sweden until the early 1900s. In Paris, Forsberg studied under Léon Bonnat, one of the greatest French painters of the time. During the Franco-Prussian War, he enlisted as a medical orderly. His war experiences inspired his most successful work, A Hero’s Death, which is now in Nationalmuseum’s collection. This large-scale painting won the gold medal at the 1888 Paris Salon. Nationalmuseum’s latest acquisition is entirely different in character. It is painted on a relatively small canvas using fairly simple techniques. It has been interpreted as a veiled criticism of traditional fine arts education in the late 19th century, as offered by institutions such as the Royal Swedish Academy of Fine Arts in Stockholm. The young man, taken to be the artist’s son, Nils Forsberg junior, is sitting ostentatiously on a plaster replica of one of classical antiquity’s best-known artworks, the Venus de Milo. The sculpture may represent the values that the art academies stood for, while the artist’s son embodies the future. Forsberg’s studio interior is at once simple and ingenious in its composition, with two intersecting diagonals. One begins at the subject’s skull and ends at a large vase. The other unites the young artist with the sculpture. The same objects also delineate different levels in the space, pointing in different directions. The green urn in the foreground not only serves as a repoussoir to add depth to the image, but may also symbolize a new era. It is believed to be identical to a unique ceramic artifact, now in Nationalmuseum’s collection (NMK 30/2005), by the Swedish artist Count Nils Barck (1863–1930). Like Forsberg, Barck lived in Paris and was noted for his innovative work with glazes. The urn, produced at the turn of the 20th century, is a clue that the painting must have been produced around the same time. This late dating means that Forsberg’s painting cannot be seen primarily as a contribution to the anti-establishment movement of the 1880s, but rather as a taunting, unconventional portrait of the artist’s son. Nationalmuseum’s purchase has been made possible by means from Magda and Max Ettler Fund. Nationalmuseum has no budget of its own for new acquisitions, but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft. Målningen utfördes omkring 1886-88 som protest mot Konstakademien i Stockholm och dess klassicerande ideal. Sonen Nils sitter på en avgjutning av en antik skulptur som fanns i Forsbergs ateljé och återkommer även i andra avbildningar (citerat ur "I konstnärens ateljé", Nationalmusei utställningskatalog nr 539) Månadens nyförvärv, Februari 2014 Ateljéinteriör av Nils Forsberg Nationalmuseums målerisamling har utökats med ett ovanligt ateljémotiv av Nils Forsberg (1842–1934). Motivet är en ung målare, konstnärens son och namne, som sitter framför ett staffli med en omkullvält skulptur som podium. Forsbergs bild ingår i en lång tradition av självporträtt och framställningar av konstnärer som till sitt innehåll pendlar mellan självförhävelse och besinning inför döden. Målningen har också uppfattats som ett inlägg i opponenternas kritik av Konstakademien i Stockholm. Nils Forsbergs liv var fyllt av dramatik. Efter att ha rymt hemifrån och börjat gå i lära hos en målare i Helsingborg, gick vägen via Slöjdföreningens skola i Göteborg till Paris. Året var 1867 och Forsberg skulle inte återvända till hemlandet förrän i början av 1900-talet. I Paris studerade han för Léon Bonnat, en av Frankrikes största konstnärer vid den tiden. Under fransk-tyska kriget tog han värvning som sjukvårdssoldat. Det var upplevelserna därifrån som inspirerade honom till hans största framgång, målningen En hjältes död, som idag finns i Nationalmuseums samlingar. Denna stora komposition belönades år 1888 med Salongens medalj i 1:a klassen. Nationalmuseums nyförvärv har en helt annan karaktär. Bilden är utförd på en relativt liten duk och ganska enkelt målad. Den har tolkats som en förtäckt kritik av den traditionella konstnärsutbildningen vid 1800-talets slut, så som den bedrevs vid bl.a. Konstakademien i Stockholm. Ynglingen, som anses vara konstnärens son Nils d.y., sitter demonstrativt på en gipsavgjutning av en av den antika konstens mest kända verk, Venus från Milo. Skulpturen får representera de värden som akademierna stod för, medan sonen blir sinnebilden för framtiden. Forsbergs ateljéinteriör har en lika enkel som genial uppbyggnad med två korsande diagonaler. Den ena har sin början i kraniet och avslutas med en stor vas. Den andra förenar den unge konstnären med skulpturen. Samma föremål markerar dessutom olika plan i rummet, som pekar i olika riktningar. Den gröna urnan i förgrunden är inte bara en repoussoir för att ge djupverkan i bilden, utan får också symbolisera en ny tid. Den är sannolikt identisk med ett unikt keramiskt arbete, nu i Nationalmuseum (NMK 30/2005), utförd av den svenske konstnären och greven Nils Barck (1863–1930). Barck bodde liksom Forsberg i Paris och uppmärksammades bland annat för sitt innovativa sätt att arbeta med glasyrer. Urnan, som är tillkommen vid sekelskiftet 1900, avslöjar att målningen måste vara tillkommen under samma tid. Denna sena datering gör också att Forsbergs målning inte primärt kan uppfattas som ett inlägg i 1880-talets opponentrörelse utan snarare får ses som ett spefullt och okonventionellt porträtt av konstnärens son. Nationalmuseums inköp har möjliggjorts genom medel från Magda och Max Ettlers fond. Nationalmuseum har inga egna medel att förvärva konst och konsthantverk för utan samlingarna berikas genom gåvor och privata stiftelse- och fondmedel.

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