Study in Lund: "Your homeland's art compared with Swedish" // LUND UNIVERSITY - Swedish Art in a Scandinavian Context

Swedish Art in a Scandinavian Context : Sweden is one of most recognized countries by its design, technology and science, and its music industry, and the recent years Sweden has been known for its high good living standards. One could say Sweden has a lot to give to the world, Sweden is an example of many various life aspects and industries. Sweden is one greatly developed country, indeed, but there is one important niche which seems to be left out about Sweden internationally: Swedish art.

During the course the student group was presented to an outline of Swedish art in chronological outline of visual material from from prehistoric times on to the present era, with insights in contemporary art and architecture from other Scandinavian countries as well.  This outline discussed aspects of gender, class and ethnicity, also an artist role in a society, and nationalism through art pieces. One of arguments why Swedish art is not recognized so internationally was because the most of Swedish artists had gone to study and express their art abroad, but only later years some found their way to come back to Sweden and study their own home through their new artist’s knowledge they gained from internationally known scholars.

I can give a distant view which extends beyond my private practice, through the information available from the lectures and personal observations while living and travelling in Sweden. As Latvian I consider myself closely related to the cultural background of Sweden and Scandinavia. I found it intriguing and stimulating to learn and discover the small nuances of Swedish art history. In my personal perspective I have noticed the cultural similarity, yet some small nuances in the history of both countries brings more differences in art field due to historical events taken in both countries. Within native visual culture, Scandinavians and Baltic share some elements, but with my personal knowledge and background I observed that Latvian art elements are not so influenced by religious traditions as Sweden in Medieval period. Björn Magnusson Staarf stated that Scandinavian elite had political interest to gradually Christianize Sweden.

What I have chosen to discuss in this article is about three different lecture subjects comparing two similar objects from Sweden and Latvia based on the topic of lecture, I was most curious on the visual aspect similarities of both lands. Therefore I wanted to indicative the similarities of both cultural art objects than only compare the differences of so near by nations. Yet I will also add the differences how related to the history events both cultural backgrounds had parted away from each other.

Architecture. Renaissance and Baroque.

Lectures which included the architecture history in Sweden was impressive to hear about and compare to, as my home city Riga is well known of Baroque and Gothic architectural buildings and the centre of Riga is now designated as a UNESCO World Heritage site in part for its Art Nouveau architecture. Architecture is the most impressive and effective symbols to demonstrate through building the corporate power (Holst--‐Ekström).

For this subject discussion I chose Drottningholms slott (1662-1681) (Fig.1) and Rundāles pils (built in 15th century, rebuilt later 1736-1768) (Fig. 2). Two brilliant baroque art architectural masterpieces indeed reflects the symbolic power of the baroque.

Fig 1. archive google.com

Swedish Drottningholms slot is designed by Willem Boy, a stone palace built by John III of Sweden in 1580 for his queen, Catherine Jagellon. Later the architect Nicodemus Tessin the Elder redesigned and rebuilt the castle. Nicodemus died in 1681 not finishing the castle, so then his son Nicodemus Tessin the Younger continued his work and completed the elaborate interior designs. This palace is Tessin the Elder’s personalized Baroque classicism style (Lindgren).

As Lindgren introduces of “the Baroque”, it is clearly that Drottningsholm castle is Baroques building, as Tessin the Elder together with Jean de la Vallee was the leading Roman Baroque architects in Sweden at that time period. From their educational travels and personal background their styles were influenced of German and French examples. Therefore later Tessin the Elder designed Drottningholms slott as connected to Germany, but influenced by France, but yet exterior details are Italian influence.

And similarly it is observed with Rundales pils in Latvia. It is designed by Italian Francesco Bartolomeo Rastrelli, who had developed late Baroque style and manly worked for Russian aristocrats. Rundales pils interior is alike to Drottningholms slot, what I found the most connecting – the hall of mirrors. 

Fig 2. tripdvisor.com

Rundales pils existence has been depending on changes within the politics and suffered more than Swedish palace – WWI and WWII; and several different occupations. Now it is one of the major tourist destinations in Latvia, also used for the accommodation of notable guests, such as the leaders of foreign nations. The palace and the surrounding gardens are now a museum. It’s stated to be as Little Versailles in Latvia.

 

As it is seen in Figures 1 and 2, both palaces are magnificent examples of the Baroque style. They are built in different time periods of Baroque, and have different architects, but yet both share very closely similar influences of French and Italian exterior and interior details, such as, the main facades on one side of the building (Lindgren). Straight, clean lines in both exteriors. The interior is rich with decorative ceiling paintings and has the hall of mirror. This example of architecture I found the most common with Latvia and Sweden so far from the lecture course.

The formation of National Identity.

I felt the most engaged with the lecture Swedish looking for their national identity through family values, where we discussed and compared the fellow Scandinavian countries nationalism as well.

In the art field in 19^th century Swedish and Latvian artists do not differ so much from each other. As in Sweden realism and impressionism was changing the art that the same was happening in Latvia. Latvian National art creation started from mid 19^th century, the first professional painters were educated in Moscow or Petersburg’s art schools, then Germany or France art education. As Latvia as a country was more influenced by other nations or under other nation powers for long time, national romanticism and portraying historical events were very close to and important to many 19^th century painters in Latvia. Latvian artists were focusing earlier on native culture and social life than Swedish artists.

In the late 19^th century, Latvian artists were influenced by westerner methods - Impressionism, Symbolism and Art Nouveau. Later at the end of 19^th century it changed to national romanticism to reflect more realistic, but subjective. The realistic elements were mixing with mystical and mytholigal subjects more symbolism came into Latvian art, for exampel artists such as V.Purvītis, J.Rozentāls and  J.Valters.

 

Fig 3. antonia.lv

V. Purvitis. Spring, 1930

In figure 3 is Vilhelms Purvitis impressionist and realism painting “spring”. He was an artist who only focused on Latvian nature, especially spring time when the snow melted and more colours and details in the nature appeared. He was interested in nature’s movement, not any living species, but only Latvian nature in the spring. This example is already from early 20^th century, when the 19^th century new trends already had been influenced many young artists, and can see the national romanticism trend in this artwork.

As in Figur 4 Helmer Osslund can see similar way of expression of nature, it’s a lake in Jämtland and painted in early 20th century. Osslund focused on Swedish painting as it was his way to show national identity – Swedish nature. He was living and studying painting in Paris, the influence from Parisian impressionism is thoughtfully noticeable. Latvian artists were not much worse or different from Scandinavian impressions and realism painters. I think the main difference between both nations is the meaning and value into reflecting the national identity. Knowing from the history, Latvians always have been focusing on their own nationalism, identity, search for self

 

Fig. 4 google.com.

 Helmer Osslund. Kallsjön. 1907.

As in Figur 4 Helmer Osslund can see similar way of expression of nature, it’s a lake in Jämtland and painted in early 20th century. Osslund focused on Swedish painting as it was his way to show national identity – Swedish nature. He was living and studying painting in Paris, the influence from Parisian impressionism is thoughtfully noticeable. Latvian artists were not much worse or different from Scandinavian impressions and realism painters. I think the main difference between both nations is the meaning and value into reflecting the national identity. Knowing from the history, Latvians always have been focusing on their own nationalism, identity, search for self in art. From my own perspective I think early professional artists were more self-expressing than today’s artists. Many Latvian artists learnt the westerner methods and trends, but developed their own signature in art, what I think was unusual for this small nation to become themselves than copying and redoing already known artists. Which I learnt in the course that Swedish artists never really tried to master someone’s else method, but learn it and become their own voice as well.

From modernism to contemporary art in a global

The latest lecture I might state was the one which mostly everyone was curious about: “From modernism to contemporary art in a global context” by Björn Fritz. As it was the final lecture of whole course, it focused on today’s contemporary swedish art with historical view into post-modernism rebellious swedish artist activities.

While this is the most controversionally different time period to Sweden and Latvia in social and cultural, and political life, there are some similarities I wanted to point out as well. In my opinion the similarity is the approach to art, that artists became more involved into politics and used art as a way to express their opinion or group of people.

While Sweden was more influenced by American art, Latvia was a Soviet country under heavy censorships in cultural work. According to Latvian artist A. Grants, the political passions had a small impact on Latvian art. While in Sweden political passions were highly used in the art in 1960s. Latvian 60s art was more subjective with symbolic meanings and use of metaphors rather than objective.

From 1950s Sweden’s wealth grown, and consumerism blossomed that suddenly Swedes had too much money to spend. Meanwhile in Latvia people lived through censorship, soviet ideology, corruption and intrigue. As in the lecture Björn stated: “More rebellious artists were, more work they had!” He describes Swedish artists becoming as self-observed, used art to understand their own identity – postmodernism trend. Latvian artists more focused on whole nation as one, capturing its mood through photography as 1960s were the golden age for photography in USSR. Latvian artists were focused on capturing nations mood, how it is to live in a hope of freedom.

Longing for freedom and­ patience to serve to the other authorities has caused the Latvian national mood to be dreamy and melancholic nostalgic romanticism, and many artists - painters or poets, through the centuries have reflected the nation’s mood in their work. (Tifentale, 2002)

Late 1980s and early 1990s Swedish income rised and consumption reached record levels, and Latvia was in a revolution and became Independent. From 1990s many national artists started to focus on social, cultural life in both countries. While in Latvia 1990s were unorganized times, there was crisis in art and photography (Tifentale, 2002). Goysdotter introduces with Swedish social-politicial photographers, who focused on everyday life of Swedish society – in other words, also capturing nation’s mood than focusing on artist himself, as in example Figure 5.

 

Figur 5 Lars Tunbjörk fotoserien ”Landet utom sig”

Tunbjörk’s images thus capture a Swedish society on the verge between economic boom and decline (Goysdotter). Country Beside Itself is considered to be a successful photographic portrayal of early 1990s swedish society as he might have captured the ideological identity of being Swedish, and he has let his moments happen itself rather than created himself to portray. Consumers voyeurism. 

As similar is seen in Latvian artists’ photo project Latvian notes by Arnis Balcus (Fig. 6). In this ongoing (2008-) project the artist has been exploring the everyday life in Latvia. This research is focused on Latvian society through the perspective of collective rituals and public space. It is alike as both photographers would want to portray that dull, unseen, yet everyday with family situations. Both projects are without creating the still life look better, or idealizing the idea of each nation as the best in the world, but both photo series are honest, tru nature of everyday citizen in their daily lives. 

Figur 7 arnisbalcus.lv Arnis Balcus. Latvian Notes. 2008.

The difference between both photo series is very obvious – social standard. Arnis Balcus portrays Latvia as poor country; he focuses a lot on left-behind-Soviets type architecture and travels around Latvia to far away small towns and villages. Yet Arnis Balcus is well recognized in Latvia and is the first photographer from late 1990s who brought photography as art back into Latvian art field. Art critic Tifentale admitted he saved the photography crisis in Latvia. 

Sweden and Latvia share very alike historical path in art and architecture, but the stories, reasons and influences differ from each other. As in he latest years Tunbjörk focused on Swedish “richness”, then Balcus focused on opposites. With this article I wanted to learn the small nuances I noticed so alike to both countries who are geographically so close to each other yet do not know about each of many facts.

Bibliography.

1.      Staaf, M. Prehistoric art in Scandinavia.

2.      Lindgren. The Baroque.

3.      Facos, M. (1996). Not at home. The suppression of domesticity in Modern art and architecture. Thames and Hudson.

4.      Engblom, S. (1999). Art in Sweden. Westerås Media.

5.      Goysdotter, M. Country beside itself: photography and politics in alte 20^th century.

6.      Balcus, A. 2010. To Decay or to Change: what does the future hold for our culture?, Dizaina studija, [online]. Available at: http://www.dizainastudija.eu/index.php/en/0/2/188/499/500/index.html

7.      Barlas, Robert/Wong Winnie (2000) Cultures of the world, Latvia. United States of America. Times Media Private Ltd.

8.      Jansone,A, (2008) 90 Latvijas gadi 1918-2008 (90 years of Latvia). Latvija: National Art Museum of Latvia

9.      Tifentale, A. 2002. Sesas patiesibas par fotografiju (Six truth of photography). Studija, Nr.1 (22), pp 13-21

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GRADING OF PAPERS AT SASH74

We use a grading system with grades form E to A, and fail. The Swedish grades are not directly equivalent to the ECTS grading system or similar American grading systems. In our grading system a E is a work that meets the minimum criteria, a C is a good and sound work with a number of notable errors, and a A is an outstanding performance with only minor errors.

Student	Elina Priede
Criteria						Comments
	Fail	Sufficient	Satisfactory	Good	Very Good
Following the instructions of the paper.					X
Relevance of the chosen theme for the course.					X
Relevance of the selected objects discussed in the paper for the chosen theme.				X		With the wide time span and wide range in type of objects it makes it difficult for you to have a consistent argumentation.
Shown understanding of the material discussed in the paper.					X
Quality of argumentation.				X
Quality of contextualisation.				X
Sound control of the facts in the paper.					X
Further comments	Your theme is interesting and your argumentation is sound and good. The chosen objects with its wide range of types, time and contexts maker your argumentation difficult, but I think you have managed it very well.
Grade	B+