The Swedish National Museum is Sweden's largest art museum. The building in Stockholm is home to around 16,000 paintings and sculptures and approximately 30,000 objects of arts and crafts and a graphic collection of world-class. The National Museum also manages the works of art on many castles, for example, Gripsholm, Drottningholm, Strömsholms, Roser mountain and Ulriksdal, also the Porcelain Museum in Gustavsberg.
The history of the collections dates back to the 16th century. Gustav Wasa put Gripsholm Castle the foundation for a royal art collection, which quickly grew through purchases, donations and war booty. However, many of the Italian works of art took the abdicated Queen Christina 1654 to Rome. A castle on fire Tre Kronor in 1697 destroyed more parts of the collection. In the 1740s bought the Swedish ambassador in Paris, Carl Gustaf Tessin, many high-ranking French works of this period for the royal collection. After the death of Gustav III. 1792 was donated in his memory to the National Museum, which the collections were transferred into the possession of the public. The present building was designed by the German architect August Stiller. The opening took place in 1866.
The collection includes masterpieces of Dutch art of the 17th century, such as Rembrandt's "Kitchen Girl ", and the French art of the 18th century, Antoine Watteau's about " love lesson". The Swedish art is represented from the 16th to the early 20th century, with works such as "Lady with Veil " by Alexander Roslin and the " Midsummer Dance " by Anders Zorn.
The collection of graphics and hand drawings comprises some 500 000 leaves from the late Middle Ages to the 20th century. Your core consists of more than 2,000 master drawings, acquired by Carl Gustaf Tessin in his time as ambassador. Of particular importance is the existence of Rembrandt, Watteau, Édouard Manet, Johan Tobias Sergel, Carl Larsson, Carl Fredrik Hill and Ernst Josephson.
The arts and crafts collection spans from the 14th century to the present day. The focus is on objects from Sweden and the Scandinavian countries, but also many other countries are represented. One third of the collection makes the ceramic.
On the website of the museum around 15 percent of the collection assets, are recorded in a research database.
The stair hall
1883 was a body that would determine how the walls of the staircase hall of the National Museum should be decorated. For this decision, there was a competition of several proposals in 1886, the Council agreed on making the hall with designs from the Swedish history. The lower portion should to the 18th century show events from the 16th and the upper part was reserved for motifs from medieval and prehistoric times. The Swedish government agreed to this proposal and extended the body to twelve members. For committee now included Fritz von Dardel, Johan north Falk, Nils Fredrik Sander, Gustaf Upmark, Per Daniel Holm, Georg von Rosen, Carl David af Wirsén, Heligoland Zettervall, John Börjesson, August Malmström, Carl Viktor Rydberg and Curman.
End of 1888 proposals were submitted with proposals for the design of the walls in a competition. For the upper stair hall won Gustaf Cederströms proposal " Ansgarius preaching Christianity," and for the lower hall won Carl Larsson's proposals " Charles XII. considered in Bender Ticino plans for the Stockholm Palace "," Linnaeus at Queen Ulrika in the Park of Drottningholm "and" Sergel in his studio, a statue of Gustav III. modeling ". The Panel, however, was not completely satisfied and launched another competition in June 1890. To this end, Larsson sent proposals for all wall surfaces. His recommendations for the upper hall, " Gustav Vasa's entry into Stockholm on Midsummer Day 1523 " and " Gustav II Adolf's landfall in Pomerania in 1630 ," won the first prize. The second prize was awarded to Georg Pauli's version of " Gustav Vasa's entry into Stockholm " and his " Olof Skötkonungs baptism."
In the fall of 1891, the committee to give Cederström the order decided to make a wall in the upper hall with his work on Ansgar to decorate. The Committee precipitated no unanimous verdict, but the majority of members were in favor of making the upper hall with Ansgar and another motif from the early history and sent this proposal to the government. Even before the government could react, reaching dozens of Swedish artists in the summer of 1892 a protest note. In this letter, the proposal of the committee was declared unsatisfactory and Carl Larsson presents proposals on the whole, as the better alternative. Among the 35 signatories were the artists Prinz Eugen, Geskel Salomon, Richard Bergh, Georg Pauli and Anders Zorn.
After further negotiations between the Board, the Government and the Swedish Academy of Art latter ordered to show works of Gustav Vasa and Gustav II Adolf in the upper hall. This decision was ratified on 2 February 1894 by the government. However, the contract for the Gustav Vasa motif went to Cederström, who refused this request because he did not want Carl Larsson's work " Gustav Vasa Feeder" is sacrificed.
Carl Larsson received the official order to create three boxes for walls in the lower hall. Early 1896 ordered the board cartons for the remaining three walls in the lower hall. For this work, Larsson received 25,000 crowns per painting. The six panels were in the summer of 1896 with Larsson's works " Ehrenstrahl paints a portrait of Charles XI. ", " Palace with Nicodemus Tessin the Younger and Carl Hårleman ", " Queen Lovisa Ulrika and Carl Gustav Tessin " ( the founder of the Swedish art collector system ), " Gustav III. , the protector of the arts and museum founder, takes antique works of art against ", " Bellman in Sergels Atelier " and " Taravals Drawing School " ( decorated the founding of the Academy of Fine Arts ). The panel was not fully satisfied with the performance of the work and wanted to change some details. Finally, the paintings were " adopted " but not completely " endorsed ".
The decision to upper hall stood out still. It was not until 1905 Larsson was commissioned to design a wall with " Gustav Vasa's entry into Stockholm " what happened in the summer and fall of 1907. 1910, Carl Larsson a completely new inspiration for designing the last empty wall. He wanted to make a design from the Swedish legends of the area. In February 1911 was seen in the National Museum a sketch for his painting " midvinterblot ". This work was to develop into Sweden's most diskutiertem paintings. A long-lasting series of critical articles in letters and newspaper articles resulted in Larsson 1914 a complete departure from the project National Museum.
Regardless, he painted in his studio in midvinterblot Hyttnäs at your own risk. The work was shown in June 1915 temporarily at the National Museum and the debate began anew. Despite an acclaimed presentation at the inauguration of Lijevalchs Kunsthalle factory for 40 years in the archives of Decorative Arts Lund disappeared. After an odyssey through Sotheby's in London and the art collector Hiroshi Ishizuka in Japan several Swedish Foundations supported the National Museum, which was founded in the summer of 1997 for 14.6 million crowns current owner of the painting. Since then it's over to see " Gustav Vasa's entry into Stockholm ".
Lucas Cranach the Elder. : Payment
Frans Hals: Woman with crossed hands
Édouard Manet: pear peeler
Alexander Roslin: Lady with veil
Carl Fredrik Hill: His Landscape with Poplars
Ernst Josephson: Spanish blacksmiths
Anders Zorn: Midsummer dance