Artipelag is an art museum located in Stockholm's archipelago in Sweden. The art hall opened in June 2012; the building was designed by the late architect Johan Nyrén. The building covers an area of 10,000 square meters and includes 3,000 square meters of art galleries and has 22 acres of surrounding natural scenery; the art hall is founded on a donation by Björn Jakobson and owner of the baby product company Babybjörn. Notable exhibitions have included works by Candida Höfer; the artistic director of Artipelag is Bo Nilsson. The name of the museum is a pun on "arkipelag," the Swedish word for "archipelago." The legacy of Andy Warhol April 15, 2016 - September 25, 2016 The Monochrome Symphony – Single-coloured Constellations of Art, Fashion & Music October 16, 2015 – March 28, 2016 Land meets water – European and American photography from 1860 to the present May 29, 2015 – September 27, 2015 Mats Theselius – Urban Cowboy July 8, 2015 – August 23, 2015 Carouschka – The woman on the island April 29, 2015 – June 28, 2015 Earth Matters February 6, 2015 – May 3, 2015 HERE/NOW: A physical encounter in time and space October 17, 2014 – January 6, 2015 No man is an island – Artistic forays into the Stockholm archipelago May 23, 2014 – September 28, 2014 Reflections on mankind and the biosphere July 11, 2014 – August 17, 2014 The visible – Swedish contemporary photography February 7, 2014 – May 11, 2014 Blackboard – Teaching and learning from art October 11, 2013 – January 19, 2014 Hello Nature.
How to Draw, Paint and Find Your Way May 25, 2013 – September 29, 2013 One, tree! June 14, 2013 – August 21, 2013 Poul Gernes / Sidekick / Cosima von Bonin March 8, 2013 – May 12, 2013 Enlighted: Electric light as the fairy of art October 27, 2012 – February 17, 2013 Candida Höfer – Affinities, Affinitäten, Affiniteter June 30, 2012 – October 28, 2012 Genius Loci June 3, 2012 – September 30, 2012 Official website
Liljevalchs konsthall is an art gallery located on the Djurgården island in Stockholm, Sweden. Designed by architect Carl Bergsten and inaugurated in March 1916, it is today owned by the City of Stockholm. Behind the entrance on the north-western corner is a small vestibule. To the right of the latter is a large sculpture hall leading to two large galleries with skylights intended for paintings, flanked by series of smaller exhibition spaces; the eastern end of the building has a large-scale portico facing a small park surrounded by the large windows of a small restaurant. One of the most appreciated exhibition spaces in Sweden, Liljevalch is renowned for its well-proportioned spaces in a range of sizes and its restaurant Blå porten; the concrete pillars and beams forming the structural framework of the building are left exposed as pilasters and mouldings in the façade with brick walls and a horizontal row of windows filling the spaces between them. In front of and above the main entrance is a sculpture and a relief by Carl Milles.
Bergsten had attempted a career as an avant-gardist architect throughout the early 20th century, influenced by Austrian Art Nouveau architect Otto Wagner. After a trip through continental Europe in 1907, he instead became inspired by traditional architecture in Turkey and Denmark; when Bergsten won the competition for the art gallery in 1913, he had thus given up his early experimental style to embrace a Classicism which he combined with his preference for reduced volumes and modern concrete construction techniques. Bergsten always had a constructive approach to architecture and at Liljevalch his design used basic functional demands as a departure point to create series of multi-purpose spaces. Several details, including the large stairs of the sculpture hall, suggest an inspiration from Heinrich Tessenow's rational Classicism where light is used to emphasis simple sculptural volumes. While the indoor courtyard was used at this time by Ragnar Östberg at the "Blue Hall" in the Stockholm City Hall, at Liljevalch Bergsten managed to combine traditional details with the newest concrete construction technique, the art gallery was thus a forerunner to the modern architecture still to come.
However, the design was criticised for being "too new" and the simplicity was interpreted as a shortage of dignity and monumentality—in short a "slightly careless style applied to a earnest and permanent building". To Brunius, open to modern trends but thought they demanded an historical robe to attain the symbolic values architecture was supposed to deliver, Bergsten's reduction in the exterior thus meant a boundary was trespassed. In a modern perspective, Liljevalchs konsthall is interpreted as more timeless than any other contemporary architecture, a structure where modernity and tradition co-exist without conflict or contradiction; the building avoids the "style" of Neoclassicism but becomes "classical" by confining itself to simplicity and honesty as a constructive principle. Eriksson, Eva. Den moderna staden tar form - Arkitektur och debatt 1910-1935. Ordfront förlag. Pp. 118–122. ISBN 91-7324-768-5. Johansson, Bengt O H. Guide till Stockholms arkitektur. Arkitektur förlag. P. 55. ISBN 91-86050-41-9.
Millesgården is an art museum and sculpture garden, located on the island of Lidingö in Stockholm, Sweden. It is located on the grounds of the home of sculptor Carl Milles and his wife, artist Olga Milles, who are both buried there. Millesgården is the setting of the opening scene of Poul Anderson's acclaimed science fiction novel Tau Zero, several of the sculpture garden's works are described. Millesgården website
Carl Olof Larsson was a Swedish painter representative of the Arts and Crafts movement. His many paintings include oils and frescoes, he is principally known for his watercolors of idyllic family life. He considered his finest work to be Midvinterblot, a large painting now displayed inside the Swedish National Museum of Fine Arts. Larsson was born in the Gamla stan neighborhood of Sweden, his parents were poor, his childhood was not happy. Renate Puvogel, in her book Carl Larsson, gives detailed information about Larsson's life: "His mother was thrown out of the house, together with Carl and his brother Johan; as a rule, each room was home to three families. Such an environment is the natural breeding ground for cholera", he wrote in his autobiographical novel Jag. Larsson's father worked as a casual laborer, sailed as a stoker on a ship headed for Scandinavia, lost the lease to a nearby mill, only to work there as a mere grain carrier. Larsson portrays him as a loveless man lacking self-control.
In contrast, Carl's mother worked long hours as a laundress to provide for her family. However, at the age of thirteen, his teacher at the school for poor children urged him to apply to the Royal Swedish Academy of Arts, he was admitted. During his first years there, Larsson felt inferior and shy. In 1869, at the age of sixteen, he was promoted to the "antique school" of the same academy. There Larsson gained confidence, became a central figure in student life. Carl earned his first medal in nude drawing. In the meantime, Larsson worked as a caricaturist for the humorous paper Kasper and as a graphic artist for the newspaper Ny Illustrerad Tidning, his annual wages were sufficient to allow him to help support his parents financially. After several years working as an illustrator of books and newspapers, Larsson moved to Paris in 1877, where he spent several frustrating years as a hardworking artist without any success. Larsson was not eager to establish contact with the French progressive Impressionists.
After spending two summers in Barbizon, the refuge of the plein-air painters, he settled down with his Swedish painter colleagues in 1882 in Grez-sur-Loing at a Scandinavian artists' colony outside Paris. It was there; this was to be a turning point in Larsson's life. In Grez, Larsson painted some of his most important works, now in watercolour and different from the oil painting technique he had employed. Carl and Karin Larsson had eight children (Suzanne, Pontus, Brita, Mats and Esbjörn, his family became Larsson's favourite models. Many of the interiors depicted were the work of Karin Larsson, who worked as an interior designer. In 1888 the young family was given a small house named Little Hyttnäs at Sundborn just outside Falun in Dalarna by Karin's father Adolf Bergöö. Carl and Karin decorated and furnished this house according to their particular artistic taste and for the needs of the growing family. Through his paintings and books, Little Hyttnäs has become one of the most famous artist's homes in the world, transmitting the artistic taste of its creators and making it a major line in Swedish interior design.
The descendants of Carl and Karin Larsson now own this house, now known as Carl Larsson-gården, keep it open for tourists each summer from May until October. In his years he suffered from bouts of depression. While working on Midvinterblot, a large decoration for the vestibule of the Nationalmuseum, Larsson experienced the onset of an eye problem and a worsening of his frequent headaches. After suffering a mild stroke in January 1919, he spent his remaining time completing his memoirs, he died that month in Falun and was buried in the cemetery of Sundborn Church. Larsson's popularity increased with the development of colour reproduction technology in the 1890s, when the Swedish publisher Bonnier published books written and illustrated by Larsson and containing full colour reproductions of his watercolours, titled A Home. However, the print runs of these rather expensive albums did not come close to that produced in 1909 by the German publisher Karl Robert Langewiesche. Langewiesche's choice of watercolours and text by Carl Larsson, titled Das Haus in der Sonne became one of the German publishing industry's best-sellers of the year—40,000 copies sold in three months, more than 40 print runs have been produced up to 2001.
Carl and Karin Larsson declared. Carl Larsson considered his monumental works, such as his frescos in schools and other public buildings, to be his most important works, his last monumental work, Midvinterblot, a 6-by-14-metre oil painting completed in 1915, had been commissioned for a wall in the National Museum in Stockholm. However, upon
Museum of Medieval Stockholm
The Museum of Medieval Stockholm, centrally located north of the Royal Palace, was constructed around old monuments excavated in an extensive archaeological dig in the late 1970s. Part of Stockholm's city wall, dating from the early 16th century, was found. In order to make the finds accessible to the general public, a planned subterranean garage had to give way to the Museum of Medieval Stockholm, inaugurated in 1986. Museum director Margareta Hallerdt created a visionary state-of-the-art museum, designed by artist Kerstin Rydh, that received both national and international acclaim and won the European Museum of the Year Award in 1986; the museum was closed from June 15, 2007 until early 2010 during the restoration of the bridge Norrbro. During this period, the exhibition was rebuilt while a minor temporary exhibition was available in Kulturhuset at Sergels torg; the museum enables visitors to experience medieval Stockholm, with its brick houses and booths, workshops and gallows. It relates the medieval history of the city from the 1250s to the 1520s.
In 2010, to celebrate 800 years since the birth of Birger Jarl, the founder of Stockholm, the museum opened an exhibition with a reconstruction of his face. The Museum of Medieval Stockholm produces theme exhibitions with a medieval emphasis and arranges lectures and programmes, it engages in broad educational activities, in which children and schools are a key target group. The museum has a shop that sells books relating to the Middle Ages, postcards and jewelry. Stockholm City Museum Stockholm County Museum The Museum of Medieval Stockholm
Hallwyl Museum is a Swedish national museum housed in the historical Hallwyl House in central Stockholm located on 4, Hamngatan facing Berzelii Park. The house once belonged to the Count and Countess von Hallwyl, but was donated to the Swedish state in 1920 to become a museum. In 1938, the museum was opened. Hallwyl House was built 1893–1898 to the design of Isak Gustaf Clason for Count Walther von Hallwyl and his wife, Wilhelmina, it was created to accommodate the office of the count and the extensive art collection of the countess. Wilhelmina and Walther von Hallwyl lived there during the winter. While the exterior of the building and the court is historical in style — borrowing architectural elements from medieval prototypes and Renaissance Venice — it was utterly modern on its completion — including electricity, central heating and bathrooms; the elevator was a addition. The countess collected her artworks during her worldwide journeys in order to found a museum, the palace was donated to the Swedish State in 1920, a decade before her death.
The museum, including many of the rooms where they used to live, opened in 1938 to the public. Hallwyl Museum, in association with Skokloster Castle and the Royal Armoury, is part of a government agency known as the Royal Armoury and Skokloster Castle with the Hallwyl Museum Foundation, or Livrustkammaren och Skoklosters slott med Stiftelsen Hallwylska museet in Swedish. Hallwyl House was donated to the Swedish state on the condition. Today, the house has been preserved; the museum features preserved rooms from the late Victorian period in Sweden giving a glimpse into the lifestyles of the nobility in Stockholm at the time. The Hallwyl Collection, housed there, encompasses some 50,000 objects. Geography of Stockholm Official website