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The Experimental Self: Edvard Munch’s Photography
8 February – 31 May 2020
Press conference at 10 am Thursday 6 February
After the tour, the museum offers coffee and cake
RSVP info@thielskagalleriet.se
Self portrait ”à la Marat” by the bathtub at dr Jacobsons clinic, Copenhagen, 1908-09. Photo: Edvard Munch. Munchmuseet, Oslo.
Edvard Munch (1863-1944) bought his first camera in February 1902. He used photography as an experimental medium and often placed himself in front of the lens. Munch was a curious photographer who exploited the effects of apparent "mistakes" such as distortions, blurred movements and unusual camera angles. The photographic experiments have a clear relation to the artist's design language in painting and graphics, but Munch did not display the photographs publicly. The investigative and poetic pictures show the artist himself and his immediate surroundings: "selfies" from the nerve clinic, the beach or the garden in the home outside Oslo.
Munch photographed for two periods. The first began in 1902, the same year as his long-standing relationship with Tulla Larsen ended with a wet shot that injured one of the artist's fingers. The time was also marked by the fact that his career had gained momentum, which contributed to an emotional crisis culminating in a rest course at Dr. Daniel Jacobson's private clinic in Copenhagen in 1908-1909. At that time Ernest Thiel was one of Munch's most important patrons and acquired a large collection of the artist's work for the Thielska Gallery. Munch's second active period as a photographer, when he also tried on amateur films, lasted from 1927 to the mid-1930s. However, successful retrospective exhibitions in Berlin and Oslo, as well as a bleeding in the right eye, which damaged Munch's vision, put an end to more experiments.
The exhibition Edvard Munch's photographs. The experimental self aims to show a page of Munch's creation that is unknown to many, but which was an obvious part of his artistic work. The exhibition will contain about 50 images printed after the originals at the Munch Museum in Oslo. A selection of Edvard Munch's graphic magazines, taken from the Thielska Galleriet's own collection, is shown together with the borrowed works.
The exhibition is produced in collaboration with the Munch Museum, Oslo.
The exhibition was originally produced by The American-Scandinavian Foundation / Scandinavia House, in collaboration with the Munch Museum, Oslo and displayed at Scandinavia House, New York.
With twelve oil paintings and almost a hundred graphic magazines, the Thiel Gallery has one of the largest collections of Edvard Munch's art outside Norway. Art collector Ernest Thiel in Stockholm was Munch's most important patron during a period in the early 1900s and bought most of the works directly by the artist. The Munch Hall at the museum is named after the Norwegian artist, and his paintings still hang today. Read more about the Munch collection at the Thiel Gallery
Edvard Munch paining on the beach in Warnemünde, 1907. Photo: Edvard Munch. Munchmuseet, Oslo.
Edvard Munch, in glasses, in front of two watercolours, Ekely, ca 1930. Photo: Edvard Munch. Munchmuseet, Oslo.
Edvard Munch on a suitcase in his studio at Lützowstrasse 82, Berlin, 1902. Photo: Edvard Munch. Munchmuseet, Oslo.
Self portrait with hat and sunglasses, Ekely,1930. Photo: Edvard Munch. Munchmuseet, Oslo.
Edvard Munch, Evening, 1902, wood cut. The Thiel Gallery.
Edvard Munch, The sick child, 1896, lithography. The Thiel Gallery.
Edvard Munch, Self-portrait, 1895, lithography. The Thiel Gallery.
Augusta Lundin. The First Fashion House in Sweden
13 June- 4 October 2020
Press release at 10 am Friday 12 June
RSVP info@thielskagalleriet.se
Augusta Lundin is regarded as Sweden’s first couture-seamstress and created dresses of the highest splendour. Her creations followed the currents of contemporary European fashion and they were worn by the royalty and the upper-class, but also by members of the cultural sphere.
Lundin was a very important figure in Swedish fashion history, but her creations and works are surprisingly unknown to the public.
Lundin collaborated with Otto Gustaf Bobergh who had started the first established haute couture store, Maison Worth & Bobergh, together with the British tailor Charles Frederick Worth in 1858. After the meeting with Bobergh, Lundin travelled to Paris at least once a year to get inspiration and to spread European fashion to Sweden. The exhibition is the first to put the pioneering work of Augusta Lundin in focus and contribute to the knowledge about a forgotten history of the Swedish fashion culture.
The exhibition tells the story about Augusta Lundin as a dynamic creator and entrepreneur around the turn of the twentieth century. The conditions of creation and the organisation of work, the clients` role and the taste of the time, the clothes` social functions and aesthetic quality are thematised and displayed with costumes, objects and images in the exhibition. The lavish historical clothes are the core objects in the exhibition, but with a number of non-finished items which gives the viewer the opportunity to see the work of the inside of the clothes and get an insight of the challenges of French sewing.
This exhibition is made in close collaboration with the two curators and experts on fashion Anna Bergman and Lotta Lewenhaupt. It is produced together with Malmö Museums and the Museum of Gothenburg (Göteborgs stadsmuseum).
The exhibition will be displayed at the Thiel Gallery in Stockholm during the period June 13 – October 4 2020, thereafter at Malmö museums November – August 2021 and at Museum of Gothenburg September 2021 – January 2022.
Images with details from a dress in silk by Augusta Lundin, 1893, Malmö museers samlingar
Hjalmar Söderberg and the arts. A jubilee exhibition
19 September 2019–20 September 2020
Gerda Wallander, Portrait of Hjalmar Söderberg, 1916, oil on canvas, 114 x 69 cm. Photo: Thielska Galleriet
In 2019 the author Hjalmar Söderberg (1869–1941) would have turned 150 years old. The Thiel Gallery celebrates this jubilee with an exhibition that highlights the author`s relation to the arts. The exhibition shows portraits of Söderberg and drawings made by Söderberg himself. Books with ornaments made by the author and other objects that relates to Söderberg are also exhibited.
Ernest Thiel and Hjalmar Söderberg were very good friends and the author used to stay in a room at the Thiel Gallery when visiting Ernest Thiel. The two friends sent letters to each other for about 30 years and shared the interest of playing chess.
Curator: Sophie Allgårdh, collaboration with Söderbergsällskapet
PRESS
sophie.allgardh@thielskagalleriet.se
0708-45 60 87
Astrid Kjellberg-Juel, Portrait of Hjalmar Söderberg, 1912, oil on canvas. Belonging to Bonniers portrait collection. Photo: Per Myrehed
Hjalmar Söderberg, Self portrait, 1895, ink wash. Belonging to Bonniers portrait collection, Nedre Manilla. Photo: Per Myrehed
Hjalmar Söderberg, The church tower of Saint Clare, 1884, crayon on paper, Göteborgs universitetsbibliotek. Photo: Per Myrehed
Sigge Bergström, Portrait of Hjalmar Söderberg, 1919. The wood cut initiated Vängåvan to Hjalmar Söderberg's fiftieth anniversary that year. The figures in the right corner are probably inspired by Hjalmar Söderberg's descriptions from the first scene in Gertrud (1906) with her and her husband, Gustaf Kanning, He has "no hair" and she is "tall and graced with rich brown hair".
Hjalmar Söderberg greets Niels Hansens Jacobsen sculpture Troll that hunts for Christian flesh outside Jesuskyrkan in Storköpenhamn 1907. Photo: Birger Mörner
Hjalmar Söderberg, Self portrait "Moi", 1890, pencil
Hjalmar Söderberg, Maria von Platen from memory, undated, drawing. Göteborgs universitetsbibliotek. Photo: Per Myrehed
Anna Riwkin, The author Hjalmar Söderberg, ca 1936, silver gelatin photography. Moderna Museet. Photo: Anna Riwkin
Yngve Berg, Portrait of Hjalmar Söderberg, 1947, ink wash, Bonniers portrait collection. Photo: Per Myrehed
Albert Engström, Caricature of Hjalmar Söderberg, the original of the image that was printed for the perennial series "Medmänniskor" in Engström's magazine Strix.
Hjalmar Söderberg, It darkens across the road, gift to brother in law Alban Keyser, drawing.
Hjalmar Söderberg, vignette proposal to Jahves fire (1918) with Moses adorned by a bull's mask, serpent staff and
stone tablets +the proposition was accepted with only the bull's mask and serpent staff.
Axel Törneman. The bohemian life and modernity
17 October 2020 – 24 January 2021
Press release at 10 am Friday 7 February
RSVP info@thielskagalleriet.se
Axel Törneman, Night Café, 1906, oil on canvas. Photo: Thielska Galleriet
Axel Törneman (1880-1925) is a portal figure for Swedish modernism with its continental style. At the same time, he was a quirky bohemian who went his own way and avoided groupings. The Thielska Gallery has the largest Törneman collection in the country, with the well-known painting Night Café (1906). Törneman's business also included frescoes, altarpieces, book covers, stamps and drawings for the joke press. The exhibition gives a broad perspective on a versatile and forgotten art in the early 20th century Swedish art history. The visitor can look back at the turn of the century's continental café life or be enthralled with a portrayed model.
