Helga Henschen (1917-2002) was a multi-disciplinary artist who chose freely among styles and expressions, blending seriousness, humour and politics into her images. Mighty sun goddesses, protective bulls, and children with birds hobnob with outspoken ladies and handwritten messages of solidarity, community and humanity. Helga Henschen allowed art to infuse her entire life, and in hindsight she appears to have been one of the most productive, popular and famous Swedish artists in the post-war era.
This exhibition is the most comprehensive retrospective since Helga Henschen died, and it also celebrates the artist's 100th anniversary. Her entire oeuvre, from the 1940s to the 1990s is presented – from small figurines and self-portraits, via larger terracotta sculptures and dream-like paintings, to accurate illustrations, political commentaries, posters and sketches for public art.
This highly concentrated exhibition consists of eight graphic prints borrowed from the embassy of Norway in Stockholm. The Thiel Gallery has one of the largest collections of art by Edvard Munch outside Norway. The current presentation with loans from the embassy can in part be seen as a complement to work in the museum collection.
More information in English will be posted.
Open inauguration at 2 o´clock PM on February 18
Sinuous shapes inspired by nature characterizes the arts and crafts of Art Nouveau or Art Nouveau style, in 1900. The pottery is full of birds hovering in the air, crawling crustaceans, fish and algae from the underwater world. Trees and vegetation from the forest and land meet with insects, weeds and flowerbeds. The design is inspired by the Swedish countryside, Japanese imagery and European decorative arts.
Rörstrand was one of the porcelain factories that welcomed artists in the industry. The pottery had great success and was shown at exhibitions and sold in international stores. The glistening glaze and elegant forms that grew out of the creative and experimental environment are a great source of inspiration also today.
The exhibition shows Rörstrands art pottery, with deposits from an important private collection in a lush staging signed by Gunnar Kaj. Nature's splendor that adorn vases, bowls, dishes and urns will meet real vegetation installations in the halls of Thiel Gallery. Many of the exhibition's pieces were in the forefront of industrial art exhibitions and are now displayed after a long beauty sleep.
The exhibition is based on Markus Dimdal´s newly released book Art nouveau från Rörstrand: konstkeramiken 1895–1926 (Art Nouveau at Rörstrand: The art pottery in 1895–1926), Arvinius+Orfeus Publishing, Stockholm, 2016.
Alf Wallander´s vase or flower pot with thistle motifs with underglaze paint on earthenware from December 1895 was one of the
artist´s first ceramic pieces. Foto: A Brandeker.
Karin Wiberg’s characterful sculptures of human beings and animals are self-possessed, expressing peace and thoughtfulness. In the summer her works claim their space in different parts of The Thiel Gallery’s garden – some sculptures are clearly visible, others more hidden. Together, they lead a walk that lets the visitor discover unexpected spots. The exhibition becomes an opportunity to slow down and enjoy the stillness under the grand old oak or the view of the fruit trees and the sunlit grass-slopes.
Free entry to the Sculpture Garden with café.
European fashion history, the social context of clothing, Tonie Lewenhaupt´s act as a collector as well as the poetic potentials of fashion are themes addressed in the exhibition, where the clothes will be displayed along with her historical illustrations of fashion. In The Thiel Gallery, once a private home, the clothes will be placed in a unique setting. The costumes will also animate the rooms as places to meet, to be seen and show off.
The exhibition is the first retrospective of the artist Maria Adlercreutz (1936–2014), an innovator of Swedish textile art during post-war times. With great dedication she captured the Zeitgeist of the early 1970s. Woven textiles about global solidarity and close studies of nature are presented along with images reflecting the history of working women.
Maria Adlercreuz has a strong personal link to Thielska Galleriet, where she grew up in the director´s flat. The artist Akke Kumlien, Adlercreutz’s father, was the director of the museum in the 1940s. Later she had her home and studio in Blockhusudden, nearby the museum. Maria Adlercreutz combines art and design with a international perspective. Her work has great relevance for our time, where the labour of the hand is once again highly appreciated.
Flowing brushwork and vibrant colours distinguish the Swedish artist Carl Kylberg’s (1878-1952) paintings of landscapes, figures and still lifes. He combined his artistic practice with a spiritual quest that imbues his oeuvre with an existential dimension. The dissolved shapes in his works were debated in both art and politics.
This exhibition shows parts of Kylberg’s entire body of work, from the early paintings and cartoons from the 1910s, the children’s books and more colourful paintings from the 1920s, to his famous classical motifs from the 1930s and 40s. Kylberg’s breakthrough to the wider public came late, but he is counted as a key figure of Swedish art since the 1930s. The exhibition highlights the artist role and puts his paintings in the context of the period before, during and after the Second World War.
"Without the arts, the man is reduced to a barbarian." (Ernest Thiel).
Artists: Ebba Bohlin, Cecilia Edefalk, Charlotte Gyllenhammar, Rami Khoury, Albin Looström, Joakim Ojanen, Bella Rune and Elisabeth Westerlund.
If Ernest Thiel had lived today, what would it have looked like if he invited some artists to his park? The Garden Party. Contemporary Swedish Sculpture derives from the art patron Ernest Thiel´s grand hospitality and love of art. New works by eight artists will during the summer of 2016 give the permanent sculptures in the park at Thielska Galleriet a new context and let the park come alive as a space for contemporary art. The exhibition is free of admission and invites visitors of all ages to enjoy and explore the beautiful premises around Thielska Galleriet.
The Thiel Gallery is blossoming! Nature is on the museum’s doorstep with the woody glades, flowering meadows and seasonal changes of Djurgården. Now we are opening the doors to floral delight of another kind, with handmade flowers made of glass beads and wire.
The glistening bead blossoms are combined here with salvaged nature in striking installations by the floral artist Gunnar Kaj, who has been in charge of floral decorations at the Nobel Banquet for many years. Twigs, leaves and seed pods in the arrangements were gathered in the parkland around the Gallery. Beadwork has a long tradition in Europe. Ragnar Levi, science journalist and author, has brought the beaded flowers to light by studying their history and building a unique collection dating from the 19th century to today. A rich selection of works from his collection are shown here together with his texts.
Veronica Nygren (1940–2006) had the ability to weave an entire world into her art. She filled it with everyday experiences and political awareness, with knowledge about Swedish crafts traditions and global influences, in a vibrant dialogue with art history and contemporary art. Nygren indefatigably put the potential of textiles to the test. Today, she stands out as a regenerator of textile art and design in post-war Sweden.
This exhibition is the first comprehensive retrospective of Nygren’s oeuvre, spanning from the early 1960s to the beginning of the 2000s. It features freehand weaving and applications, patterns and garments for the Mah-Jong label, along with personal and experimental tapestries and monumental commissioned public artworks. Some of the works are shown on the upper floor of the Museum. Shown together with the national romantic art at Thielska, it becomes obvious that Nygren belongs to a long tradition of Swedish landscape painting.
Textiles have traditionally been associated with the female domain, the home and modest contexts, but Nygren was active in an era when these notions were being reconsidered, discussed and transcended. Her works combined art and design with a political agenda and global perspectives in a way that is also highly relevant in the present day.
Veronica Nygren also has a personal connection with Thielska, being the great grandchild of the art collector and banker Ernest Thiel. The artist Gustaf Fjæstad was commissioned by Thiel in 1905 to create carpets, wallpaper and tapestries for his home. The carpets on the upper floor were designed especially for the Museum by the artist Lennart Rodhe in the 1980s.
By showing Veronica Nygren’s innovative art at the Thielska Gallery, we are upholding a tradition of taking textiles seriously, as an art form in its own right.
Men at Water. Jan Hietala and Eugène Jansson in dialogue
Men bathing is a subject that has attracted attention throughout art history. Bodies moving or at rest, and nude bathing with its oscillation between social and private situations, provide new opportunities to observe the naked male body. Bathing houses and spontaneous outdoor bathing have inspired artists at least since the late 19th century to portray both the hygienic benefits, the liberated playfulness and the erotic allure of water.
Nature is in focus at the Thiel Gallery during fall and winter! The landscape paintings that Ernest Thiel added to the collection in the Gallery, by for example Bruno Liljefors and Gustaf Fjæstad, are shown together with photographs and moving images of Thiel himself in the forest or countryside. Three contemporary artists, Corinne Ericson, AKAY and Ernst Billgren, have contributed works in the exhibition rooms and out in the park, to demonstrate that the double standards from the previous turn of the century still exist, albeit in a different way.
In this exhibition the Thiel Gallery explores its own identity, with a focus on the banker and art patron Ernest Thiel who founded the Gallery. He acquired several portraits of his nearest and dearest and of himself. The images reveal his interest in art and give insights into the family history and the social activities that went on in the house. The exhibition features paintings, photographs, prints and busts from the decades around 1900. An installation with costumes borrowed from the Royal Dramatic Theatre’s costume studio gives the visitor a glimpse of the social life at the turn of the Century.
MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION
MULTIMEDIA ART MUSEUM, MOSCOW/
MOSCOW HOUSE OF PHOTOGRAPHY MUSEUM
THE THIEL GALLERY, STOCKHOLM
present the exhibition:
This exhibition is part of 'Russia: The 20th Century In Photographs', a unique multimedia project by the Moscow House of Photography to establish a photo-archive of Russian history. Its aim is to follow the actual course of historical progress through the 20th century and recreate an authentic image of the events and personalia of a past epoch.
Stockholm New — national romanticism from double turn of the centuries: contemporary fashion photography meets classic masterpiece painting
The international, English language, multiple award-winning fashion and style magazine Stockholm New was published in a total of twelve issues over the years 1993-2002. It’s a well-documented claim that the magazine was trendsetting, even groundbreaking, not only in Sweden but globally. It’s also generally acknowledged that Stockholm New played a key role in the creation of a new contemporary “Sweden image” — that of a modern, cutting edge scene for fashion, trends, design, and a wide range of creative expressions.
In 1896, Ernest Thiel bought his first large painting, “Morning Mood by the Sea” by Bruno Liljefors. He continued to add to his collection, and soon the apartment on Strandvägen was too small. “I want a home decorated with paintings on all the walls, I want it to be comfortable, I want to live there” Thiel wrote to the architect Ferdinand Boberg, whom he chose to design his new home.
In 1904-07, his palace was built on Blockhusudden on Royal Djurgården for his family and his already enormous art collection. The upper storey was designed according to Thiel’s suggestion, with two large halls. Thiel was a patron to artists of his own generation. Nearly all of them became his friends, including Eugène Jansson, Carl Larsson and Bruno Liljefors. Danish and Norwegian artists such as Edvard Munch also frequented Thiel’s gallery.
Today, in addition to the two large halls, the house boasts an exquisite Munch Room. Other rooms are named after Carl Larsson, Hjalmar Söderberg and Axel Törneman. There are two turret rooms at the top of the building, one of which contains the death mask of Nietzsche and prints by Edvard Munch.
This unique collection from the previous turn of the century includes works including paintings by Bruno Liljefors, Ernst Josephson, Edvard Munch, Eugène Jansson, Carl Larsson, August Strindberg and Anders Zorn. But there are also works by Paul Gauguin and Henri Toulouse-Lautrec in the collection. Several sculptures by artists such as Auguste Rodin and Gustav Vigeland are found in the surrounding park. The collection, the house and the park form a harmonious unity.
The Thiel Gallery was opened to the public in 1926, when the Swedish government acquired the building, the art collection and other inventory.