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.
Warm welcome to an exhibition with the since long neglected Swedish-American sculptor David Edström (1873–1938). The exhibition takes place in the Söderberg room and is composed of 11 sculptors by the artist. The patron Ernest Thiel was a a great admirer of Edström and the museum has the largest collection of the sculptor. All the pieces in this exhibition belong, with one exception, to the museum.
In the museum you will also find professor Rolf Lundén´s newly published biography of the artist Man Triumphant. The Divided Life of David Edstrom.
Caption: David Edström, Caliban, bronze, 1908. Thielska Galleriet
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 years around 1900 were a revolutionary time, with rapid industrialisation, modernisation and scientific progress. At the same time, many people sought to look towards the darker sides of life and the mystery of human existence.
Olof Sager-Nelson (1868-1896) was an artist who lived in the midst of this turbulence and became known for his soulful portraits. He was born in the Swedish province Värmland and studied art in city of Gothenburg. Sager-Nelson was drawn to the art scene in Europe, where he painted his most important works. Never returning to Sweden, he died at the mere age of 27, in the oasis of Biskra, Algeria, where he was trying to cure his tuberculosis.
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 honour of the 150th birthday of Norway’s great artist Edvard Munch, we present our greatest endeavour in the history of Thielska Galleriet in Stockholm: the exhibition Munch! — Nietzsche, Thiel and Scandinavia’s greatest artist, featuring works from the period 1880-1910, a total of more than twenty oil paintings and a large part of the artist’s prints.
Munch! is built around the artist’s famous monumental posthumous portrait of Friedrich Nietzsche, the great European philosopher of the era, commissioned in 1905 by Ernest Thiel, the prominent Swedish banker, businessman and patron of the arts. Ernest Thiel, who built Thielska Galleriet as his private home and to house his unique collection of Scandinavian and international art, was a devoted admirer of Friedrich Nietzsche and considered Edvard Munch to be the foremost artistic interpreter of the philosopher’s spirit and ideas.
Ernest Thiel became Edvard Munch’s foremost collector and patron over an important period during which he built the largest and most distinguished Munch collection outside Norway. Highlights of this collection, alongside the Nietzsche portrait, include Despair (1892, the first version of The Scream, painted the following year, in 1893), On the Bridge (1903) and The Sick Child (1907). In addition to the museum’s own collection of twelve oil canvases and 99 prints, the exhibition features paintings on loan from Nasjonalgalleriet and the Munch Museum in Oslo, from several Swedish institutions and from private collections.
Nobuyoshi Araki is one of the world's most renowned photographers. He has been called the Mapplethorpe of Japan. His images, which are often on the boundary between documentary and staged photography, frequently portray nude women and social taboos. The female body has been a popular subject in art for thousands of years. Women as objects of the male gaze is a topic to constantly highlight, discuss and challenge. Araki’s photos of women are ambiguous, taking impressions from a millennium-old Japanese tradition, and ancient culture with male and female roles. The women are often looking straight at the viewer, with a strong erotic undercurrent. Other images have a stricter, not to say, restrained eroticism, enhanced by dress codes and various attributes. Bondage is a phenomenon that incorporates both aesthetics and sexuality with roots going back centuries in Japanese tradition. Araki’s photographs also portray Tokyo, everyday settings and the people and customs of times gone by. But also the new Tokyo with its extremely urban lifestyle.
Meta Isæus-Berlin’s installations have an aesthetic terseness, where the setting of the narrative is based on the notion of the home. In her works, she uses stage structures as a visual framework. Familiar environments take on a dreamy atmosphere, where objects and materials are significant and tell their own story. Time and memory, dream and reality, are intertwined.
The ability to read abstract presentations relates to a reality that does not aspire to present a figurative picture but nevertheless describes an existing actuality. Since the 18th century, geological drawings, for instance, have radically changed our perception of the line, the marking, and what they express. Despite a predetermined concept and a strict implementation of the idea, Tottie's drawings generate images where idea, method, material and size together form an expression – an expression that is just as abstract as the sediments of earth but which are constantly shifted by the process beyond the reaches of the predictable.
Sophie Tottie (b. 1964) has an explorative approach to her works, which are based on drawing and painting. By experimenting with the tension between materials, processes, images and spaces, she visualises the encounter between the spectator and the work. She is represented in several collections, including those of MoMA in New York, Moderna Museet in Stockholm and Malmö Konstmuseum. Tottie was recently appointed a professor at the Royal Institute of Art in Stockholm. She has previously been a professor at Malmö Art Academy at Lund University and a visiting artist/lecturer at Harvard University, USA. Her works White Lines and Written Language (line drawings) have previously been shown at Andrae Kaufmann Gallery in Berlin, Konrad Fischer Galerie in Berlin, Malmö Konstmuseum in Malmö and MoMA in New York.
An examination of historic and architectonic fragments. The floor plan of an old Egyptian temple from thousands of years ago, with hidden sepulchres, holy rooms with ritual meanings. On a surface measuring nearly 500 sq m, an intense blue-green light cuts through the hilly terrain, ruthlessly drawing its history with no concern for the contemporary world. As darkness falls, the work is activated and the outlines of rooms and chambers appear and open up for visitors to enter a fictional light-drawing.