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The Town

August Strindberg1903

Nationalmuseum Sweden

Nationalmuseum Sweden
Stockholm, Sweden

We see a dark landscape dominated by a sky filled with monumental cloud formations in white, black and grey. The lower part of the painting comprises an expanse of water, and in the foreground a dark shore. In the background, on the horizon, we get a glimpse of a city. A dome rises up above the other buildings and is reflected in the water. If you look carefully, you can see that the artist applied the paint with a palette knife rather than brushes. It looks like the paint has been spread over the surface the way you might spread butter on bread.

We can hardly see this painting as a true depiction of reality, although the city on the horizon may be reminiscent of Venice or Stockholm. It almost looks as if the city is floating on the water, like a mirage. The dramatic sky, the hint of a city silhouette and the shockingly dark colour palette combine to give the impression of a fantasy or a vision. What is the painting expressing? One might see it as threatening, with its foreboding and dramatically stormy sky. The painting may also convey a sense of distance and alienation. The city – perhaps a symbol of civilisation, culture and life – is a long way off. As we look at the city, we find ourselves in an unidentified dark landscape far removed from civilised society.

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  • Title: The Town
  • Creator: August Strindberg
  • Creator Lifespan: 1849/1912
  • Creator Nationality: Swedish
  • Creator Gender: Male
  • Creator Death Place: Stockholm
  • Creator Birth Place: Stockholm
  • Date Created: 1903
  • Title in Swedish: Staden
  • Physical Dimensions: w530 x h945 cm (without frame)
  • Artist Information: Painting was, all in all, merely a parenthesis in the career of the author and playwright August Strindberg. After a tentative beginning in 1872, it was concentrated chiefly in the years 1892-94, 1901-02, 1903 and 1905. Strindberg had no formal artistic training, but developed extensive links with the world of visual arts. He was well acquainted with the progressive art of his day, thanks to his close dealings with a large number of contemporary Swedish and European artists, such as Richard Bergh, Ernst Josephson, Carl Larsson, Karl Nordström, Christian Krohg, Edvard Munch, Paul Gauguin and Alphonse Mucha. In the 1870s, Strindberg also worked as an art critic for the Stockholm press. In this area, he adopted a fairly conventional stance, but he also distinguished himself by his ability to understand and accurately characterize even artistic manifestations for which he felt little sympathy. August Strindberg’s painting portrays the topography of the soul, rather than the Swedish landscape, and stand entirely apart from the other artistic currents of the turn of the century. The only similarities lies in its subjectivity, although Strindberg went further than his contemporaries, both in this regard and in terms of technical freedom. As an amateur he could afford to experiment, one manifestation of this being his extensive use of a palette knife. His artistic method was one of spontaneous association, and he allowed one idea to lead to another in a kind of dialogue with his work, which he described in his remarkable essay on art theory entitled “New directions in art! Or the role of chance in artistic creation” (1894). Strindberg also turned his attention to other fields, such as science, alchemy and photography, and here, too, he proceeded by trial and error. An important key to understanding Strindberg’s painting is the therapeutic function. Often he had recourse to painting as a creative alternative at times when he felt unable to write. It is therefore natural to see an autobiographical dimenstion in the troubled, dramatic moods and dark colours of his pictures.
  • Type: Painting
  • Rights: Nationalmuseum, Nationalmuseum
  • Medium: Oil on canvas
Nationalmuseum Sweden

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