FRAGMENTS

February 14

Carl Larsson, malo bih živela u njegovim slikama i crtežima.

February 14

Carl Larsson: how a loved and popular painter became lost in controversy

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Midvinterblot (Midwinter’s Sacrifice)

The last, and what he intended to be his greatest, mural is drawn from the mythical sagas of the Icelandic writer Snorri Sturluson, with additional material from Adam of Bremen. Larsson wanted it to form a contrast with the other murals which he had already painted.

It shows a dramatic scene which does not have any parallel in official Swedish history, of the sacrifice of the mythical King Domalde. According to Snorri Sturluson, there had been many years of crop failures, and the gods had demanded pagan sacrifice to appease them and ease the suffering of the people.

Here, in the midwinter, the king has been dragged on a gilded sled in front of a temple in ancient Uppsala. The high priest who is to perform the sacrifice conceals the knife behind his back, as the king is about to step off the sled onto the altar.

At the far left, women are in religious ecstasy, behind priests who blow ritual horns. Beside them is a miniature earthly Yggdrasil, which Adam of Bremen reported was evergreen. At the far right are the king’s warrior chiefs, following the sled.

The style shows art nouveau influence, and in its gilding and decoration is reminiscent of Gustav Klimt, a contemporary who died in 1918. Larsson made a preparatory sketch in 1910, which he then turned into a painted study (since lost) and displayed in the National Museum. Early harsh criticism was made of anachronisms, particularly in dress.

Larsson made two further preparatory studies in 1913, in which he achieved a more monumental composition, and the painting took on the appearance of a frieze. These again attracted harsh criticism, on his choice of subject and its presentation.
It was felt to be unreal, unbelievable, and irrelevant for modern Swedish people.
The museum board accepted the painting, but on condition that Larsson made changes, particularly to remove the ritual killing scene.

Larsson refused to accept the changes, and resigned from the task in 1914.

However, later that year he resumed work, completing a life study for the figure of the king, and preparing another study.
Debate continued in the newspapers, and involved government ministers. More recently it has been proposed that the underlying problem with the painting was that it failed to meet the modernist ideals of Sweden in the early twentieth century.

Consequences

Larsson completed the massive painting, and it was exhibited where it was intended to go in June 1915, before being rejected and removed. The artist died in 1919, just after the end of the war, and remained bitter about the whole matter. His painting was shown again at the National Museum between 1925-1933, but once again removed.