Sweden's museum of art and design
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The sharpest hunters of the skies : late 16th-century hunting bird "portraits" för the Wittelsbach court
No full textWalter Crane´s illustrations for A wonder-book for girls and boys in the Nationalnuseum. Early British influence on Elsa Beskow, John Bauer and Gustaf Tenggren and the enduring influence of their work on narrative art.
No full textIn the pink: old ladies, young men and racial whiteness in French portraiture of the 18th-century
No full textSwedish grace : Swedish design at l’exposition internationale des arts décoratifs et industriels modernes in Paris 1925
No full textSince the Paris Exposition of 1925, the world has regarded Sweden as a leading design nation. But it was not the blond simplicity that most people today associate with Swedish design that paved the way. On the contrary, the audience in Paris was fascinated by richly decorated objects executed with demanding craftmanship. There were Orrefors engraved glass, Nordiska Kompaniet’s marquetry furniture, Svenskt Tenn’s wall mirrors, and Näfveqvarn’s garden urns made of cast iron. Today we call this style Swedish Grace. Exhibitions are ephemeral phenomenons. When the last visitor has gone home, they are dismantled, leaving behind scattered objects, photographs, archival material, and personal memories. Cilla Robach has delved deeply into these to take us, as far as possible, on a journey through the unique environments of the Paris Exposition, focusing on the Swedish interiors and objects that opened the design door to the world
