The Arts Poetry finished piece By Alfons Mucha

In Poetry from the Arts Series you can see the concept and the graceful lines in his sketch and then the boldness in his finished piece.   I think I like the sketch better for the soft gracefulness.  In my opinion, Alfons Mucha is the artist that created and focused the art nouveau movement.

Self portrait

Czech-born Alfons Maria Mucha also known as Alphonse Mucha (1860 – 1939) is one of the most celebrated artists of the Art Nouveau Style. He has gained international acclaim his elegant designs for decorative paintings, panels, and advertising posters.

Alfons Mucha was born in 1860, in Ivancice, Moravia, which is near the city of Brno in the modern Czech Republic. Born in a small town his upbringing was not sophisticated. He had a traditional upbringing attending the local schools and taking part in local functions including singing in the church choir. As most of the artists of his day, Mucha ended up in Munich and  Paris in 1887. He was a little older than many of his fellow artists.  He had found a patron; Count Karl Khuen of Mikulov in Moravia, prior to his move. After two years in Munich most of which was painting murals for his patron, he was sent off to Paris where he studied at the Academie Julian. After two years, his patron moved on and the 27-year-old artist was broke and moved to Paris. He lived in an apartment above a creperie and lived off small artistic jobs and teaching art to students. 

Gismonda Poster By Alfons Mucha
          

In 1897 Mucha created a poster for Sarah Bernhardt's play, Gismonda, The poster embodied his art philosophy and was a statement of his new art. Spurning the bright colors and the more squarish shape of the more popular poster artists, the near life-size design was a sensation.

The Feather Poster By Alfons Mucha

Mucha produced a great number of paintings, posters, advertisements, book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was termed initially The Mucha Style but became known as Art Nouveau (French for "new art"). Mucha's works frequently featured beautiful young women in flowing, vaguely Neoclassical-looking robes, often surrounded by lush flowers which sometimes formed halos behind their heads. In contrast with contemporary poster makers he used pale pastel colors.

Green Reverie Poster By Alfons Mucha

By 1898, he had moved to a new studio, and had his first one-man show.  He began publishing graphics with Champenois, a new printer anxious to promote his work with postcards and panneaux – which were sets of four large images around a central theme (four seasons, four times of day, four flowers, etc.

La Trappistine Detail By Alfons Mucha

Mucha's style was given international exposure by the 1900 Universal Exhibition in Paris, when he decorated the Bosnia and Herzegovina Pavilion and collaborated with other artists decorating the Austrian Pavilion. Mucha’s Art Nouveau style was often lauded and imitated. The Art Nouveau style however, was what Mucha attempted to disassociate himself with for the rest of his life. He was constantly caught between being a successful artist and and making a meaningful contribution.

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By Alfons Mucha

Mucha married Maruška (Marie/Maria) Chytilová in 1906, in Prague. The couple traveled to the U.S. from 1906 to 1910, during which time their daughter, Jaroslava, was born in New York City. They also had a son, Jiří, who was born in 1915 in Prague. In the United States, Mucha expected to earn money to fund his nationalistic projects to demonstrate to Czechs that he had not "sold out". He was assisted by millionaire Charles R. Crane, who used his fortune to help promote revolutions and, after meeting Thomas Masaryk, Slavic nationalism. Alphonse and his family returned to Czechoslovakia and settled in Prague. His first project was to decorate the Theater of Fine Arts.  He volunteered his time and talents by creating the murals in the Mayor's Office at the Municipal House, and other landmarks around the city. When Czechoslovakia won its independence after World War I, Mucha designed the new postage stamps, banknotes, and other government documents for the new state.

 Jaroslava Mucha by her father Alfons Mucha

 Mucha spent many years working on what he considered his life's fine art masterpiece, The Slav Epic (Slovanská epopej), a series of twenty huge paintings depicting the history of the Czech and the Slavic people and gifted it  to the city of Prague in 1928. He had wanted to complete a series such as this, a celebration of Slavic history, since he was young.

The Slav Epic (Slovanská epopej), a series of twenty huge paintings depicting the history of the Czech and the Slavic people 

Mucha’s work enjoys great popularity today, however, when he died his work was considered outdated. Through the past century Mucha’s work has enjoyed waves of revivals and it seems as though his style is one of the most often cited as an influence for your artists and designers.

Madonna of the Lilies By Alfons Mucha

His son, author Jiří Mucha, devoted much of his life to writing about him and bringing attention to his artwork. In his own country, the new authorities were not interested in Mucha. His Slav Epic was rolled and stored for twenty-five years before being shown in Moravsky Krumlov, and a Mucha museum opened in Prague, managed by his grandson John Mucha.

Poster for 6th Sokol Festival 1912

Chocolat Ideal Poster By Alfons Mucha

Clotilde-And-Elena-On-The-Rocks Javea by Joaquín Sorolla ca.1905

Sorolla was born in Valencia, Spain, in 1863. He showed an early talent for painting and was admitted to the Academy of San Carlos in Valencia at the age of 15. After further studies in Rome and Paris, he returned to Valencia in 1888. 

Setting Out to Sea by Joaquín Sorolla ca.1909

Sorolla's early work was influenced by the Impressionists, but he soon developed his own unique style. His paintings are characterized by their use of light and color, and their depiction of everyday life in Spain. Sorolla was particularly interested in capturing the movement and energy of people, and his paintings often feature scenes of children playing, families enjoying the outdoors, and workers at their jobs.

Beached Boats by Joaquín Sorolla  ca.1915

Sorolla was a very kind and generous man. He was always willing to help others, and he was especially fond of children. He would often paint children playing, and he would often give away his paintings to children in need.

Painting on the Beach by Joaquín Sorolla ca.1909

One day, Sorolla was walking through the streets of Valencia when he saw a group of children playing. He stopped to watch them, and he was struck by how happy they were. He asked the children if he could paint them, and they were thrilled. Sorolla spent the afternoon painting the children, and when he was finished, he gave the painting to them as a gift. The children were so happy, and they thanked Sorolla profusely.

Sorolla painting in the garden of his house, 1920

This story is just one example of Sorolla's kindness and generosity. He was a man who loved life and who loved to share his love of life with others. He was a true artist, and he was a true gentleman.

My Wife and Daughters in the Garden by Joaquín Sorolla  ca.1910

Sorolla was a very loving husband and father. He was devoted to his wife, Clotilde, and their three children, María, Elena, and Joaquín. He would often paint his family, and he would often write about how much he loved them.

Hispanic Society of America, New York City by Joaquín Sorolla  painted 1913-1919

In 1911, Sorolla received a request from the Hispanic Society of America to create a monumental series of paintings that would depict the diverse regions, cultures, and history of Spain. This ambitious project, known as the "Vision of Spain," aimed to showcase the rich heritage of Spain to an American audience.

Bride From Lagartera by Joaquín Sorolla  ca.1912

Sorolla eagerly accepted the commission and embarked on a journey across Spain, spending years traveling and meticulously studying the different landscapes, traditions, and costumes of various regions. He sought to capture the essence and soul of Spain in his artwork.

Castilla. La fiesta del pan by Joaquín Sorolla ca. 1913

The resulting series of 14 large-scale murals, each measuring around 14 feet in height and 10 feet in width, is a testament to Sorolla's extraordinary talent. The paintings showcase scenes of Spanish life, including fishing villages, bullfighting, religious processions, and agricultural activities.

Vision of Spain (formerly, The Provinces of Spain): Ayamonte by Joaquín Sorolla  

To ensure the accuracy and authenticity of his work, Sorolla meticulously researched and employed live models, often involving local communities and even his own family members in the process. He was known to work outdoors, capturing the effects of natural light and the vibrant colors of Spain.

The Horses Bath by Joaquín Sorolla  ca.1909

When the completed murals were exhibited at the Hispanic Society of America in 1919, they received critical acclaim and were considered a triumph. The intricate details, vibrant colors, and dynamic compositions showcased Sorolla's ability to capture the spirit of Spain in a captivating and immersive manner.

Joaquín Sorolla  Painting The Horses Bath 1909

Fishermen from Valencia by Joaquín Sorolla  ca.1895

Sorolla was a prolific painter, and he produced over 2,000 works during his lifetime. His paintings are held in major museums around the world, including the Metropolitan Museum of Art in New York, the Prado Museum in Madrid, and the National Gallery in London.

Running Along The Beach by Joaquín Sorolla  ca.1908

Sorolla was a popular and successful artist during his lifetime, and he was awarded numerous prizes and honors. He was also a member of the Real Academia de Bellas Artes de San Fernando, the highest honor in Spanish art.

Walk on the Beach by Joaquín Sorolla ca. 1909

Sorolla died in Cercedilla, Spain, in 1923. He is considered one of the most important Spanish painters of the 20th century, and his work continues to be admired by people all over the world.

Mending the Sail by Joaquín Sorolla ca. 1896

Sorolla's paintings are a celebration of life and the beauty of the natural world. They are full of light, color, and movement, and they capture the essence of everyday life in Spain. Sorolla's work is a testament to his talent and his love of life.

Niña by Joaquín Sorolla ca. 1904

Five pink flowers with foliated tendrils Morris and Company Embroidery Designed by May Morris late 19^th century

May Morris in the Tapestry Room at Kelmscott Manor’ (1912) by Mary Annie Sloane © William Morris Gallery, London Borough of Waltham Forest

May Morris, born Mary Morris in 1862, was the younger daughter of William Morris and Jane Morris. Growing up within the artistic and intellectual circle of her parents profoundly shaped her life and career. She was immersed in the Arts and Crafts movement from a young age, surrounded by her father's colleagues and friends, including artists like Dante Gabriel Rossetti and Edward Burne-Jones. This environment fostered her early artistic development and instilled in her a deep appreciation for craft and design.  

Left to right: Edward Jones, Margaret Burne-Jones, Edward Burne-Jones, Philip Burne-Jones, Georgiana Burne-Jones, May Morris, William Morris, Jane Morris, and Jenny Morris; platinotype photograph, 5 1/2 x 5 1.8 inches photo by Fredrick Hollyer

May's artistic talents manifested early, particularly in embroidery. She learned this craft from her mother, Jane, and her aunt, Bessie Burden, who had been taught by William Morris himself. This familial training laid the foundation for her future success in textile arts. By the time she was in her early twenties, May had already begun to make significant contributions to the family firm, Morris & Co.  

Honeysuckle wallpaper designed by May Morris in 1883

In 1881, May Morris enrolled at the National Art Training School in Kensington (later the Royal College of Art) and chose embroidery as her field of study. Developing and honing the skills taught to her by her mother and aunt, May displayed an exceptional talent for the craft. It’s worth noting that she also had a talent for drawing and painting, too, and in 1883, she designed one of Morris & Co.’s most enduring and popular surface pattern designs – ‘Honeysuckle’. In 1885,

May Morris, “Woven Seat Cover” (n.d.), wool tapestry, 20 1/2 x 20 1/2 inches (© William Morris Gallery, London Borough of Waltham Forest

In 1885, at the young age of 23, May Morris became the Director of the Embroidery Department at Morris & Co. This appointment demonstrated her exceptional skill and expertise in the field. She was responsible for producing a wide range of designs, and her contributions played a crucial role in the firm's success. However, it's important to note that many of her designs were often attributed to her father, which somewhat obscured her individual artistic achievements.  

May Morris, “Cushion Cover,” (c. 1890), linen plain weave with silk embroidery (image via Rhode Island School of Design)

May was a highly skilled designer in her own right. She designed wallpapers, jewelry, lettering, and book decorations, in addition to her renowned embroidery work. She played a key role in continuing her father's emphasis on free-form embroidery, which allowed for greater self-expression in the needleworker, a departure from the more rigid styles prevalent at the time.  

May's relationship with her parents, particularly her father, was complex but deeply influential. William Morris encouraged his daughters' artistic pursuits, and May seems to have seen herself as his artistic heir. She shared his socialist ideals and was involved in the Socialist League. After her father's death, she dedicated a significant portion of her life to preserving his legacy, including editing his Collected Works.  

Her mother, Jane, also played a significant role in her artistic development, passing on her embroidery skills and fostering a creative environment within the family home. May's upbringing within this artistic household, surrounded by influential figures, undoubtedly shaped her artistic vision and her commitment to the Arts and Crafts movement.  

Beyond her artistic endeavors, May shared her father's socialist beliefs and advocated for the rights of women and workers. In 1907, she co-founded the Women's Guild of Arts, an organization that provided support and networking opportunities for women artists and craft workers, highlighting her commitment to advancing the role of women in the arts.  

Tulip Pot designed by May Morris around 1900

May Morris was known to have a strong and independent personality. She was described as having a "tomboyish" nature in her youth and possessed a direct and sometimes critical demeanor. She was passionate in her beliefs and advocated for her artistic vision and social causes with determination.  

May Morris and Theodosia Middlemore, “Embroidered hanging of wool on linen depicting a pomegranate tree, roses and other flowers, foliage and birds” (1891–1902) (© National Museums Scotland, courtesy National Museums Scotland)

She had a complex personal life, including a brief marriage to Henry Halliday Sparling, which ended in divorce. She also had significant relationships outside of her marriage. Her life was marked by both artistic dedication and personal challenges.  

Morris, Henry Halliday Sparling, Emery Walker, and George Bernard Shaw rehearsing for a Socialist League entertainment, c. 1886

May Morris's contributions to the Arts and Crafts movement were significant, and her artistic legacy continues to be recognized today. She was a talented designer, a skilled craftswoman, and a passionate advocate for art and social justice.

Rose Bush designed by May Morris around 1890

While often overshadowed by her famous father, May developed her own distinctive style and made significant contributions to the field of textile arts. Her embroidery work was characterized by its exquisite craftsmanship, intricate detail, and a move towards more naturalistic and flowing designs, building upon the foundations laid by her father but incorporating her own artistic sensibilities.  

The Orange Tree 1897 by May Morris

One of May's key contributions was her championing of "artistic needlework" or free-form embroidery. This approach emphasized the skill and artistic expression of the individual needleworker, allowing for greater creativity in the interpretation of designs. Unlike the more rigid, counted thread techniques popular at the time, May's embroidery encouraged a more painterly approach with the needle, utilizing a variety of stitches and thread colors to create texture and depth. This can be seen in her floral motifs, where petals and leaves are rendered with subtle variations in shading and direction of stitch, giving them a lifelike quality.  

May Morris Created and Stitched a Dress For a Friend  1882

As Director of the Embroidery Department at Morris & Co., May oversaw the production of numerous important commissions, and while many designs were collaborative or attributed to William Morris, she also created her own distinct patterns. Her designs often featured naturalistic elements, including stylized flowers, foliage, and sometimes birds or animals, reflecting the broader Arts and Crafts movement's inspiration from the natural world. Her understanding of color and her ability to translate designs into the medium of thread were highly regarded.  

Necklace designed by May Morris c.1906

Beyond embroidery, May Morris also demonstrated her artistic talents in other design fields. She created wallpaper patterns, jewelry, and book decorations, showcasing a versatile artistic sensibility rooted in the principles of the Arts and Crafts movement – an emphasis on quality materials, skilled craftsmanship, and the integration of art into everyday life. While her embroidery remains her most celebrated contribution, her broader design work further illustrates her significant role in shaping the visual aesthetic of the late 19th and early 20th centuries.  

Acanthus Vine by May Morris 1890

Today, May is increasingly celebrated not just as her father's daughter, but as a formidable artist, designer, and influential figure in the Arts and Crafts era, with her intricate embroideries and progressive spirit continuing to inspire contemporary artists and designers.

Wildflowers Inspired by May Morris Melsetter Tapestry

The Mad Hatter’s Tea Party By Sir John Tenniel 1865

John Tenniel was born in Bayswater, West London, to John Baptist Tenniel, a fencing and dancing master and Eliza Maria Tenniel. Tenniel had five siblings: two brothers and three sisters. One sister, Mary, was later to marry Thomas Goodwin Green, owner of the pottery that produced Cornishware. Tenniel was a quiet and introverted person, both as a boy and as an adult. He was content to remain firmly out of the limelight and seemed unaffected by competition or change. His biographer Rodney Engen wrote that Tenniel's "life and career was that of the supreme gentlemanly outside, living on the edge of respectability.

This picture is part of a cycle of monumental mosaic portraits depicting famous artists, here Leonardo da Vinci (1452-1519). The series of originally 35 mosaics was created between 1864 and circa 1875 for the South Court of the South Kensington Museum, the later V&A. The mosaic was based on a portrait painted by Sir John Tenniel 1868

Early Life and Artistic Development:

Born in London, Tenniel displayed artistic talent from a young age. He honed his skills at the Royal Academy of Arts, developing a meticulous and detailed style.  In 1840, Tenniel, while practicing fencing, received a serious eye wound from his father's foil, which had accidentally lost its protective tip. Over the years, Tenniel gradually lost sight in his right eye. He never told his father of the severity of the wound, as he did not wish to upset him further.

Saint Cecilia By Sir John Tenniel 1849

Before his famous work with Lewis Carrol, Tenniel had already begun to make a name for himself as an illustrator, and in creating art for large public works.   Tenniel's artistic journey led him to the pages of Punch, a satirical magazine where his sharp wit and masterful penmanship found a home. His political cartoons, with their biting humor and insightful commentary, became a powerful voice in Victorian England. Yet, it was his collaboration with Lewis Carroll that would solidify his place in literary immortality.

Illustration by Sir John Tenniel for The Raven a narrative poem by American writer Edgar Allan Poe. 1858

The Punch Years:

• In 1850, Tenniel joined the staff of "Punch" magazine, a leading satirical publication of the Victorian era.  

• For over 50 years, he served as "Punch's" principal political cartoonist, producing incisive and influential images that shaped public opinion.  

The Irish “Vampire”, illustration by John Tenniel from Punch magazine, 24 October 1885.

• His most famous political cartoon, "Dropping the Pilot," depicting the resignation of Otto von Bismarck, is a testament to his ability to capture the essence of political events.  

• His work at Punch cemented his reputation as a master of political satire, and helped to shape the way that political events were viewed by the public.  

Alice-Drink Me From Alice in Wonderland By Sir John Tenniel 1865

Lewis Carrol and Alice:

When Carroll sought an illustrator for his whimsical tale of Alice's Adventures in Wonderland, he found the perfect partner in Tenniel. The artist's meticulous attention to detail and imaginative flair brought Carroll's fantastical world to life, creating iconic images that have captivated readers for generations.

• Tenniel's collaboration with Lewis Carroll on the "Alice" books cemented his place in literary history.

• His illustrations brought Carroll's fantastical world to life, creating enduring images of characters like the Mad Hatter, the Queen of Hearts, and the Cheshire Cat.  

• The precision and imaginative quality of his drawings perfectly complemented Carroll's whimsical and often nonsensical narrative.

• The relationship between Carroll and Tenniel was known to be at times strained, due to both men being very particular about their work. However, the end result of their collaboration is a timeless masterpiece.  

Alice and the White Queen From Alice in Wonderland By Sir John Tenniel 1865

Tenniel illustrated numerous other books, including: "Aesop's Fables", Works by Thomas Moore, Juvenile Verse and Picture Book, Undine, Blair's Grave, Shirley Brooks’ The Gordian Knot, and The Silver Cord.  

While "Alice in Wonderland" solidified his place in popular culture, his extensive work as a political cartoonist and his illustrations for other literary works demonstrate his versatility and talent as an artist.  

Alice and the Duchess From Alice Through The Looking Glass By Sir John Tenniel  1871

John Tenniel, the man who brought Alice to life, left an indelible mark on the world of art and literature. His illustrations, a testament to his skill and imagination, continue to enchant and inspire, reminding us of the power of creativity to transport us to extraordinary realms.  Tenniel's contributions to illustration and political cartooning were widely recognized during his lifetime.  

Alice and Humpty Dumpty From Through The Looking Glass by Sir John Tenniel 1870

Portrait of Sir John Tenniel by Artist: Edwin Ward Date: circa 1905

Tenniel was knighted in 1893, a testament to his artistic achievements and his influence on British society.   His illustrations for the "Alice" books continue to captivate audiences of all ages, and his political cartoons remain a valuable historical record of the Victorian era.   Tenniel's ability to combine artistic skills with sharp wit and social commentary made him a truly exceptional artist.

Sir John Tenniel holds a significant place in art history, primarily recognized for two major areas of contribution: his iconic illustrations for Lewis Carroll's "Alice" books and his influential political cartoons for "Punch" magazine. We can all recognize Tenniels Illustrations from the Alice in Wonderland Books.

The Mad Hatter From Alice in Wonderland By Sir John Tenniel 1865

Tenniel's original illustrations and cartoons are highly valued by collectors and museums.

Museums that hold his works include:

• The Victoria and Albert Museum (V&A): This museum has a significant collection of Tenniel's work, including illustrations and political cartoons.

•   The British Museum: Holds examples of his drawings and engravings.   

• The Morgan Library & Museum: holds examples of his illustrations.   

Many other museums and libraries hold examples of publications that contain his work.

More Than Just Idyllic: The Life and Art of Carl and Karin Larsson

Self Portrait Carl Larsson in the Studio 1912

Early career struggles saw Larsson working as an illustrator and graphic artist, even spending time in Paris where he was influenced by Impressionism. However, it was a return to Sweden, and a fateful meeting with Karin Bergöö, that would transform his life and art.  

Karin Larsson's Art in Her Home-Celebrated by Scandinavian Vogue 2024

Karin, an artist in her own right, became Carl's wife and muse. Their shared artistic vision and growing family life in Sundborn, Dalarna, provided the inspiration for the works that would define Larsson's legacy. He began documenting their home, Lilla Hyttnäs, and their eight children with a unique blend of realism and decorative charm.  

Karin Larsson: Let the Hand Be Seen exhibit hosted by the American Swedish Institute 2024

Larsson's watercolors, filled with light and vibrant colors, offered a glimpse into a seemingly perfect world. His paintings celebrated the simple joys of family life, from festive gatherings to quiet moments of domesticity. Karin's influence is undeniable, her artistic sensibility evident in the beautiful textiles and thoughtfully designed interiors that characterize their home.  

Carl and Karin and Their Growing Family

Carl Larsson's most popular images often depict idyllic scenes of his family life in their home, Lilla Hyttnäs. Here are a few of his most beloved works:

His vast body of work includes numerous other captivating images of his family, home, and the surrounding landscape. His ability to capture the beauty of everyday life, combined with his distinctive artistic style, continues to enchant and inspire audiences worldwide.

Carl Larsson-garden Lilla Hyttnäs in Sundborn

However, Larsson wasn't just a painter of charming domestic scenes. He was a pioneer of the Arts and Crafts movement, advocating for a harmonious blend of art and functionality in everyday life. This philosophy is embodied in Lilla Hyttnäs, where the Larssons created a Gesamtkunstwerk – a total work of art – extending their artistic vision to every aspect of their home.  

Carl Larsson’s Kerstis Birthday 1909

While his idyllic family portraits brought him widespread acclaim, Larsson also yearned for recognition as a serious artist. He produced monumental works, including frescoes for public buildings, culminating in his controversial "Midvinterblot" (Midwinter Sacrifice) for the National Museum in Stockholm. Initially rejected for its stark depiction of a Viking sacrifice, the painting sparked debate and cemented Larsson's position as a significant figure in Swedish art history.  

Carl Larsson’s Midwinter Sacrifice 1914

Today, Carl Larsson's work continues to resonate. The family home, Lilla Hyttnäs, is preserved as a museum, allowing visitors to step into his paintings and experience the world he created. His art, though rooted in a specific time and place, transcends its context, speaking to universal themes of home, family, and the beauty of everyday life. But beyond the charming facade, it's crucial to remember the artist's journey – one that began in poverty and culminated in a unique artistic vision that continues to inspire and delight.  

Carl Larsson’s  Evening Before the Journey to England 1909

 Carl Larsson's home life, particularly at Lilla Hyttnäs in Sundborn, was a significant source of inspiration for his art and a key element in understanding his work. Here's a glimpse into their world:  

Carl Larsson’s Karin Larsson in The Workroom 1898

A Collaborative Partnership: Carl and Karin were true partners, not just in marriage but also in their creative endeavors. Karin, a talented artist herself, played a crucial role in shaping their home environment. Her artistic sensibility is evident in the distinctive interior design, with its colorful textiles, hand-painted furniture, and carefully curated objects. They shared a vision of a beautiful and functional home, where art and everyday life were intertwined.  

Carl Larsson’s Friends From Town 1909

  A Lively Household: The Larsson home was filled with the energy and activity of their eight children. Their lives, from mundane moments to festive occasions, became subjects for Carl's paintings. He captured their games, their meals, their interactions, and their individual personalities, creating a vibrant tapestry of family life.

Carl Larsson’s Brita and Me  1895

Creativity and Self-Sufficiency: The Larssons embraced a philosophy of self-sufficiency and craftsmanship. They designed and made much of their furniture and household items, reflecting the values of the Arts and Crafts movement. Their home became a showcase for their creativity, where art wasn't confined to canvases but extended to every aspect of their living space.  

Karin Larsson at Her Loom

Connection to Nature: Lilla Hyttnäs was situated in the picturesque countryside of Dalarna, and the natural world played a significant role in their lives. The surrounding landscape, with its forests, gardens, and changing seasons, often featured in Larsson's paintings. They embraced outdoor living, with meals under the birch trees and children playing in the garden.  

Carl Larsson Karin Walking the Shore 1908

A Blend of Tradition and Modernity: While their home celebrated traditional Swedish folk art and craftsmanship, the Larssons were also forward-thinking in many ways. They had a relatively egalitarian approach to family life, with both parents actively involved in childcare and household tasks. Their home was a place of warmth and informality, where children were encouraged to express themselves.

Carl Larsson’s Esbjorn Doing His Homework 1912

Challenges and Complexities: While Larsson's paintings often portray an idyllic world, their family life, like any other, had its share of challenges. They experienced financial struggles, and the loss of their infant son, Mats, in 1895, brought deep sorrow. These experiences undoubtedly shaped their perspectives and influenced their art, even if not explicitly depicted.  

In essence, Carl Larsson's home life was a rich and dynamic source of inspiration. It was a space where art and life were interwoven, where creativity flourished, and where the joys and challenges of family life were played out against a backdrop of beauty and natural simplicity.

Carl Larsson’s Day Is Done, Good Night! 1908

Carl Larsson's paintings have achieved significant prices at auction, reflecting his enduring popularity and artistic merit. Here's an overview of some notable sales:  

Carl Larsson’s Girl Sewing 1898

Record-breaking sale: In 2020, "Syende flicka" (Girl Sewing) sold for 1,207,078 USD at Bukowskis in Stockholm. This watercolor, painted in 1898, depicts one of Larsson's daughters engaged in needlework, bathed in soft light. It exemplifies his ability to capture intimate moments of domestic life with a delicate touch.  

Carl Larsson’s Girl Sewing 1898

Record-breaking sale: In 2020, "Syende flicka" (Girl Sewing) sold for 1,207,078 USD at Bukowskis in Stockholm. This watercolor, painted in 1898, depicts one of Larsson's daughters engaged in needlework, bathed in soft light. It exemplifies his ability to capture intimate moments of domestic life with a delicate touch.  

Overall, the auction prices of Carl Larsson's paintings demonstrate his enduring appeal and the value placed on his unique artistic vision. His ability to capture the beauty of everyday life, combined with his distinctive style and historical significance, ensures that his works continue to be sought after by collectors worldwide.

Carl Larsson's paintings can be found in several museums, primarily in Sweden but also in collections around the world. Here are some of the most notable institutions where you can find his work:  

Carl Larsson's The Garden Window 1894

Sweden:

• National museum (Stockholm): This museum houses a significant collection of Larsson's work, including his monumental frescoes "Gustav Vasa Entering Stockholm" and the controversial "Midvinterblot" (Midwinter Sacrifice). They also hold a large collection of his watercolors and drawings.  
• Carl Larsson-gården (Sundborn): Larsson's home, Lilla Hyttnäs, is now a museum where visitors can experience his art in its original context. Many of his most famous paintings are displayed within the house, providing a unique insight into his life and work.  
• Thiel Gallery (Stockholm): This museum features a dedicated room showcasing Larsson's watercolors, including scenes from Lilla Hyttnäs and portraits of his family.  
• Gothenburg Museum of Art: This museum holds a selection of Larsson's paintings, including landscapes and portraits.

International:

• Ordrupgaard (Copenhagen, Denmark): This museum boasts a collection of Nordic art, including several of Larsson's paintings.  
• The British Museum (London, UK): This museum holds a small number of Larsson's works in their Prints and Drawings collection.  
• Metropolitan Museum of Art (New York, USA): This museum has a few of Larsson's works, including watercolors and illustrations.

Online:

• Google Arts & Culture: This online platform provides access to high-resolution images of many of Larsson's paintings from various museums around the world.  

It's worth noting that many smaller museums and private collections also hold works by Carl Larsson. If you're interested in seeing his art in person, it's worth checking the collections of museums in your area or those you plan to visit.

Ultimately, experiencing Larsson's art in person, especially at his home in Sundborn, offers a unique opportunity to connect with his vision and appreciate the beauty and charm of his work.

Some Popular Carl Larsson Paintings

Studio Idyl (1885)   artist's wife Karin with their first child, Suzanne

Crayfishing (1898)   A Family Celebration

Cosy Corner 1894: This charming image offers a glimpse into the Larsson's living room.

Carl Larsson's Christmas Morning 1894

The Apple Harvest 1901: The family apple picking.

Lisbeth 1895: This portrait of one of the Larsson's daughters captures a tender moment of childhood.

Brita as Iduna 1901: daughter Brita with a basket of apples.

My Acid Workshop 1904  Carl Larsson’s Workshop

These are just a few examples of Larsson's popular works.

Portrait of the Artist's Mother Sophie Marc by Franz Marc 1902

Born in 1880 in Munich, Germany, Marc's artistic journey wasn't always preordained. Initially drawn to philology, the study of languages, his path took a sharp turn after a year of military service. This experience, coupled with exposure to the natural world, sparked a passion for art. He enrolled at the Munich Academy, where he received classical training that would later be challenged by his avant-garde sensibilities.

Two Women on a Hillside By Franz Marc 1906

A trip to Paris in 1903 proved transformative. Here, Marc encountered the vibrant world of Impressionism, a stark contrast to the academic styles he was accustomed to. The influence of artists like Vincent van Gogh and Paul Gauguin ignited a new creative fire within him. His early works focused on landscapes and portraits, including a striking depiction of his first wife, Maria Schnur in 1906

Self Portrait Franz Marc 1906

However, this period wasn't without its darkness. Marc battled depression, a struggle reflected in his early works, which often featured muted tones and a sense of melancholy.

Franz Marc and his second wife Maria Franck Marc in 1908

Marc’s second marriage was considered to be a much happier one. Franz and Maria Franck's paths crossed in 1910, and their connection was immediate. Maria, a talented artist herself, became Franz's constant companion, champion and muse.

Horse in a Landscape by Franz Marc 1910

By 1910, Marc's artistic vision began to crystallize. He met fellow artist Wassily Kandinsky, and together they formed Der Blaue Reiter (The Blue Rider), a group dedicated to pushing the boundaries of art. This group, fueled by a desire for spiritual expression, paved the way for abstract art.

Cats Sleeping in the Sun by Franz Marc 1912

This period marked the birth of Marc's signature style – a focus on animals depicted in a vibrant, simplified manner.

Stags at Rest by Franz Marc 1911

Here are some of Marc's most renowned paintings, each a vibrant window into his artistic philosophy:

The Yellow Cow by Franz Marc 1911

The Yellow Cow (1911): This iconic piece showcases a majestic yellow cow, its form simplified and bathed in golden light. The use of color is deliberate – yellow representing inner peace and the earth's bounty.  It is considered one of his most famous works and is part of a series of animal paintings done in an Expressionist style.  Here are some interesting details about the painting:

• Color symbolism: Marc believed that different colors had symbolic meanings. In "Yellow Cow," the yellow cow is seen as a symbol of femininity and the natural world, while the blue mountains represent masculinity and the spiritual realm.

• Possible hidden meaning: Some art historians believe that the painting may be a veiled wedding portrait of Marc and his wife, Maria Franck. The yellow cow would represent Marc's wife, and the blue mountains in the background could be an abstract self-portrait of Marc himself.

The Tower of Horses by Franz Marc 1911

The Tower of Blue Horses (1911): A powerful composition featuring a group of blue horses, their forms intertwined. The blue symbolizes the spiritual realm, while the horses represent strength and unity.  It is considered one of his best works, but unfortunately went missing in 1945.

Deer in the Forest by Franz Marc 1912

Deer in the Forest (I & II) (1912-1913): These contrasting paintings explore the duality of nature. Both are considered to be part of his mature style, which involved using bold colors and simplified forms to depict animals in a symbolic way.

• Deer in the Forest I (1913) is in the collection of The Phillips Collection in Washington, D.C. This painting features a vibrant blue forest with a red deer and a yellow fawn in the center. Art historians believe this work reflects both a sense of impending doom and a promise of hope.

• Deer in the Forest II (1914) is thought to be lost. There are reproductions available for purchase online, but the original work is not currently on display at any museum. This painting was similar in style to Deer in the Forest I, but used a more muted color palette.

Two Cats, Blue and Yellow  By Franz Marc 1912

Two Cats, Blue and Yellow. (1912): This playful piece depicts vibrant red and green cats, their forms reminiscent of children. It represents the carefree spirit of the animal world. The vibrant, non-naturalistic colors and the stylized forms of the cats are characteristic of Marc's expressionist style. This style aimed to express emotions and the essence of things rather than their realistic appearance.

The Blue Horse By Franz Marc 1911

The Blue Horse By Franz Marc 1911

Blue Horse I (1911): Another famous blue horse painting, this work is a powerful symbol of nature's grace and the ability of art to evoke emotions.

The Tiger By Franz Marc 1912

The Tiger (1912): This painting shows Marc's fascination with exotic animals and his use of bold colors to create a sense of power and energy.

The Stables By Franz Marc 1913

Stables (1913): This colorful and dynamic painting depicts a group of horses in a stable, capturing their energy and movement.

The Lamb By Franz Marc 1914

The Lamb (1914): This innocent and vulnerable lamb represents Marc's belief in the purity and beauty of nature.

Colorful Flowers (Abstract Forms) by Franz Marc 1914

Colorful Flowers (Abstract Forms) (1914): This vibrant and abstract painting uses a kaleidoscope of colors to create a sense of joy and energy.

 Beyond the Canvas: War, Loss, and a Legacy

Franz Marc's artistic career was tragically cut short. With the outbreak of World War I in 1914, Marc was drafted into the Imperial German Army as a cavalryman. By February 1916, as shown in a letter to his wife, he had gravitated to military camouflage. His technique for hiding artillery from aerial observation was to paint canvas covers in broadly pointillist style. He took pleasure in creating a series of nine such tarpaulin covers in styles varying "from Manet to Kandinsky", suspecting that the latter could be the most effective against aircraft flying at 2,000 meters (6,600 ft) or higher.

He had been promoted to lieutenant and awarded the Iron Cross. After mobilization of the German Army, the government identified notable artists to be withdrawn from combat for their own safety. Marc was on the list but was struck in the head and killed instantly by a shell fragment during the Battle of Verdun in 1916 before orders for reassignment could reach him.

The Blue Horses By Franz Marc 1911

After the National Socialists took power, they suppressed modern art; in 1936 and 1937, the Nazis condemned the late Marc as an entarteter Künstler (degenerate artist) and ordered approximately 130 of his works removed from exhibition in German museums. The Blue Horses was auctioned off at the infamous Theodor Fischer gallery "degenerate art" sale in Lucerne, on 29 June 1939, and acquired by the Musée des Beaux-Arts in Liège. 

Horses in a stream By Franz Marc 1912

His painting Landscape With Horses was discovered in 2012 along with more than a thousand other paintings, in the Munich apartment of Cornelius Gurlitt.  Gurlitt’s father, Hildebrand Gurlitt, was one of Hitler's four official art dealers of Modernist art the Nazis called "degenerate", which the Nazis sold or traded to raise cash for the Third Reich.

Red Foxes By Franz Marc 1913

In 2017, the family of Kurt Grawi demanded the restitution of Marc's painting The Foxes (1913) from Düsseldorf's Kunstpalast. Grawi, a German Jewish banker who had owned the painting before the Nazis rose to power was arrested on Kristallnacht and incarcerated in Sachsenhausen concentration camp in 1938, before he managed to flee to Chile in 1939. The painting passed through Galerie Nierendorf, and William and Charlotte Dieterle, according to the German Lost Art Foundation. In 2021, the German Advisory Commission recommended that the city of Düsseldorf restitute the painting to Grawi's heirs; this was done, and the painting was sold at Christie's by Grawi's heirs in 2022.

Legacy:

Franz Marc’s artistic legacy lives on - his contribution to the art world is undeniable. He not only redefined the way we view animals in art but also pioneered the use of color as a language of the soul. Through his vibrant canvases, he offered a unique perspective on the natural world, reminding us of the beauty and harmony that exist beyond the human sphere.  His paintings are an invitation to enter a world where the natural world whispers secrets and emotions take flight in vibrant hues. By stepping into his artistic realm, we are reminded of the inherent beauty and wonder that surrounds us, even amidst the complexities of the human experience.  His work continues to inspire artists and art lovers alike, a testament to the power of color, symbolism, and the enduring spirit of the animal kingdom.

In October 1998, several of Marc's paintings garnered record prices at Christie's art auction house in London, including Rote Rehe I (Red Deer I), which sold for $3.3 million. In October 1999, his Der Wasserfall (The Waterfall) was sold by Sotheby's in London for $5.06 million. This price set a record for Franz Marc's work and for twentieth-century German painting. In 2008, the former record was again broken when Marc's Weidende Pferde III (Grazing Horses III) was sold for £12,340,500 ($24,376,190) at Sotheby’s. This record was again beaten by the £42.6m sale of The Foxes in 2022.

Further Exploration:This blog is just a starting point for exploring the fascinating world of Franz Marc. To delve deeper, consider visiting museums with his works, such as the Lenbachhaus in Munich or the Solomon R. Guggenheim Museum in New York. Additionally, the private Franz Marc Museum on Lake Kochel provides visitors with a unique opportunity to admire the works of Franz Marc and the ‘Blauer Reiter’ artists in the landscape in which they were created.