Akke Kumlien (1884–1949) stands as a seminal figure in 20th-century Swedish design, particularly revered for his transformative work in book design, his refined artistry, and his expertise in art materials. Though largely self-taught in several of his disciplines, Kumlien's innate talent, dedication to craftsmanship, and keen aesthetic sense allowed him to leave an indelible mark on Sweden's visual culture, most notably through his long and influential tenure with the prestigious publishing house Norstedts Förlag. His legacy is one of elegant simplicity, typographic excellence, and a profound respect for the book as an art object.
Early Stirrings and a Self-Made Path
Born Axel "Akke" Kumlien, his journey into the world of art and design was not one of traditional academic progression in these specific fields. Instead, he cultivated his skills through personal study and practice, developing a remarkable proficiency in calligraphy and typography. This self-driven education fostered a unique perspective, blending classical sensibilities with an understanding of contemporary needs. His innate artistic talents were evident early on, leading him towards a career where precision, aesthetic judgment, and a deep understanding of materials would become his hallmarks. This foundation allowed him to approach design challenges with both creativity and a practical understanding of production.
The Norstedts Era: Redefining Swedish Book Covers
The 1920s marked a pivotal moment in Kumlien's career when he began his association with P.A. Norstedt & Söner (Norstedts Förlag), one of Sweden's oldest and most respected publishing houses. He eventually became their artistic advisor, a role in which he flourished for decades, effectively until his planned retirement in 1949. It was here that Kumlien's vision for book design truly came to the fore. He became renowned for his book covers, which were characterized by a striking yet refined simplicity.
Kumlien's approach was a departure from overly ornate Victorian and early 20th-century styles. He championed clarity, elegant typography, and often, subtle hand-lettered elements. His covers were not merely protective wrappers but integral parts of the literary experience, setting a tone and inviting the reader into the world contained within. While his direct influence on the internal design and typography of books was reportedly more limited, his impact on the external presentation – the face of Swedish literature for many years – was immense. He understood the power of a well-composed cover to communicate quality and seriousness, working closely with authors and the publisher to achieve a harmonious result. Authors like Rolf Svanström, for instance, noted the considerable trust Kumlien was given in the design process.
The Kumlien Pro Typeface: A Modern Swedish Classic
Beyond his cover designs, one of Akke Kumlien's most enduring contributions to Swedish typography is the "Kumlien Pro" typeface. Designed in 1943, this typeface is considered one of Sweden's first significant modern typefaces. It masterfully blended old-style characteristics with a distinctly European decorative aesthetic, resulting in a font that was both sharp and gracefully rounded. Kumlien Pro was not just an artistic exercise; it was a functional and versatile typeface that found widespread use and continues to be appreciated for its legibility and distinctive character. Its creation demonstrated Kumlien's deep understanding of letterforms and his ability to innovate within established typographic traditions, contributing significantly to the modernization of Swedish graphic design.
Artistic Style: Elegance, Tradition, and Modern Sensibilities
Akke Kumlien's artistic style can be described as a sophisticated fusion of traditional craftsmanship and a subtle modern sensibility. His work, particularly in calligraphy and typography, emphasized clarity, balance, and an understated elegance. He was a master of hand-lettering, often incorporating it into his designs to add a personal and artistic touch that mass-produced type alone could not achieve.
His designs often featured decorative illustrations, but these were typically restrained and thoughtfully integrated, never overwhelming the primary typographic message. This respect for tradition did not mean he was anachronistic; rather, he skillfully adapted classical forms to contemporary needs, resulting in designs that felt both timeless and fresh. This approach resonated with the prevailing "Swedish Grace" movement of the 1920s, which emphasized refined classicism and high-quality craftsmanship, a stark contrast to the more radical modernism emerging elsewhere in Europe, such as the Bauhaus school in Germany or the Constructivist movements in Russia. Kumlien's work, while not overtly modernist in the vein of, say, Jan Tschichold's "New Typography," certainly embraced clarity and functional elegance, principles that were also central to modernist thought.
His understanding of art materials also informed his aesthetic. As an expert in this area, he would have been keenly aware of how different papers, inks, and binding techniques could affect the final appearance and feel of a book, ensuring that the physical object was a true reflection of its design intent.
A Teacher and Mentor: Passing on the Craft
Akke Kumlien was not only a practitioner but also an educator, sharing his knowledge and passion with a new generation of artists and designers. He taught at the Konstakademien (the Royal Swedish Academy of Fine Arts), where his expertise in art materials and techniques would have been invaluable.
One of his notable teachers during his own formative period was Karin Ageman, a significant figure in the field of advertising art. This exposure likely broadened Kumlien's understanding of visual communication in a commercial context, even as his primary focus remained on the more literary realm of book design.
Among his students, his daughter, Maria Adlercreutz (1936-2014), became a highly influential textile artist. Growing up in an environment steeped in art and design, with her father as a key figure at Norstedts and later as curator of the Thiel Gallery, undoubtedly shaped her artistic development. Maria went on to study at Konstfack (University of Arts, Crafts and Design) in Stockholm and became a leading reformer in Swedish textile art, known for her politically charged and narrative tapestries.
Another student, Britt Margareta Lundh-Reutersvärd (1916-2004), studied painting techniques and materials directly under Kumlien in Stockholm in 1944. This indicates Kumlien's breadth of knowledge extended beyond graphic arts into the fine arts as well. The impact of a dedicated teacher like Kumlien, who possessed both practical skills and a refined aesthetic, would have been profound on his students.
Collaborations and Succession: The Forsberg Connection
In the world of publishing and design, collaboration is key. While Kumlien was the principal artistic force at Norstedts for many years, his work inherently involved interaction with authors, editors, and printers. His most significant professional relationship in terms of legacy, however, was with Karl-Erik Forsberg (1914–1995).
As Kumlien neared retirement in 1949, he recommended Forsberg as his successor at Norstedts. Forsberg, a highly talented typographer and designer in his own right, stepped into this role after Kumlien's untimely death that same year. Forsberg was tasked with the considerable challenge of upholding the high standards set by Kumlien while also navigating the evolving landscape of printing technology and design aesthetics in the post-war era.
Forsberg deeply respected Kumlien's legacy, particularly his calligraphic skill and his commitment to quality. However, Forsberg also brought his own vision, aiming to modernize Norstedts' typographic practices further. He introduced a wider range of typefaces, including classic Roman styles like Bodoni and his own acclaimed Berling typeface, moving beyond the Garamond that had been a staple. He also championed American and British typographic trends, seeking to broaden the company's visual language.
Forsberg was meticulous in establishing clear standards for typography and aesthetic quality, building upon the foundation Kumlien had laid. He, too, valued high-quality book production and designed numerous exclusive editions. His own cover designs often featured sophisticated calligraphic decoration and an appreciation for historical script forms, showing a clear lineage from Kumlien's influence but with his own distinct interpretation. The transition from Kumlien to Forsberg ensured a continuity of excellence at Norstedts, with each designer making unique and lasting contributions.
Beyond Book Covers: Stamps, Exhibitions, and the Thiel Gallery
While Akke Kumlien is primarily celebrated for his book design, his artistic talents found expression in other areas as well. He designed a notable commemorative postage stamp for the renowned Swedish playwright August Strindberg, a design that showcased a distinctive, almost medieval character, reflecting Kumlien's versatility and his ability to adapt his style to different contexts and subjects.
His design expertise was also sought for exhibition design. For instance, he was involved in the design of a touring exhibition for the Nationalmuseum (Sweden's National Museum of Fine Arts) between 1938 and 1940. This work would have required a different set of skills, involving spatial awareness, narrative flow, and the presentation of objects and information in a compelling manner.
A significant chapter in his later life began in 1946 when Akke Kumlien was appointed curator of the Thiel Gallery (Thielska Galleriet) in Stockholm. This prestigious institution, housed in a magnificent building designed by Ferdinand Boberg, holds a significant collection of late 19th and early 20th-century Nordic art, featuring works by artists such as Edvard Munch, Anders Zorn, Carl Larsson, and Bruno Liljefors. Kumlien and his family, including his daughter Maria Adlercreutz, moved into the residential quarters of the gallery. This immersion in such a rich artistic environment would have provided constant inspiration and further deepened his connection to the broader currents of art history. His curatorial role underscores his respected position within the Swedish art world.
The Broader Context: Swedish Art and Design in Kumlien's Time
Akke Kumlien's career unfolded during a dynamic period in Swedish art and design. The early 20th century saw the flourishing of National Romanticism, exemplified by artists like Carl Larsson and Anders Zorn, who celebrated Swedish landscapes, traditions, and domestic life. This was followed by the "Swedish Grace" period in the 1920s, an elegant and refined form of classicism that found expression in architecture, decorative arts, and design. Kumlien's work, with its emphasis on quality, craftsmanship, and balanced aesthetics, aligns well with the ideals of Swedish Grace.
Simultaneously, modernism was making inroads. Artists like Isaac Grünewald and Sigrid Hjertén were pioneers of Swedish modern painting, introducing vibrant colors and expressive forms influenced by French Post-Impressionism and Fauvism. In design and architecture, functionalism (often termed "Funkis" in Scandinavia) began to gain traction in the 1930s, championed by figures like Gunnar Asplund and later, designers such as Bruno Mathsson in furniture.
While Kumlien was not a radical modernist, his work was not untouched by the era's drive for clarity and purpose. His streamlined typography and rejection of excessive ornamentation can be seen as a form of modern sensibility, albeit one rooted in classical principles. He carved a niche that valued timeless elegance over fleeting trends. His dedication to the book as a crafted object also resonates with the spirit of the Arts and Crafts movement, as championed by figures like William Morris in Britain, who sought to revive traditional skills and elevate the design of everyday objects, including books. Kumlien's contemporary, Stanley Morison, was similarly revolutionizing typography in Britain with typefaces like Times New Roman, highlighting a broader international interest in refining typographic standards during this period. Even the more avant-garde typographic experiments of Jan Tschichold, while stylistically different, shared an underlying concern for order and effective communication that Kumlien also valued, albeit expressed through a more classical lens. The work of Swedish designers like Josef Frank, known for his vibrant textiles and humane approach to modernism in interior design, also reflects the diverse yet quality-focused design landscape of the time.
Legacy and Enduring Influence
Akke Kumlien passed away on June 3, 1949, at the age of 65, just as he was planning his retirement. His death was a significant loss to the Swedish art and design community. His contributions, however, continue to resonate.
His book covers for Norstedts set a standard for quality and aesthetic refinement that influenced a generation of designers. The Kumlien Pro typeface remains a testament to his skill as a typographer and his ability to create letterforms of lasting beauty and utility. His dedication to craftsmanship, his expertise in art materials, and his role as an educator helped to elevate the status of book design in Sweden.
Through his students, like his daughter Maria Adlercreutz and Britt Margareta Lundh-Reutersvärd, his influence extended into other artistic fields. His successor at Norstedts, Karl-Erik Forsberg, consciously built upon the tradition of excellence that Kumlien had established, ensuring that the publishing house remained at the forefront of Swedish book design.
Akke Kumlien's career demonstrates the profound impact a dedicated individual can have on the visual culture of a nation. He was more than just a designer; he was an artist who understood the book as a holistic entity, where every element, from the cover to the choice of typeface, contributed to the reader's experience. His legacy is one of quiet excellence, timeless elegance, and an unwavering commitment to the art of the book. His work serves as an enduring reminder of the power of thoughtful design to enrich our engagement with literature and art.
