Birger Jörgen Simonsson (1883–1938) stands as a significant, if sometimes overlooked, figure in the narrative of Swedish modern art. A painter, influential teacher, and at times a vocal critic, Simonsson was instrumental in introducing and championing modern artistic principles in Sweden during the early 20th century. His journey from a provincial upbringing to the heart of the Parisian avant-garde, and his subsequent role in shaping a generation of Swedish artists, marks him as a key transitional figure whose work and influence merit deeper exploration.
Early Life and Formative Education
Born in Uddevalla, a coastal town in western Sweden, on March 3, 1883, Birger Simonsson's early life provided little overt indication of his future path as a radical modernist. His initial academic pursuits led him to studies at Gothenburg and later Lund University. However, the burgeoning call of art proved irresistible. Like many aspiring artists of his generation, Simonsson recognized that a truly transformative artistic education required immersion in more dynamic environments than turn-of-the-century Sweden could initially offer.
His formal art training began in earnest in Copenhagen, a significant Nordic cultural hub. This was followed by a pivotal period in Paris, the undisputed capital of the art world at the time. It was here, between 1908 and 1911, that Simonsson, alongside a cohort of fellow Scandinavians, sought out the tutelage of one of modern art's most revolutionary figures: Henri Matisse. This experience would prove to be profoundly influential, shaping his approach to color, form, and artistic expression.
The Parisian Crucible: Matisse and the Rise of a New Vision
The decision to study with Henri Matisse was a deliberate step towards the avant-garde. Matisse's "Académie Matisse," operational from 1908, attracted artists from across Europe and America eager to absorb his radical ideas on color and composition, which had exploded onto the Parisian scene with Fauvism a few years prior. For Simonsson and his compatriots, including fellow Swedes Isaac Grünewald, Gösta Sandels, and Sigrid Ullman, as well as Norwegian artists like Henrik Sørensen and Axel Revold, Matisse's studio was a laboratory for a new kind of painting.
Matisse encouraged his students to break free from academic constraints, to use color not merely descriptively but emotionally and structurally, and to simplify forms to their essential expressive power. This emphasis on subjective experience and the autonomous power of the pictorial elements resonated deeply with Simonsson. The lessons learned in Paris—the liberation of color, the flattening of perspective, and the pursuit of decorative harmony—would become hallmarks of his developing style and the modernist wave he would help bring to Sweden.
"De unga" (The Young Ones) and the Challenge to Tradition
Upon returning to Sweden, Simonsson and his Paris-trained contemporaries found an art scene still largely dominated by National Romanticism and the more established, though once rebellious, members of the Konstnärsförbundet (Artists' Association), such as Karl Nordström, Richard Bergh, and Nils Kreuger. These older artists had themselves broken from the Royal Academy in the 1880s, but a new generation now felt the need for a further revolution.
In 1909, this new energy coalesced into the group known as "De unga" (The Young Ones), also referred to as "1909 års män" (The Men of 1909). Simonsson was a key member, alongside Isaac Grünewald, Gösta Sandels, Leander Engström, and Einar Jolin. Their debut exhibition in Stockholm in 1909 was a watershed moment, a bold declaration of modernist intent that shocked conservative critics but galvanized a younger audience. Their art, characterized by vibrant, non-naturalistic colors, bold brushwork, and simplified forms, directly challenged the prevailing aesthetic norms. "De unga" later evolved, with some changes in membership, into "De åtta" (The Eight), continuing their mission to modernize Swedish art.
Simonsson's Artistic Style: Color, Expression, and Modernity
Birger Simonsson's artistic style is best understood as a Scandinavian interpretation of French Post-Impressionism and Fauvism, with a strong leaning towards Expressionism. He embraced the modernists' creed that art should be an expression of inner feeling rather than a mere imitation of external reality. Color was his primary tool for conveying emotion and structuring his compositions. His palette was often bright and bold, with colors applied in a way that emphasized their inherent qualities rather than their descriptive accuracy.
In his portraits, Simonsson sought to capture not just a likeness but the psychological presence of the sitter. Works like Lucette – Portvanortsdottern i Paris (Lucette – The Concierge's Daughter in Paris, 1907), created during his early Parisian years, already show a move towards expressive simplification. Later portraits, such as Fröken Lundberg (Miss Lundberg, 1930) and Porträtt av E. K. (Portrait of E. K.), demonstrate a mature handling of form and color, often imbued with a quiet introspection. These works also subtly reflect on social norms and the individual's place within them.
His landscapes, often depicting scenes from the Swedish west coast around Gothenburg or the area of Kungälv, were similarly infused with subjective feeling. He moved away from the atmospheric naturalism of the previous generation, instead using color and form to create decorative, emotionally resonant compositions. Trees might be rendered in blues or reds, skies in unexpected yellows, all contributing to the overall expressive impact of the work. This approach, breaking from the strictures of academic painting, was central to his modernism.
Key Works and Their Significance
Several works stand out in Simonsson's oeuvre, illustrating his stylistic development and thematic concerns. Lucette – Portvanortsdottern i Paris (1907) is an early, yet telling, example of his engagement with modern portraiture, likely influenced by his initial encounters with contemporary French painting even before formally studying with Matisse. The directness of the gaze and the simplification of the background hint at his future direction.
Perhaps one of his most historically significant works is Brunnen (The Well), painted in 1913. This painting was purchased by the Valand School of Art in Gothenburg, marking a significant moment: it was reportedly the first time a Swedish art institution acquired a work by a Swedish artist so clearly indebted to Matisse's teachings. This acquisition signaled a growing acceptance, at least within certain progressive circles, of the new artistic language.
His later portraits, such as Fröken Lundberg (1930), showcase his mature style. Here, the influence of Matisse is still discernible in the bold use of color and the emphasis on pattern and flat planes, but it is integrated into a distinctly personal vision. The character of the sitter is conveyed through a combination of pose, expression, and the carefully orchestrated color harmonies of the composition. These works often possess a quiet dignity and a thoughtful exploration of personality.
The Gothenburg Years: Teaching at Valand and "The Gothenburgers"
A significant chapter in Simonsson's career unfolded in Gothenburg, where he became a highly influential teacher at the Valand School of Art (Valands Konstskola). He served as its director during a crucial period in the 1910s, transforming it into a bastion of modernism in western Sweden. His teaching was informed by his Parisian experiences, and he encouraged his students to experiment with color and form, fostering a spirit of artistic inquiry.
Among his students at Valand were artists like Hans Gustaf Strid, who would go on to develop his own distinct artistic voice. Simonsson, along with contemporaries like Carl Ryd and Tor Bjurström (who also taught at Valand), formed the core of what became known as the "Göteborgskoloristerna" (The Gothenburg Colorists). This group, while not a formal association in the same way as "De unga," shared a commitment to a color-rich, expressive modernism.
The artistic milieu in Gothenburg during this period was further enriched by patrons like Charlotte Mannheimer. Mannheimer was a crucial supporter of modern art and artists in the city, providing exhibition opportunities and financial assistance. Her salon and gallery activities were vital for Simonsson and his circle, helping to create a receptive environment for their work and ideas. The "Gothenburgers," as this group of artists was sometimes called, maintained connections with other Scandinavian modernists, including Matisse's Norwegian pupils, fostering a broader Nordic modernist network.
Academic Positions and Institutional Engagement
Later in his career, Simonsson's influence extended to the highest echelons of the Swedish art establishment. He was appointed professor at the Royal Swedish Academy of Fine Arts in Stockholm, a position that allowed him to shape the education of a new generation of artists from the nation's capital. This appointment was significant, indicating a broader institutional acceptance of the modernist principles he had long championed.
However, Simonsson was not one to shy away from controversy or critical engagement with art institutions. He famously voiced his discontent with the acquisition policies of the Nationalmuseum in Stockholm, particularly concerning its approach to modern art. In an article published in the newspaper Svenska Dagbladet, he criticized the museum's perceived conservatism and reluctance to fully embrace contemporary artistic developments. This public critique sparked a notable debate, drawing responses from prominent figures such as the art critic August Brunius, highlighting the ongoing tensions between traditional and modern perspectives within the Swedish art world.
Relationships with Contemporaries: Collaboration and Rivalry
Simonsson's career was interwoven with a complex web of relationships with his contemporaries. His early collaborations within "De unga" with artists like Isaac Grünewald and Gösta Sandels were foundational to the modernist breakthrough in Sweden. These artists shared a common cause, pushing against the established order and advocating for a new artistic language. He also maintained productive working relationships with artists like Sigrid Ullman and the aforementioned Carl Ryd and Tor Bjurström, particularly within the Gothenburg art scene and through shared teaching responsibilities.
However, the art world is rarely without its tensions and rivalries. Simonsson's relationship with Isaac Grünewald, perhaps the most flamboyant and publicly recognized of the Swedish Matisse pupils, was particularly complex. While they were allies in the early days of "De unga," their paths diverged, and professional jealousies or academic disagreements led to a period of estrangement. Sources indicate a significant falling out, possibly related to academic positions or artistic direction, that lasted until a reconciliation in 1937, not long before Simonsson's death. Such dynamics were not uncommon among ambitious artists vying for recognition and influence in a relatively small art world. His interactions with other figures, while perhaps less dramatic, also reflected the competitive yet collaborative nature of artistic communities.
Later Years, Evolving Reception, and Legacy
As the 1920s and 1930s progressed, the Swedish art scene continued to evolve. New movements and younger artists emerged, some building on the foundations laid by Simonsson's generation, others reacting against it. While Simonsson remained an active painter and an influential teacher, particularly through his professorship at the Royal Academy, his own artistic output perhaps did not capture the public imagination to the same extent as some of his more overtly radical or prolific contemporaries like Grünewald.
The critical reception of Simonsson's work has also seen shifts over time. Initially hailed as a pioneer and a key member of the rebellious "De unga," his later reputation sometimes suffered from a perception that his modernism was perhaps more tempered or less consistently groundbreaking than that of others. However, this view may overlook the quiet intensity and consistent quality of his work, as well as the profound and lasting impact of his teaching.
Birger Simonsson passed away in Stockholm on October 11, 1938, at the age of 55. His legacy is multifaceted. As an artist, he produced a significant body of work that exemplifies the introduction of Fauvist and Expressionist principles into Swedish art. His portraits and landscapes are characterized by a thoughtful use of color and a deep engagement with the expressive potential of painting. As a teacher, first at Valand and later at the Royal Academy, he was instrumental in shaping at least two generations of Swedish artists, instilling in them the values of modernism. Figures like Carl Kylberg, though not a direct student in the same way, also benefited from the modernist climate Simonsson helped create.
His role as a founding member of "De unga" ensures his place in the annals of Swedish art history as one of the "Men of 1909" who irrevocably changed the course of art in their country. While artists like Edvard Munch in Norway had already pushed Scandinavian art towards Expressionism, Simonsson and his Swedish colleagues carved out their own distinct path. His willingness to engage critically with institutions like the Nationalmuseum also speaks to his commitment to fostering a vibrant and progressive artistic culture.
In conclusion, Birger Simonsson was more than just a painter; he was an educator, a catalyst, and a crucial bridge between the international avant-garde and the Swedish art scene. His dedication to modern principles, his influential teaching career, and his own sensitive and colorful artistic production secure his importance in the development of 20th-century Swedish art, alongside contemporaries like GAN (Gösta Adrian-Nilsson), Otto G. Carlsund, and the Halmstad Group who would take Swedish modernism in further, often more abstract or surreal, directions. Simonsson's contribution was foundational, helping to create the space for these subsequent developments.
