Eric Detthow (1888–1952) stands as a notable, if sometimes overlooked, figure in the landscape of early to mid-20th century Swedish art. A versatile artist, he distinguished himself primarily as a painter and a printmaker, navigating the dynamic currents of European modernism while retaining a distinct Scandinavian sensibility. His life and career, spanning a period of immense artistic upheaval and transformation, offer a fascinating glimpse into the experiences of a Nordic artist engaging with international trends, particularly those emanating from Paris, the undisputed art capital of the era. Detthow's oeuvre, characterized by its thoughtful engagement with landscape, the human figure, and the expressive potential of various graphic techniques, merits closer examination for its contribution to Swedish art history and its reflection of broader artistic dialogues.
Early Life and Artistic Beginnings
Born in Sweden in 1888, Eric Detthow emerged as an artist during a vibrant period. The early 20th century saw Swedish art breaking away from the dominant academic traditions of the 19th century, with artists increasingly looking towards continental Europe, especially France, for inspiration. While specific details of his earliest artistic training are not extensively documented in the provided summary, it is clear that he became an active participant in the art world, developing skills in both oil painting and various printmaking techniques, including etching, drypoint, and woodcut. His formative years would have coincided with the rise of Post-Impressionism, Fauvism, and the nascent stages of Cubism, movements that profoundly impacted the trajectory of modern art.
The decision for many aspiring Scandinavian artists of his generation to travel abroad, particularly to Paris, was almost a rite of passage. This pilgrimage offered exposure to avant-garde ideas, opportunities to study under influential masters or at progressive academies, and the chance to connect with an international community of artists. Detthow was no exception to this trend, and his experiences, particularly in Paris, would prove crucial in shaping his artistic outlook and forging important professional relationships.
Parisian Sojourn and the Embrace of Modernism
Eric Detthow’s presence in Paris placed him at the heart of artistic innovation. The provided information highlights his significant interactions within the Parisian art community, particularly with fellow Swedish artists. He is noted to have met Bertil Bull Hedlund in Paris around 1912, and the two became colleagues and friends. This connection was more than just social; they engaged in discussions about Cubism, one of the most radical and influential art movements of the time, pioneered by artists like Pablo Picasso and Georges Braque. This intellectual and artistic exchange suggests Detthow was actively grappling with modernist principles, seeking to understand and perhaps incorporate them into his own practice.
His circle in Paris also included other Swedish artists such as Ragnar Gellerstedt and Dick Beer, the latter also being a close friend with whom he explored Cubist ideas. The camaraderie among expatriate artists was common, providing a support network and a forum for debating new artistic theories. While Detthow may not be primarily categorized as a Cubist painter in the strictest sense, his engagement with the movement indicates an openness to formal experimentation and a departure from purely traditional representational modes. This period was likely one of intense learning and stylistic development, where the stimuli of Parisian galleries, salons, and studio discussions fueled his artistic growth.
The influence of Paris extended beyond Cubism. The city was a melting pot of styles, from the lingering echoes of Impressionism and Post-Impressionism (as seen in the works of artists like Pierre Bonnard or Édouard Vuillard) to the bold colors of Fauvism (championed by Henri Matisse and André Derain) and the emerging stirrings of Surrealism. Detthow would have been exposed to this rich tapestry, allowing him to selectively absorb elements that resonated with his own artistic temperament.
Artistic Style: A Synthesis of Observation and Expression
Eric Detthow’s artistic output encompassed both painting and printmaking, with his style often described as a blend of realism and decorative elements. In his paintings, particularly landscapes such as the work titled Paysage, he demonstrated a keen observational skill, capturing the essence of the Swedish or perhaps French countryside. These works likely balanced a fidelity to nature with a more modern sensibility in terms of color, composition, and brushwork, possibly influenced by Post-Impressionist approaches that emphasized subjective experience over objective reality, akin to the path taken by artists like Paul Cézanne or Vincent van Gogh, whose influences were pervasive.
In printmaking, Detthow showcased considerable technical skill across various mediums. He was an accomplished engraver and etcher, techniques that demand precision and a strong command of line. His involvement with woodcuts, such as the 1917 piece La femme au chien, points to an interest in the expressive power of bold contrasts and simplified forms, a characteristic often associated with Expressionist printmakers in Germany, like Ernst Ludwig Kirchner or Emil Nolde, or earlier innovators like Edvard Munch from neighboring Norway. The choice of printmaking itself was significant; it was a medium undergoing a revival in the early 20th century, valued for its democratic potential and its unique aesthetic qualities.
His figurative works, including etchings like Retour de bal (Return from the Ball) and Le mannequin (The Mannequin), suggest an interest in narrative, social observation, or perhaps more introspective, symbolic themes. The title Le mannequin is particularly evocative of the period, as mannequins appeared in the works of Surrealist artists like Giorgio de Chirico, often imbued with a sense of mystery or unease. While it's not stated Detthow was a Surrealist, the theme itself was current. The work Sittande naken kvinna (Seated Nude Woman) places him within a long tradition of depicting the human form, a subject that allowed artists to explore line, volume, and expression. The quality of his line in his etchings would have been paramount, capable of conveying both delicacy and strength.
Key Works and Their Significance
Several works are highlighted as representative of Eric Detthow's artistic production. La femme au chien (The Woman with the Dog), dated 1917, is specifically mentioned as a woodcut or engraving. If a woodcut, it would likely feature strong contrasts and a directness of expression inherent to the medium. The subject matter, a woman with her canine companion, is a classic genre scene, but Detthow’s treatment would have reflected his contemporary artistic concerns. The year 1917 places this work firmly within the World War I era, a period that, despite its turmoil, saw continued artistic activity.
The etchings Retour de bal, Le mannequin, and Sittande naken kvinna are associated with the year 1954 in the Nationalmuseum's catalogue. Given that Detthow passed away in 1952, this date almost certainly refers to the year of acquisition by the museum or perhaps a posthumous printing from existing plates, rather than their creation. The original execution of these plates would have occurred earlier in his career. Retour de bal hints at a narrative of social life, perhaps capturing a moment of fatigue or reflection after an evening's festivities, a theme explored by artists like Jean-Louis Forain or Henri de Toulouse-Lautrec in earlier Parisian scenes. Le mannequin could explore themes of identity, artificiality, or the artist's studio, subjects that fascinated many modern artists.
His oil painting Paysage (Landscape), measuring 27 x 35 cm and held in a private collection, exemplifies his work in this medium. While the specific location is not identified, his landscapes likely captured the atmospheric qualities and distinct light of the regions he depicted, whether in Sweden or France. The relatively modest size suggests it could have been an plein air study or a more finished intimate piece. The estimated auction value of 500-600 Euros for such a piece, as mentioned in one source, indicates a recognized, if not top-tier, market presence for his work.
Exhibitions, Collaborations, and Swedish Art Scene
Detthow was an active participant in the exhibition circuit, a crucial avenue for artists to gain recognition and engage with the public. In 1918, he exhibited alongside Gustaf Tägström (whose full name is likely Gustaf Fredrik Tägström, another Swedish artist) and the prominent Swedish printmaker Axel Fridell at "the Academy," which most probably refers to the Royal Swedish Academy of Fine Arts (Konstakademien) in Stockholm. Axel Fridell himself is a significant figure in Swedish graphic art, known for his atmospheric drypoints and etchings, making their joint exhibition noteworthy. This event underscores Detthow's standing within the Swedish art community and his association with other respected printmakers.
Another important exhibition took place in 1919 at the Liljevalchs Konsthall in Stockholm, a major venue for contemporary art in Sweden. Here, Detthow exhibited with his friend Bertil Bull Hedlund. This exhibition would have been an opportunity to present the artistic ideas they had been developing, possibly reflecting their Parisian experiences and discussions on Cubism and other modern trends. Liljevalchs was known for showcasing modernist art, and exhibitions there often generated considerable public and critical attention. For instance, the "Falangen" (The Phalanx) group, including artists like Isaac Grünewald, Sigrid Hjertén, Einar Jolin, and Leander Engström, had caused a stir with their modernist expressions, and Detthow and Hedlund's exhibition would have contributed to this ongoing dialogue about the direction of Swedish art.
He also collaborated with Börje Veslen on engraved plates, indicating a continued engagement with printmaking and a willingness to work with other artists in a technical capacity. Furthermore, his name appears in connection with Axel Tallberg, another influential figure in Swedish printmaking who taught many artists etching techniques. Their joint exhibition in 1918 further solidifies Detthow's position within the graphic arts sphere. The Swedish art scene of this period was dynamic, with artists like Nils von Dardel bringing a unique, often dreamlike modernism, and Gösta Adrian-Nilsson (GAN) pioneering abstract and Cubist-Futurist styles. Detthow's work, while perhaps not as radical as GAN's, contributed to the diverse fabric of Swedish modernism.
Later Career and Continued Activity
Information suggests Eric Detthow remained an active artist throughout much of his life. He was recorded as an active artist in 1937, nearly two decades after his early Parisian experiences and exhibitions. This indicates a sustained career, likely involving continued production, exhibition, and engagement with the evolving art world. While the provided texts do not detail his activities extensively in the 1930s and 1940s, it is reasonable to assume he continued to paint and create prints, possibly adapting his style or exploring new themes as artistic trends shifted.
The mention of his association with the Göteborgs Konstförening (Gothenburg Art Association/Society) as a teacher is significant. The Gothenburg Art Association was, and still is, an important institution for art in Sweden's second city. If he taught there, he would have played a role in shaping a younger generation of artists, passing on his knowledge of painting and printmaking techniques. This pedagogical role, common for established artists, contributes to an artist's legacy by influencing future artistic developments. Artists like Carl Wilhelmson also had strong connections to Gothenburg and its art education.
His works being held in the collection of the Nationalmuseum in Stockholm is a testament to his recognized contribution to Swedish art. The Nationalmuseum is Sweden's premier museum of art and design, and inclusion in its collection signifies an artist's historical importance. The presence of his etchings there ensures that his graphic work remains accessible for study and appreciation by future generations.
The Broader Context: Scandinavian Art in an International Arena
Eric Detthow’s career unfolded against the backdrop of Scandinavian artists increasingly asserting their presence on the international stage while also cultivating distinct national and regional artistic identities. Artists from Sweden, Norway, Denmark, and Finland, such as Edvard Munch, Akseli Gallen-Kallela, Vilhelm Hammershøi, and Helene Schjerfbeck, had already gained international recognition, demonstrating the vitality of Nordic art. Detthow and his contemporaries built upon this legacy.
The pull of Paris was undeniable, but many Scandinavian artists, after their time abroad, returned to their home countries, bringing with them new ideas that they then synthesized with local traditions and subject matter. This often resulted in a unique form of modernism, one that might be less overtly radical than its French or German counterparts but was deeply expressive and often imbued with a particular sensitivity to light and landscape characteristic of the Nordic countries. Detthow’s work seems to fit within this paradigm – an artist informed by international currents but ultimately rooted in his own cultural context. His engagement with printmaking also aligns with a strong tradition of graphic arts in Scandinavia, where artists like Anders Zorn had achieved international fame for their etchings.
Legacy and Conclusion
Eric Detthow’s life (1888-1952) spanned a transformative period in art history. As a Swedish painter and printmaker, he actively engaged with the modernist movements of his time, particularly during his formative years in Paris where he associated with fellow artists like Bertil Bull Hedlund, Ragnar Gellerstedt, and Dick Beer, and explored concepts like Cubism. His artistic style, often characterized by a blend of realism with decorative and modern sensibilities, found expression in both oil paintings, such as his landscapes, and a variety of printmaking techniques including etching, woodcut, and engraving.
His representative works, including the print La femme au chien (1917) and etchings like Retour de bal and Le mannequin (cataloged by the Nationalmuseum in 1954, likely acquisition dates), showcase his technical skill and thematic interests. He was an active participant in the Swedish art scene, exhibiting with notable contemporaries such as Axel Fridell, Gustaf Tägström, and Axel Tallberg, and later with Bertil Bull Hedlund at the prestigious Liljevalchs Konsthall. His association with the Gothenburg Art Association as an instructor further highlights his contribution to the artistic community.
While perhaps not as widely known internationally as some of his more radical contemporaries like Isaac Grünewald or GAN, Eric Detthow played a valuable role in the development and dissemination of modern art principles within Sweden. His dedication to both painting and the demanding craft of printmaking, his active participation in exhibitions, and his connections with a wide circle of artists including Otte Sköld and perhaps even encountering the broader influences of international figures like Henri Matisse or the German Expressionists during his European experiences, all contribute to a picture of a dedicated and engaged artist. His works, preserved in institutions like the Nationalmuseum, continue to offer insight into a pivotal era of Swedish art, reflecting the complex interplay between national traditions and international modernist currents. Eric Detthow remains a figure worthy of continued study for his contribution to the rich tapestry of early 20th-century Scandinavian art.
