Jenny Eugenia Nyström stands as a pivotal figure in Swedish art history, celebrated not only for her charming and enduring illustrations, particularly those that defined the visual identity of the Scandinavian Christmas gnome, the jultomte, but also for her accomplishments as a painter in a male-dominated era. Her journey from a talented young girl in Kalmar to a nationally beloved artist and a respected academic painter is a testament to her skill, perseverance, and unique artistic vision. This exploration delves into her life, her artistic evolution, her iconic creations, and her place within the broader context of late 19th and early 20th-century art.
Early Life and Budding Talent
Born on June 13, 1854, in Kalmar, Sweden, Jenny Nyström was the daughter of Daniel Nyström, a schoolteacher and cantor with a passion for music and drawing, and Anette Bergendahl. Her early childhood in the picturesque coastal city of Kalmar, with its historic castle and rich cultural heritage, likely provided an inspiring backdrop. The Nyström household was one that encouraged artistic pursuits, and Jenny showed a precocious talent for drawing from a young age. Her father, recognizing her abilities, was her first informal teacher, nurturing her burgeoning skills.
In 1863, when Jenny was eight years old, the family relocated to Gothenburg. This move proved significant for her artistic development. Gothenburg, a larger city with a more established cultural scene, offered greater opportunities. She initially attended a girls' school, Kjellbergska flickskolan, and later, her formal art education began at the Gothenburg Museum Art School (Göteborgs Musei Rit- och Målarskola), now known as Valand Academy. Here, she studied under influential teachers such as Fredrik Wohlfahrt, who encouraged her interest in folklore and traditional Swedish themes, an interest that would later define a significant part of her career.
Academic Pursuits and Parisian Dreams
Nyström's ambition and talent soon outgrew Gothenburg. In 1873, at the age of 19, she was admitted to the prestigious Royal Swedish Academy of Fine Arts (Kungliga Akademien för de fria konsterna) in Stockholm. This was a notable achievement, as the Academy had only recently begun to admit female students in significant numbers. During her eight years at the Academy, she studied under prominent figures like Georg von Rosen and August Malmström, the latter known for his historical paintings and illustrations of sagas, which may have further influenced Nyström's narrative inclinations.
Her dedication and skill were evident. In 1881, Nyström achieved a major milestone: she won the Royal Medal for her historical painting "Gustav Vasa som barn inför Kung Hans av Danmark" (Gustav Vasa as a Child before King Hans of Denmark). This accolade was not just a personal triumph but also a significant moment for female artists in Sweden, as she was among the first women to receive such high recognition for historical painting, a genre traditionally dominated by men. The prize included a substantial travel scholarship, enabling her to pursue further studies abroad.
Like many ambitious Scandinavian artists of her generation, including her contemporaries Anders Zorn, Carl Larsson, and Bruno Liljefors, Paris was the ultimate destination. From 1882 to 1886, Nyström immersed herself in the vibrant Parisian art world. She studied at the Académie Colarossi and the Académie Julian, renowned private art schools that, unlike the official École des Beaux-Arts, readily accepted female students and offered them the chance to study from live models. Here, she honed her skills in figure painting and composition, absorbing the influences of French academic art as well as the burgeoning Impressionist movement, though her own style would retain a strong narrative and illustrative quality.
During her time in Paris, she connected with a community of Nordic artists, including the Norwegian painter Harriet Backer and the Finnish artist Helene Schjerfbeck, who were also forging their careers in the French capital. The experience was formative, broadening her artistic horizons and technical proficiency. One of her notable works from this period is "Självporträtt i ateljén i Paris" (Self-Portrait in the Paris Studio), which showcases her confidence and mastery. Another significant painting, "Den konvalescenta" (The Convalescent), painted in 1884, was exhibited at the prestigious Paris Salon of 1884. While it didn't win an award, its acceptance into the Salon was a mark of recognition and helped build her reputation. This painting, depicting a young woman recovering from illness, demonstrates her skill in capturing emotion and a delicate, almost tender, atmosphere, influenced perhaps by the naturalism of artists like Jules Bastien-Lepage.
The Birth of the Swedish Christmas Icon: The Jultomte
While Nyström pursued academic painting, her destiny was also intertwined with illustration. Even before her Parisian sojourn, she had begun to explore this field. The turning point came with her illustrations for Viktor Rydberg's story "Lille Viggs äventyr på julafton" (Little Vigg's Adventures on Christmas Eve), first published in 1871 but gaining immense popularity with Nyström's illustrations in a later edition (1875). Her depiction of the tomte (or nisse in Norwegian and Danish) – a small, elderly, bearded gnome-like creature associated with Scandinavian folklore, traditionally a farm or household guardian – was revolutionary.
Prior to Nyström, the tomte was often depicted as a more rustic, sometimes mischievous, figure. Nyström softened his image, giving him a kindlier, more grandfatherly appearance, often dressed in grey or red, with a long white beard and a pointed cap. She imbued him with a gentle benevolence, often showing him interacting with children, delivering gifts, or tending to animals in snowy landscapes. This portrayal resonated deeply with the Swedish public and became the definitive visual representation of the jultomte, the Swedish Christmas gift-bringer, a figure that merged the traditional tomte with emerging international Santa Claus traditions.
Her tomte illustrations, which she would produce prolifically for decades, appeared on countless Christmas cards, magazine covers (like Julstämmning), calendars, and children's books. These images became an integral part of Swedish Christmas traditions, shaping the nation's festive visual culture. Her tomtes were not solitary figures; they were often depicted in charming, humorous scenes, sometimes accompanied by pigs, goats (the julbock or Yule goat, another important Christmas symbol), or even engaging in modern activities like driving cars or flying airplanes, showcasing Nyström's playful and modern sensibility. This ability to blend tradition with contemporary touches was a hallmark of her illustrative work.
A Prolific Illustrator and Painter
Jenny Nyström was incredibly industrious. Beyond her iconic Christmas imagery, she illustrated numerous children's books, fairy tales, and educational materials. Her style was characterized by its warmth, charm, and meticulous detail. She had a keen eye for capturing the innocence and wonder of childhood, and her illustrations often featured rosy-cheeked children, idyllic landscapes, and whimsical creatures. Her work extended to historical scenes, portraits, and genre paintings, though it was her illustrations that brought her widespread fame and financial stability.
She was also a keen photographer, often using photographs of her family, friends, and herself as references for her paintings and illustrations. This practice allowed her to capture natural poses and expressions, lending a sense of realism and immediacy to her work, even within fantastical settings. Her son, Curt Nyström Stoopendahl, frequently served as a model for the children in her illustrations.
Her artistic output was vast, encompassing oil paintings, watercolors, drawings, and countless commercial designs. While some art critics of her time may have viewed commercial illustration as less prestigious than "fine art," Nyström successfully navigated both worlds. She understood the power of mass-produced imagery to reach a wide audience and, in doing so, became one of Sweden's most beloved and recognizable artists. Her contemporary, Carl Larsson, similarly achieved immense popularity through reproductions of his idyllic domestic scenes, demonstrating a shared understanding of how art could permeate everyday life.
Personal Life, Challenges, and Resilience
In 1887, after returning from Paris, Jenny Nyström married Daniel Stoopendahl, a medical student she had met in the French capital. They settled in Stockholm and had one son, Curt Nyström Stoopendahl (1893–1965), who would also become an artist and illustrator, often working in a style reminiscent of his mother's and sometimes even collaborating with her or continuing her legacy by producing similar Christmas motifs.
Life was not without its challenges. Daniel Stoopendahl struggled with his health (tuberculosis) for extended periods, and his medical career was often interrupted. This meant that Jenny frequently became the primary breadwinner for the family. Her prolific output as an illustrator was, in part, driven by economic necessity. She worked tirelessly, producing a steady stream of artwork for various publishers and clients to support her husband and son. Despite these pressures, her work rarely lost its characteristic joy and optimism.
Her father's earlier struggles with illness, which had prevented him from completing his own studies, had already instilled in Jenny a sense of responsibility and a strong work ethic. She managed her career with business acumen, negotiating with publishers and ensuring her work was widely disseminated. This entrepreneurial spirit was remarkable for a woman of her time.
Contemporaries and Artistic Milieu
Jenny Nyström operated within a dynamic period of Swedish art, often referred to as a golden age. The late 19th century saw the rise of National Romanticism, where artists sought to capture the unique character of their nation's landscapes, people, and traditions. While Nyström's tomte illustrations certainly aligned with this interest in folklore, her academic training and Parisian experiences also connected her to broader European art movements.
She was a contemporary of the "Opponenterna" (The Opponents), a group of artists including Ernst Josephson, Richard Bergh, and Karl Nordström, who in 1885 protested against the conservative methods of the Royal Academy and advocated for a more modern approach to art, inspired by French Realism and Impressionism. While Nyström was not formally part of this group, her time in Paris exposed her to similar ideals of artistic freedom and innovation.
Other notable female artists of her generation in Scandinavia included Hanna Pauli and Eva Bonnier in Sweden, both of whom, like Nyström, studied in Paris and achieved significant recognition. Their collective presence challenged the traditional barriers faced by women in the art world. Further afield, artists like the Danish Skagen Painters, Anna Ancher and P.S. Krøyer, were also her contemporaries, capturing light and everyday life in a manner that resonated with the new artistic currents. The influence of earlier illustrators like August Malmström, who also depicted Swedish folklore, can be seen as a precursor, while later illustrators like John Bauer, known for his trolls and fairy tale worlds, would continue the tradition of illustrating Swedish mythology, albeit with a different, more melancholic aesthetic. Nyström's work, however, maintained a unique blend of academic skill, folk charm, and commercial appeal that set her apart.
Later Years and Enduring Legacy
Jenny Nyström continued to work actively throughout her long life. Even in her later years, her Christmas cards and illustrations remained highly sought after. Her images had become so ingrained in the Swedish consciousness that Christmas without Nyström's tomtar was, and for many still is, unimaginable. She created a visual language for the Swedish Christmas that has endured for over a century.
She passed away in Stockholm on January 17, 1946, at the age of 91. She was buried in Norra begravningsplatsen, a prominent cemetery in Solna, just north of Stockholm.
Jenny Nyström's legacy is multifaceted. As a painter, she demonstrated considerable skill, particularly in historical subjects and portraiture, earning accolades at a time when female artists faced significant hurdles. Her painting "The Convalescent" remains a poignant example of her sensitivity and technical ability. However, it is as an illustrator, and specifically as the visual creator of the modern Swedish jultomte, that she achieved her most profound and lasting impact.
Her work democratized art, bringing it into ordinary homes through affordable prints, postcards, and books. She captured the spirit of Swedish folklore and the magic of Christmas with a warmth and humor that continues to delight new generations. Museums such as the Kalmar County Museum hold significant collections of her work, ensuring that her contributions are preserved and celebrated. Her original artworks and vintage prints are highly collectible, and her imagery is still widely reproduced each Christmas season.
Jenny Nyström was more than just an artist; she was a cultural icon who helped shape a nation's traditions. Her dedication to her craft, her ability to connect with a broad audience, and her pioneering spirit as a female artist secure her an important place in the annals of art history, not just in Sweden but in the broader story of illustration and popular culture. Her friendly, hardworking tomtar continue to symbolize the joy, generosity, and enchantment of the Scandinavian Christmas, a timeless legacy from a truly remarkable artist.
