Jenny Eugenia Nyström (1854–1946) stands as a pivotal figure in Swedish art history, celebrated primarily as a painter and illustrator whose work profoundly shaped the visual culture of her nation, particularly concerning the imagery of Christmas. While widely known for popularizing the Swedish version of Santa Claus, the Jultomte, her artistic contributions extend far beyond holiday illustrations, encompassing academic painting, pioneering work in children's literature, and a remarkable career navigated within the constraints faced by female artists of her time. Her legacy is woven into the fabric of Swedish tradition, yet her journey reflects a versatile artist adept in multiple genres and styles.
Early Life and Artistic Inclinations
Born in the coastal town of Kalmar, Sweden, on June 13, 1854, Jenny Nyström grew up in an environment conducive to artistic development. Her father, Daniel Nyström, was a cantor and music teacher, while her mother, Anette Bergendahl, also possessed musical talents as a church choir director. This nurturing household fostered Jenny's early interest in the arts. The family relocated to Gothenburg in 1862 when Jenny was eight years old, after her father accepted a position as a senior school teacher there.
Her childhood, though generally happy, was not without its peculiar moments. Nyström later recalled playing in the churchyard as a child, a place of both solemnity and youthful adventure. One anecdote involved her attempting to jump over a newly dug grave, only to misjudge the distance and fall in, injuring herself slightly. This memory, perhaps trivial in itself, hints at a childhood lived with a certain degree of freedom and proximity to the cycles of life and death that might subtly inform later artistic sensibilities.
Formal Artistic Education
Nyström's formal art education began in Gothenburg at the Göteborgs Musei-, Rit- och Målarskola (Gothenburg Museum Art School, now the Valand Academy) in 1869. It was here that she encountered instructors who recognized her potential. One significant teacher was Fredrik Wohlfahrt, who reportedly encouraged her early explorations of the tomte figure, a character from Scandinavian folklore that would become central to her later fame. Her talent was evident, paving the way for further studies.
In 1873, Nyström moved to Stockholm to attend the prestigious Kungliga Akademien för de fria konsterna (Royal Swedish Academy of Fine Arts). She studied there for eight years, honing her skills in academic painting under professors such as Johan Christoffer Boklund, a prominent historical painter and director of the Academy. During her time at the Academy, she immersed herself in the traditional curriculum, focusing on drawing, anatomy, perspective, and painting, often tackling historical and mythological subjects favored by the academic establishment. Her dedication and skill were recognized, setting the stage for international study.
Parisian Years and Salon Painting
Supported by scholarships, Nyström traveled to Paris in 1882, the epicenter of the art world at the time. This period was crucial for her development, exposing her to a vibrant and competitive artistic milieu. She continued her studies at private ateliers renowned for accepting female students, including the Académie Colarossi and the Académie Julian. These institutions offered rigorous training, often mirroring the structure of the official École des Beaux-Arts, which was still largely inaccessible to women.
In Paris, Nyström aimed to establish herself as a serious painter within the Salon system. The annual Paris Salon was the most important art exhibition in the world, and acceptance was a significant mark of achievement. She submitted works regularly, achieving some success. Her painting Den konvalescenta (The Convalescent) was accepted into the Salon of 1884. This work, depicting a young girl recovering from illness, possibly reflects themes of fragility, hope, and perhaps even mortality, showcasing her skill in narrative painting and sensitive portrayal.
Another notable work from this period was a self-portrait, Ateljéinteriör (Studio Interior, also known as A Woman in Paris), submitted to the 1884 Salon. While The Convalescent gained acceptance, this self-assured depiction of the artist in her working environment was initially rejected, though later accepted. This experience highlighted the challenges and subjective nature of the Salon juries. During her time in Paris, Nyström would have been aware of the major artistic currents, from the established academic painters like William-Adolphe Bouguereau and Jean-Léon Gérôme dominating the Salons, to the revolutionary stirrings of Impressionism led by figures such as Claude Monet, Edgar Degas, and the American expatriate Mary Cassatt, who herself navigated the Parisian art world as a woman.
While in France, Nyström formed important friendships with fellow Scandinavian artists, including the Swedes Elisabeth Keyser and Ingeborg Westfelt-Eggert. Together, they spent time in Meudon, a suburb of Paris, and even collaborated on establishing a short-lived art school for young women, demonstrating an early commitment to supporting female artists. Her Paris period, though marked by the ambition of becoming a recognized Salon painter, also saw her continue to develop her skills in watercolor and illustration, hinting at the future direction of her career.
The Birth of the Swedish Jultomte
Perhaps Jenny Nyström's most enduring legacy is her visualization of the Swedish Jultomte. While the tomte or nisse was a pre-existing figure in Scandinavian folklore – a small, gnome-like creature associated with farms and households, often depicted as elderly with a long beard and conical cap – Nyström played a crucial role in merging this figure with the burgeoning international image of Santa Claus.
Her opportunity arose when she was commissioned to illustrate Viktor Rydberg's poem "Lille Viggs äfventyr på julafton" ("Little Vigg's Adventures on Christmas Eve") in 1871 (though published later). More significantly, her illustrations for Rydberg's poem "Tomten" (1881) helped solidify the image of the benevolent, gift-giving Christmas gnome. Nyström depicted the tomte not as the sometimes mischievous farm spirit of old lore, but as a kind, elderly figure, often dressed in grey or red, embodying the spirit of Christmas generosity.
She skillfully blended the traditional Swedish tomte attributes with elements of the Saint Nicholas/Father Christmas figure gaining popularity elsewhere. Her Jultomte was typically gentler, smaller, and more rooted in the Swedish landscape and home than the grander Father Christmas. This friendly, white-bearded character, often shown interacting with children, animals, or engaging in Christmas preparations, quickly captured the public imagination through countless postcards, magazine covers, and book illustrations produced over decades. Nyström essentially created the definitive visual representation of the Swedish Christmas gift-bringer, an image that remains iconic in Sweden to this day.
A Prolific Career in Illustration
Upon returning to Sweden and marrying Daniel Stoopendaal in 1887, Nyström faced new realities. Her husband, initially a medical student, struggled to establish his career (and later pursued art himself). Financial necessity became a driving force, compelling Jenny Nyström to channel her considerable artistic talents primarily into illustration, a field often considered less prestigious than Salon painting but more commercially viable. She became one of Sweden's most prolific and sought-after illustrators.
Her output was immense. She created thousands of illustrations for children's books, adult fiction, magazines, newspapers, and, most famously, greeting cards, especially Christmas cards. The rise of chromolithography and the growing popularity of sending Christmas cards provided a perfect outlet for her work. Her charming and heartwarming depictions of the Jultomte, winter scenes, and children became synonymous with the Swedish Christmas. She also illustrated Easter cards and other festive occasions.
Her contribution to children's literature was foundational. The publication of Barnkammarböcker (Nursery Rhyme Books), starting with Barnkamarens bok in 1882, illustrated by her, marked a significant step in the development of Swedish picture books. These works, filled with engaging and detailed illustrations, set a high standard and influenced subsequent generations of illustrators, including contemporaries like Elsa Beskow, who also became a defining figure in Swedish children's literature. Nyström's ability to capture the world from a child's perspective, blending realism with fantasy, made her books incredibly popular.
The sheer volume of her work was staggering. In 1911, she signed a contract with the publisher Axel Eliasson's company, agreeing to produce a substantial number of watercolor paintings annually, many intended as originals for postcard reproduction. This arrangement provided financial stability but also cemented her reputation primarily as an illustrator, sometimes overshadowing her ambitions as a "fine" artist. Her illustrative style, while always technically proficient, adapted to its purpose, often incorporating humor and contemporary details. Some later tomte illustrations even show the character interacting with modern inventions or placed in exotic settings (like riding an elephant), reflecting a playful engagement with the changing world. Her work can be seen in the context of the Golden Age of Illustration, alongside international figures like Arthur Rackham and Edmund Dulac, though her style remained distinctly her own.
Artistic Style: Academic Roots and Modern Sensibilities
Jenny Nyström's artistic style was built upon the solid foundation of her academic training. Her proficiency in drawing, composition, and the realistic depiction of figures and environments is evident throughout her career, whether in large oil paintings or small postcard illustrations. Her early works, like The Convalescent, demonstrate a mastery of the Salon style, characterized by careful finish, narrative clarity, and emotional resonance.
However, Nyström was not merely an academic painter. Her work often displays a warmth, charm, and gentle humor that transcends strict academicism. This is particularly true of her illustrations, where she excelled at creating relatable characters and cozy, inviting scenes. Her depiction of children is particularly noteworthy for its sensitivity and lack of sentimentality.
There are also subtle influences from other artistic movements. Some scholars have noted elements of Japonisme in her work, particularly in her compositional choices, use of flat color areas, and decorative patterns, especially visible in some of her cover designs and illustrations. This influence, stemming from the European fascination with Japanese woodblock prints (ukiyo-e) in the late 19th century, added a modern graphic sensibility to her art.
Her style evolved over her long career. While maintaining a core realism, her later illustrations sometimes adopted a looser, more painterly quality. She skillfully adapted her style to different mediums and purposes, from the detailed narrative paintings of her early career to the instantly recognizable and reproducible imagery of her postcards. She managed to bridge the perceived gap between "high art" and commercial illustration, bringing artistic quality and personal vision to popular forms. Her contemporary, Carl Larsson, similarly found success depicting idyllic Swedish family life, though with a distinctively brighter palette and linear style.
Family, Network, and Recognition
Jenny Nyström's artistic life was intertwined with her family. Her husband, Daniel Stoopendaal (1853–1927), eventually abandoned medicine and also became an artist, primarily known for his postcards, often featuring tomte figures as well. Their son, Curt Nyström Stoopendaal (1893–1965), followed in his parents' footsteps, becoming a successful artist and illustrator, particularly known for carrying on the tradition of tomte postcards, sometimes making it difficult to distinguish his work from his mother's later output. Jenny's brother-in-law, Georg Stoopendaal, was also active as a postcard artist. This family network created a dynamic where artistic production was a shared enterprise.
Despite the commercial focus of much of her later career, Nyström received significant recognition for her contributions. A major milestone was being awarded the Litteris et Artibus medal by the King of Sweden. This prestigious honor, awarded for outstanding contributions to culture, particularly literature, music, and dramatic or visual arts, made her one of the first women painters in Sweden to receive such royal recognition. This acknowledged her impact not just as a popular illustrator but as a significant figure in Swedish art and culture.
Her status as a pioneering female artist should also be noted. While she worked within relatively traditional styles compared to avant-garde contemporaries like the spiritualist painter Hilma af Klint, Nyström successfully built a long and financially independent career as an artist at a time when this was exceptionally difficult for women. She navigated both the academic art world and the commercial market with skill and determination, much like female Impressionists such as Berthe Morisot had done in France. Her popularity was immense, and she became a household name in Sweden. She was even made an honorary member of the "Tomteklubben" (The Santa Claus Club), a testament to her central role in shaping the Christmas figure.
Later Life and Enduring Legacy
Jenny Nyström remained artistically active well into her old age, continuing to produce illustrations and paintings. She passed away in Stockholm on January 17, 1946, at the age of 91. By the time of her death, her imagery, especially her Jultomte, had become an inseparable part of Swedish Christmas traditions.
Her legacy extends beyond the beloved tomte. She was a key figure in the professionalization of illustration in Sweden and played a crucial role in the golden age of Swedish children's literature. Her ability to blend academic skill with popular appeal, and her pioneering role as a successful female artist, mark her as an important figure in Scandinavian art history.
Today, her original works are highly sought after by collectors. Auction results for her paintings and original illustrations demonstrate continued appreciation for her artistry. Works like Tomtar vid lägereld (Tomtes by Campfire), Lyckans regn (Rain of Happiness), and Badstället (The Bathing Place) have fetched significant prices at auction houses like Bukowskis and Stockholms Auktionsverk, often exceeding their estimates. Major collections of her work are held in Swedish institutions, most notably the Kalmar County Museum in her birth region, which houses a large collection of her paintings, drawings, and personal effects, and regularly features exhibitions dedicated to her life and work. Her illustrations also live on through reproductions, reprints of her books, and even postage stamps featuring her iconic designs.
Conclusion
Jenny Nyström was far more than just the "mother of the Swedish Tomte." She was a technically skilled painter trained in the academic tradition, a savvy professional who built a successful career in the demanding field of illustration, a pioneer in children's literature, and a trailblazing female artist. Her work captured the Swedish imagination, providing the visual language for its most cherished holiday season. By blending folklore with contemporary sensibilities, academic skill with popular charm, and tradition with touches of modernity, Nyström created a body of work that continues to resonate. Her enduring popularity and the recognition of her artistic contributions solidify her place as a significant and beloved figure in the history of Swedish art.
