Josefina Holmlund (1827–1905) stands as a notable, if sometimes overlooked, figure in the landscape of 19th-century Swedish art. A dedicated painter of natural scenery, her career navigated the currents of prevailing artistic trends, from the detailed romanticism of the Düsseldorf School to the burgeoning interest in direct observation and plein air painting. Her life and work offer a fascinating glimpse into the artistic environment of her time, particularly for female artists seeking to establish their careers. This exploration will delve into her biography, artistic development, key influences, significant works, and her place within the broader context of Scandinavian and European art.
Early Life and Artistic Awakening in Stockholm
Born Lovisa Josefina Holmlund in Stockholm, Sweden, on February 21, 1827, she was the daughter of Nils Holmlund, a merchant or wholesaler, and Johanna Helena Holmlund (née Torsslow). Her mother, Johanna Torsslow, was a figure of some note, being the daughter of the acclaimed Swedish actor Olof Ulrik Torsslow and the actress Sara Fredrica Torsslow. This connection to a family with artistic inclinations, albeit in the theatrical realm, may have fostered an environment conducive to creative pursuits. Growing up in Stockholm, a city with a developing, albeit conservative, art scene, Holmlund would have been exposed to the prevailing tastes and artistic education available at the time.
Details about her earliest artistic inclinations are sparse, but it is clear that she received formal training. She is recorded as having studied under Teodor Billing (1817–1892), a Swedish landscape painter known for his romantic and somewhat idyllic depictions of Swedish nature, often influenced by the Düsseldorf School. Billing himself had studied at the Royal Swedish Academy of Fine Arts and later in Düsseldorf, and his tutelage would have provided Holmlund with a solid foundation in academic drawing and painting techniques, particularly in the landscape genre. She is also mentioned as having studied with Edvard Bergh (1828–1880), another prominent Swedish landscape painter who, like Billing, was associated with the Düsseldorf School and later became a professor at the Academy. Some sources also suggest possible studies at the Slöjdskolan (Craft School), now known as Konstfack University of Arts, Crafts and Design, or even the Royal Swedish Academy of Fine Arts itself, though definitive records for the latter are not always clear for female students of that era, who often had more restricted access than their male counterparts.
The Düsseldorf Influence: A Crucible for Nordic Artists
The mid-19th century saw many Scandinavian artists, including Swedes, Norwegians, and Finns, flock to Düsseldorf, Germany. The Kunstakademie Düsseldorf had become a major center for art education, particularly renowned for its landscape and historical painting. The Düsseldorf School of painting was characterized by its detailed realism, often imbued with romantic or sentimental overtones, meticulous technique, and a focus on narrative or evocative scenes. Artists like Andreas Achenbach (1815–1910) and his brother Oswald Achenbach (1827–1905) were leading figures, with Andreas known for his dramatic seascapes and landscapes, and Oswald for his sunnier Italian scenes. The Norwegian painter Hans Gude (1825–1903), who taught at Düsseldorf for a period, was particularly influential for many Nordic artists, encouraging a national romantic approach to their native landscapes.
Josefina Holmlund, following this well-trodden path, traveled to Düsseldorf in the 1860s, likely around 1863. This period was crucial for her artistic development. In Düsseldorf, she came under the tutelage of the Norwegian landscape painter Nils Bjørnson Møller (1827–1887). Møller, himself a product of the Düsseldorf School, was known for his atmospheric landscapes. This connection was also personal, as Holmlund's sister, the artist Jeanette Möller (1825–1872), was married to Nils Bjørnson Møller. The sisters lived and worked together for a time, and this familial and artistic environment in Düsseldorf would have been highly stimulating. Under Møller's guidance, Holmlund further honed her skills, absorbing the meticulous approach to detail and the romantic sensibility characteristic of the school. However, it was also during this period that a subtle shift began to occur in her work, moving towards a more direct engagement with nature, a precursor to her later embrace of plein air principles.
Transitioning Styles: From Academicism to Outdoor Realism
While the Düsseldorf School provided a strong technical foundation, the latter half of the 19th century saw a growing movement towards greater naturalism and realism, with artists increasingly venturing outdoors to capture the fleeting effects of light and atmosphere directly from nature. This was partly inspired by the French Barbizon School, with painters like Jean-Baptiste-Camille Corot (1796–1875) and Théodore Rousseau (1812–1867), who championed painting directly from nature. This trend eventually led to Impressionism.
For Holmlund, this transition was gradual. Her earlier works, influenced by her initial training and the Düsseldorf ethos, often featured carefully composed scenes, rich in detail, and sometimes with narrative elements or staffage (small human figures or animals) to animate the landscape. Works like "Coastal Landscape with Fishermen" (circa 1850s) likely reflect this phase, showcasing her skill in rendering natural textures and creating a sense of depth and atmosphere, while still adhering to a more traditional compositional structure.
As her career progressed, and particularly in her later years, Holmlund moved towards a more purely outdoor painting style. She sought to capture the unadorned beauty of the Swedish and Nordic landscapes. This shift involved a greater emphasis on direct observation and a looser, more spontaneous brushwork, though she never fully abandoned the detailed rendering learned in her formative years. Her focus remained on the faithful depiction of the natural world, particularly the rugged coastlines, forests, and lakes of Sweden.
Key Themes and Subjects in Holmlund's Oeuvre
Josefina Holmlund's primary subject matter was the landscape. She was particularly drawn to the coastal regions of Sweden, with their dramatic cliffs, expansive sea views, and picturesque fishing villages. Her travels also took her to other Nordic countries, and she painted scenes from Norway, Finland, and even the Netherlands, broadening her repertoire of natural motifs.
Her landscapes often convey a sense of tranquility and a deep appreciation for the specific character of the Nordic environment. She was adept at capturing the quality of light, whether it was the clear, crisp light of a summer day or the more subdued tones of an overcast sky. While her earlier works might have incorporated elements of romantic idealization, her later paintings show a more straightforward, objective approach to nature, focusing on the inherent beauty of the scene itself rather than imbuing it with overt emotionalism or symbolism, which was becoming more common with artists like Prince Eugen (1865-1947) in Sweden.
Unlike some of her contemporaries, such as Marcus Larson (1825–1864), known for his highly dramatic and often turbulent seascapes and waterfalls (also influenced by Düsseldorf), Holmlund’s work generally maintained a more serene and contemplative mood. Her dedication to landscape painting was unwavering, and she explored its many facets throughout her long career.
Notable Works and Artistic Achievements
Several works by Josefina Holmlund are cited as representative of her style and skill.
One of her most recognized pieces is "Kustlandskap från Arild" (Arild Coast Landscape). This painting depicts the scenic village of Arild on the Kullen peninsula in Skåne, southern Sweden, a popular spot for artists. The work showcases her ability to render a panoramic view, capturing the village nestled along the coast, the lush vegetation, and the expansive sea. The composition is balanced, and the details of the architecture and natural elements are carefully observed, reflecting her Düsseldorf training yet imbued with a fresh observation of the specific locale.
Another significant work, particularly from her later period, is "Rjukanfossen" (The Rjukan Waterfall), painted in 1897 during a trip to Telemark, Norway. This powerful waterfall was a famous subject for many Scandinavian Romantic painters, including J.C. Dahl (1788-1857), the father of Norwegian landscape painting. Holmlund's depiction of Rjukanfossen is notable as it represents her engagement with plein air techniques late in her career. Painting such a dynamic and monumental natural feature directly on site would have been a considerable undertaking, demonstrating her commitment to capturing the raw energy and grandeur of nature.
Other paintings that have appeared in auctions and collections include:
"Coastal Landscape with Fishermen" (circa 1850s): An earlier work likely reflecting her academic training and the narrative tendencies of the Düsseldorf School.
"Cottage At The Edge Of A Wood" (1879): This title suggests a more intimate, pastoral scene, typical of landscape themes popular in the 19th century.
"På brygga" (On the Jetty): Likely a coastal scene, perhaps focusing on human activity within the landscape, a common motif in her work.
Holmlund's works are represented in several Swedish public collections, including the Länsmuseet Gävleborg (Gävle County Museum), the Helsingborg Museum, the Nationalmuseum in Stockholm, and the Gothenburg Museum of Art. While perhaps not as extensively represented as some of her male contemporaries, her inclusion in these significant institutions underscores her contribution to Swedish art. Her paintings also appear on the art market, with prices varying depending on size, medium, and period, indicating a continued interest among collectors.
The Artistic Milieu: Contemporaries and Connections
Josefina Holmlund operated within a vibrant, if male-dominated, Swedish art world. Besides her teachers Teodor Billing and Edvard Bergh, and her brother-in-law Nils Bjørnson Møller, she was a contemporary of many other significant artists.
The Düsseldorf School connection linked her to a generation of Scandinavian artists. In Sweden, Marcus Larson was a prominent figure associated with Düsseldorf, known for his dramatic, almost theatrical, landscapes.
As the 19th century progressed, new influences arrived, particularly from France. Alfred Wahlberg (1834–1906) was a key figure in introducing French-influenced plein air painting to Sweden, often depicting misty, atmospheric landscapes. Gustaf Rydberg (1835–1933) was another important landscape painter, particularly known for his depictions of the Skåne countryside, often with a more realistic and less romanticized approach.
The late 19th century in Sweden also saw the rise of the "Opponenterna" (The Opponents), a group of artists who reacted against the conservative Royal Academy. While Holmlund was not directly part of this avant-garde group, their activities signaled a shift in the Swedish art world. Leading figures of this era included Anders Zorn (1860–1920), renowned for his portraits, nudes, and depictions of Swedish rural life; Carl Larsson (1853–1919), famous for his idyllic portrayals of domestic life; and Bruno Liljefors (1860–1939), a master of wildlife painting.
It is also important to consider Holmlund in the context of other female artists of her time. Women faced significant barriers in pursuing professional art careers. Access to formal training was often limited, and exhibition opportunities could be scarce. Nevertheless, several Swedish women achieved recognition. Among Holmlund's contemporaries were Eva Bonnier (1857–1909), a talented portraitist and philanthropist, and Hanna Pauli (née Hirsch, 1864–1940), known for her portraits and genre scenes, and a key member of the Opponenterna. While Holmlund's focus was landscape, her perseverance as a professional artist contributes to the narrative of women carving out spaces for themselves in the art world. Her sister, Jeanette Möller, was also an artist, primarily a painter of genre scenes and portraits, who also exhibited her work.
Legacy and Re-evaluation
Josefina Holmlund's artistic career spanned a period of significant transition in European art. She began her training within the established academic and romantic traditions, exemplified by the Düsseldorf School, and gradually adapted her style to incorporate the growing emphasis on direct observation and naturalism. While she may not have been a radical innovator, her dedication to landscape painting and her consistent production of quality work mark her as a significant practitioner.
Some scholars have referred to artists like Holmlund as part of Sweden's "forgotten constellations" – talented individuals who, for various reasons, including gender or a more traditional style in an era of rapid change, did not achieve the same level of lasting fame as some of their peers. However, there is a growing interest in re-evaluating the contributions of such artists. Holmlund's work provides valuable insight into the development of Swedish landscape painting and the experiences of female artists in the 19th century.
Her commitment to depicting the specific character of the Nordic landscape, from the coasts of Skåne to the waterfalls of Norway, aligns her with a broader Scandinavian tradition of finding national identity and artistic inspiration in the native environment. Her paintings, characterized by their careful observation, skilled execution, and genuine appreciation for nature, continue to resonate with viewers.
Josefina Holmlund passed away in Stockholm on June 26, 1905. She is buried in Norra begravningsplatsen (The Northern Cemetery) in Solna, a resting place for many prominent Swedes.
Conclusion: A Dedicated Chronicler of the Nordic Landscape
Josefina Holmlund was a dedicated and skilled landscape painter whose career reflects the artistic currents of her time. From her early academic training and the influential period in Düsseldorf to her later embrace of more direct, outdoor painting techniques, she consistently sought to capture the beauty and character of the Nordic natural world. While perhaps not as widely celebrated as some of her male contemporaries or the more avant-garde figures who followed, her substantial body of work, her perseverance as a female artist in a challenging era, and her contribution to the tradition of Swedish landscape painting secure her a worthy place in art history. Her paintings remain as testaments to her talent and her deep connection to the landscapes she so faithfully portrayed, offering a window into the 19th-century appreciation for nature's enduring appeal.
