Josephina Holmlund (1827-1905) stands as a notable, if sometimes overlooked, figure in 19th-century Swedish art. A dedicated landscape painter, her career navigated the prevailing artistic currents of her time, from the romanticism of the Düsseldorf School to the burgeoning interest in direct observation from nature. Her life and work offer a fascinating glimpse into the world of a female artist striving for recognition and expression in an era of significant artistic transformation, particularly within the realm of Scandinavian landscape painting.
Early Life and Artistic Beginnings in Stockholm
Born in Stockholm in 1827, Josephina Mathilda Holmlund was the daughter of Nils Holmlund and Johanna Helena Holmlund (née Åkerberg). She grew up in a family that evidently supported artistic pursuits, as her sister, Jeanette Holmlund, later Jeanette Möller, also became a recognized artist. This familial encouragement was crucial in an era when professional artistic training for women was not as readily accessible as it was for their male counterparts.
In the early 1850s, Holmlund commenced her formal artistic studies in Stockholm. She received instruction from Teodor Billing (1817-1892), a landscape painter known for his romantic depictions of Swedish scenery, often imbued with a dramatic sensibility. Another significant teacher was Edvard Bergh (1828-1880), one of Sweden's foremost landscape painters of the mid-19th century. Bergh, who himself had studied in Düsseldorf, was instrumental in popularizing a more realistic, yet still idealized, approach to landscape painting in Sweden, often focusing on the lush forests and serene lakes of his homeland. It is also suggested that Holmlund may have attended courses at the Slöjdskolan (Craft School), now known as Konstfack, which provided alternative avenues for artistic education outside the Royal Swedish Academy of Arts.
These early influences in Stockholm would have exposed Holmlund to the prevailing trends in Swedish landscape art, which was then heavily influenced by German Romanticism and the emerging Düsseldorf School's detailed approach to nature. Artists like Marcus Larson (1825-1864), with his dramatic coastal scenes and shipwrecks, were prominent, though Bergh represented a slightly more subdued, meticulous style that likely resonated with Holmlund.
The Düsseldorf Connection and Formative Influences
Seeking to further her artistic development, Holmlund, like many Scandinavian artists of her generation, was drawn to Düsseldorf, Germany. The Kunstakademie Düsseldorf was a major center for landscape painting in Europe during the mid-19th century, attracting students from across the continent and North America. The Düsseldorf School was characterized by its detailed realism, meticulous technique, carefully constructed compositions, and often a romantic or narrative undertone. Leading figures such as Andreas Achenbach (1815-1910) and Johann Wilhelm Schirmer (1807-1863) set the tone for landscape painting there.
While it's not entirely clear if Holmlund formally enrolled in the Academy, which had limited access for women, she certainly immersed herself in its artistic environment. Crucially, during this period, she received guidance from the Norwegian landscape painter Nils Bjørnson-Möller (1827-1897). This connection was likely facilitated by her sister, Jeanette, who married Bjørnson-Möller. He became a significant mentor to Josephina. Bjørnson-Möller himself was a product of the Düsseldorf School, having studied under the influential Norwegian painter Hans Gude (1825-1903) there. Gude, along with artists like August Cappelen (1827-1852), was pivotal in shaping Norwegian national romantic landscape painting.
The influence of Bjørnson-Möller and the broader Düsseldorf milieu is evident in Holmlund's earlier works. These paintings often featured carefully composed scenes, a high degree of finish, and an emphasis on capturing the specific character of the landscape, sometimes incorporating figures or elements that added a narrative or anecdotal quality. This meticulous approach, focusing on the faithful representation of natural detail, was a hallmark of the Düsseldorf training.
Evolving Style: From Studio Compositions to Naturalism
While the Düsseldorf School provided a strong technical foundation, Holmlund's artistic journey saw a gradual evolution in her style. Over time, she moved towards a more direct and less overtly romanticized depiction of nature. This shift mirrored a broader trend in European art, as artists began to favor more naturalistic representations and the practice of painting outdoors, or en plein air, gained traction, championed by artists like those of the Barbizon School in France, such as Jean-Baptiste-Camille Corot (1796-1875) and Théodore Rousseau (1812-1867).
Her travels throughout the Nordic region were instrumental in this development. Holmlund undertook numerous painting expeditions across Sweden, Norway, and Finland. These journeys provided her with a rich tapestry of landscapes to draw inspiration from – the rugged coastlines, dense forests, tranquil lakes, and dramatic mountain scenery characteristic of these northern lands. Her focus became increasingly centered on capturing the inherent beauty and specific atmospheric conditions of these locations.
In her later career, Holmlund embraced outdoor painting more fully. This transition allowed for a greater sense of immediacy and freshness in her work. Her brushwork became somewhat looser, and her ability to capture the fleeting effects of light and shadow, a key concern for plein air painters, became more pronounced. While she may not have adopted the broken color and optical mixing of the French Impressionists like Claude Monet (1840-1926) or Camille Pissarro (1830-1903), her move towards direct observation marked a significant step away from the studio-based, often idealized, compositions of her earlier training.
Depicting the Nordic Expanse: Subjects and Themes
Josephina Holmlund's oeuvre is predominantly dedicated to landscape painting. She possessed a keen eye for the nuances of the natural world, and her works convey a deep appreciation for the diverse beauty of the Scandinavian environment. Her subjects ranged from the coastal areas of southern Sweden to the dramatic fjords and waterfalls of Norway.
She was particularly adept at rendering the textures of nature – the roughness of rocks, the foliage of trees, the reflective surfaces of water. Her paintings often exhibit a careful attention to botanical detail, yet this is usually integrated into a harmonious overall composition. The play of light was a consistent interest, whether it was the soft glow of a summer evening, the clear light of a crisp autumn day, or the more dramatic illumination of a mountain scene.
While her earlier works, influenced by the Düsseldorf tradition, might have included staffage (small figures or animals) to animate the scene or provide a sense of scale, her later landscapes often focused purely on the natural elements, allowing the inherent grandeur or intimacy of the location to speak for itself. This shift reflects a growing confidence in the landscape as a subject worthy of depiction in its own right, without the need for narrative embellishment.
Representative Works: Capturing Light and Land
Several works stand out in Josephina Holmlund's body of work, illustrating her stylistic development and her skill in capturing the essence of the Nordic landscape.
One of her most recognized pieces is Kustlandskap, Arild (Coastal Landscape, Arild), painted around 1896. This work depicts the scenic coastline near Arild in Skåne, southern Sweden, a popular spot for artists. The painting showcases her mature style, with a nuanced handling of light on the water and the rocky shore. The composition is balanced, and the atmosphere of the coastal scene is palpable. It demonstrates her ability to combine detailed observation with a broader sense of place and mood. The deep blues of the sea contrast with the varied greens and browns of the land, creating a vibrant yet harmonious image. This focus on the Skåne coast aligns her with other artists who found inspiration there, such as Gustaf Rydberg (1835-1933), though Holmlund's approach remained distinct.
Another significant work is Rjukanfossen (The Rjukan Waterfall), painted in 1897. This painting portrays the famous and powerful waterfall in Telemark, Norway, a subject that had attracted many artists before her, including J.C. Dahl (1788-1857), the father of Norwegian landscape painting. Holmlund was 70 years old when she created this piece, and it is considered a testament to her enduring passion for landscape and her willingness to tackle challenging, dynamic subjects even late in her career. The depiction of the cascading water and the surrounding rugged terrain would have required considerable skill and likely involved direct observation, reflecting her commitment to plein air principles.
Other notable titles include Cottage At The Edge Of A Wood (1879) and På bryggen (On the Jetty). These works, spanning different periods of her career, would further illustrate her evolving techniques and her consistent engagement with the diverse landscapes she encountered. Her paintings often convey a sense of tranquility and a deep connection to the natural environment.
Connections and Contemporaries in the Art World
Josephina Holmlund's artistic life was interwoven with a network of family and professional connections. Her sister, Jeanette Möller (1825-1872), was an accomplished artist in her own right, known for her genre scenes and portraits. Jeanette's marriage to Nils Bjørnson-Möller not only provided Josephina with a key mentor but also placed her within a circle of Scandinavian artists active in Düsseldorf and beyond.
Through her teachers, Teodor Billing and Edvard Bergh, Holmlund was connected to the mainstream of Swedish landscape painting. Bergh, in particular, was a central figure, and his students formed an important group of landscape artists in Sweden. The artistic environment in Stockholm, though perhaps not as internationally renowned as Paris or Düsseldorf, was vibrant, with institutions like the Royal Swedish Academy of Arts and various artist societies fostering a community. Female artists like Amalia Lindegren (1814-1891), primarily a portrait and genre painter, were also making their mark during this period.
Her travels and exhibitions would have brought her into contact with a wider range of artists. Exhibiting in Norway, Finland, and the Netherlands indicates a desire to reach a broader audience and engage with different artistic communities. In Norway, she would have been aware of the strong tradition of landscape painting established by figures like Dahl and continued by Gude and others. The late 19th century also saw the rise of prominent female Norwegian landscape painters such as Kitty Lange Kielland (1843-1914), who, like Holmlund, was dedicated to capturing the essence of the Nordic landscape, often with a more naturalistic or even impressionistic approach.
While Holmlund may not have been part of the more radical avant-garde movements that emerged towards the end of the 19th century, such as those associated with the "Opponenterna" (The Opponents) group in Sweden, which included artists like Ernst Josephson (1851-1906) and Carl Larsson (1853-1919), her work represents a solid and evolving engagement with the landscape tradition. Her dedication to her craft and her consistent production of quality work place her firmly within the narrative of 19th-century Scandinavian art. Even royal figures like Prince Eugen (1865-1947) became noted landscape painters in Sweden, highlighting the genre's enduring appeal.
Exhibitions, Recognition, and Later Life
Josephina Holmlund actively exhibited her work throughout her career. Her paintings were shown not only in Sweden but also in neighboring Nordic countries like Norway and Finland, and further afield in the Netherlands. This participation in exhibitions was crucial for an artist's visibility and professional standing.
Despite her consistent output and exhibition record, Holmlund, like many female artists of her era, did not always receive the same level of sustained critical attention or institutional support as some of her male contemporaries. However, the fact that her works continue to appear on the art market, with recorded auction prices ranging from a few hundred to several thousand US dollars, indicates an enduring appreciation for her skill and vision. Her paintings are found in various collections, though perhaps not as prominently featured in major national museums as some other artists.
She continued to paint into her later years, as evidenced by the 1897 painting of Rjukanfossen. Josephina Holmlund passed away in Stockholm in 1905 at the age of 78. She was laid to rest in the North Cemetery (Norra begravningsplatsen) in Solna, a significant burial ground where many prominent Swedes are interred. Her legacy is that of a dedicated and skilled landscape painter who contributed to the rich tradition of Scandinavian art, capturing the unique beauty of her native region with sensitivity and technical proficiency.
Legacy and Reappraisal
Josephina Holmlund is sometimes described as one of Sweden's "partially forgotten" artists. This is not uncommon for female artists of the 19th century, whose contributions have often been overshadowed in historical narratives dominated by male figures. However, there is a growing interest in reassessing and rediscovering the work of such artists.
Holmlund's art provides valuable insight into the development of landscape painting in Scandinavia during a period of significant change. Her journey from the detailed romanticism of the Düsseldorf School to a more direct, naturalistic approach reflects broader artistic trends while also showcasing her personal evolution as an artist. Her dedication to capturing the specific character of Nordic landscapes, particularly those of Sweden and Norway, makes her work an important part of the region's artistic heritage.
Her paintings serve as a visual record of the landscapes she cherished, rendered with a quiet conviction and a skilled hand. They invite viewers to appreciate the subtle beauties of the natural world and the dedication of an artist who spent her life translating that beauty onto canvas. As art history continues to broaden its scope and inclusivity, the contributions of artists like Josephina Holmlund are increasingly recognized for their intrinsic merit and their role in the larger tapestry of art. Her work endures as a testament to a lifelong engagement with the art of landscape painting and a quiet, persistent voice in the chorus of 19th-century art.
