Sven Richard Bergh, a name synonymous with the golden age of Swedish painting, stands as a colossus in the annals of Nordic art history. Born on December 28, 1858, in the vibrant city of Stockholm, and passing away on January 29, 1919, in Saltsjöbaden near Stockholm, Bergh was not merely a painter of exceptional talent but also a highly influential art critic, a dedicated teacher, and a transformative museum director. His life and work were deeply intertwined with the cultural and artistic currents of his time, particularly the rise of National Romanticism, and he played an instrumental role in shaping the direction of Swedish art at the turn of the 20th century. His legacy is one of profound artistic innovation, intellectual rigor, and an unwavering commitment to the development of a distinctly Swedish artistic identity.
Early Life and Artistic Awakening
Richard Bergh was born into an artistic milieu. His father, Johan Edvard Bergh (1828–1880), was a respected landscape painter, and his mother, Amanda Josefina Amalia Helander (1825–1888), was also an artist. This familial environment undoubtedly nurtured his nascent artistic inclinations. He received his initial formal training at the Royal Swedish Academy of Fine Arts (Kungliga Akademien för de fria konsterna) in Stockholm, studying there from 1878 to 1881. However, like many of his forward-thinking contemporaries, Bergh grew dissatisfied with the Academy's conservative teaching methods and its adherence to outdated artistic conventions.
This dissatisfaction was a common sentiment among a generation of young Swedish artists who yearned for new forms of expression and a more direct engagement with contemporary European art movements. The academic tradition, with its emphasis on historical painting and idealized forms, seemed increasingly out of touch with the realities of modern life and the burgeoning interest in naturalism and plein air painting. This restlessness led Bergh, along with a cohort of like-minded artists, to seek inspiration and further training abroad, particularly in Paris, which was then the undisputed epicenter of the art world.
The Parisian Sojourn and the "Opponents"
In 1881, Richard Bergh made the pivotal decision to leave the Academy and travel to Paris. This move marked a significant turning point in his artistic development. In the French capital, he immersed himself in a dynamic and stimulating artistic environment. He studied for a time at the Académie Colarossi, a progressive art school that attracted students from across the globe. He also came into contact with prominent French artists, including Jean-Paul Laurens, a renowned academic painter known for his historical scenes.
More significantly, Bergh became associated with a group of Scandinavian artists in Paris who were critical of the established art institutions in their home countries. This group, which included figures like Ernst Josephson, Carl Larsson, Karl Nordström, Nils Kreuger, and the sculptor Per Hasselberg, would later form the core of the "Opponenterna" (the Opponents). In 1885, they formally protested against the Royal Academy's exhibition policies and its resistance to modern artistic trends, demanding reforms and greater opportunities for younger artists. Bergh was a key figure in this movement, articulating their grievances and advocating for a more inclusive and forward-looking art scene in Sweden.
During his time in Paris, Bergh was particularly drawn to Naturalism, a movement that sought to depict everyday subjects and scenes with truthfulness and objectivity. He admired the work of French Naturalist painters like Jules Bastien-Lepage, whose meticulous attention to detail and empathetic portrayal of rural life resonated deeply with Bergh's own artistic sensibilities. While Impressionism was also flourishing in Paris at this time, Bergh, like many of his Scandinavian peers, initially remained somewhat skeptical of its more radical dissolution of form and its emphasis on fleeting visual sensations. He preferred the more solid, tangible reality offered by Naturalism, though the Impressionists' focus on light and atmosphere would subtly inform his later work.
The Rise of National Romanticism and a Swedish Voice
After several formative years in Paris and travels in France, Bergh returned to Sweden with a renewed sense of purpose. While he had absorbed the lessons of French Naturalism, he, along with many of his contemporaries, felt a growing desire to create an art that was distinctly Swedish in character. This coincided with the broader cultural movement of National Romanticism, which swept across Scandinavia and other parts of Europe in the late 19th and early 20th centuries. National Romanticism emphasized the unique cultural heritage, folklore, landscape, and spirit of individual nations.
For Bergh and his circle, this meant turning their attention to the Swedish landscape, its people, and its distinctive moods. They sought to capture the melancholic beauty of the Nordic twilight, the ruggedness of its terrain, and the inner lives of its inhabitants. Portraiture and landscape painting became the primary vehicles for this artistic exploration. Bergh's commitment to developing a national art was not merely a stylistic preference; it was a deeply held conviction about the role of art in shaping cultural identity. He articulated these views in his influential writings and essays, becoming a leading theorist of the National Romantic movement in Swedish art.
In an 1887 letter to his fellow artist Georg Pauli, Bergh expressed his strong views on the need for Swedish artists to cultivate a more "Swedish" character in their work, moving beyond mere imitation of foreign models. This sentiment was shared by many, including Prince Eugen, himself a talented painter and a significant patron of the arts, who became a close friend and supporter of Bergh and his circle.
The Artists' Association (Konstnärsförbundet)
The "Opponents'" movement culminated in the formation of the Artists' Association (Konstnärsförbundet) in 1886. Richard Bergh was a driving force behind this organization, serving as its secretary and one of its most articulate spokesmen. The Konstnärsförbundet became a powerful alternative to the Royal Academy, organizing its own exhibitions and promoting the work of its members. It championed artistic freedom, modernism (as understood at the time, primarily encompassing Naturalism, Symbolism, and Synthetism), and the development of a national art.
The Association included many of the leading artists of the day, such as Anders Zorn, Carl Larsson, Bruno Liljefors, Karl Nordström, Nils Kreuger, Eugène Jansson, and Hanna Hirsch-Pauli (wife of Georg Pauli). These artists, while diverse in their individual styles, shared a common commitment to revitalizing Swedish art. The Konstnärsförbundet played a crucial role in breaking the Academy's monopoly on the Swedish art world and in fostering a more dynamic and pluralistic artistic climate. Bergh, along with Per Hasselberg, also established a school under the aegis of the Konstnärsförbundet, emphasizing the idea of "art as life" and encouraging students to find their own individual voices.
One of Bergh's notable group portraits from this period is Konstnärsföreningens styrelse (The Board of the Artists' Association, 1903), which depicts key members of the association. This work shows a certain influence from the grand compositions of artists like Eugène Delacroix, particularly in its arrangement and psychological intensity, though translated into a distinctly Nordic sensibility.
The Varberg School: A New Vision for Landscape
A significant chapter in Bergh's career, and in the history of Swedish landscape painting, was the establishment of the Varberg School (Varbergsskolan) in the early 1890s. In 1893, Bergh, along with his close friends and fellow artists Karl Nordström and Nils Kreuger, settled in Varberg, a coastal town in the province of Halland on Sweden's west coast. This move was a deliberate retreat from the urban art scene of Stockholm and a conscious effort to immerse themselves in the Swedish landscape.
The Varberg School is not a formal institution but rather a term used to describe the distinctive style of landscape painting developed by these three artists during their time in Varberg. Influenced by the synthetic and symbolic tendencies of Post-Impressionist painters like Paul Gauguin and the Pont-Aven School, as well as by Japanese woodblock prints, the Varberg artists moved away from the detailed objectivity of Naturalism towards a more simplified, stylized, and emotionally evocative approach to landscape.
They emphasized strong outlines, flattened perspectives, and a limited palette, often focusing on the atmospheric effects of twilight and the changing seasons. Their paintings sought to capture the underlying mood or "stämningsfullhet" (atmospherics or moodiness) of the landscape rather than its literal appearance. Karl Nordström became known for his powerful, almost monumental depictions of the Halland coast, while Nils Kreuger developed a distinctive technique using dots and short brushstrokes to convey the texture and light of the landscape, often featuring animals. Bergh's landscapes from this period, such as Landscape from Halland, also reflect this shift towards a more synthetic and emotionally charged style. The Varberg School had a profound impact on the development of modern landscape painting in Sweden.
Masterpieces and Dominant Themes
Richard Bergh's oeuvre is characterized by its psychological depth, its lyrical beauty, and its technical mastery. He excelled in both portraiture and landscape painting, and many of his works have become iconic images of Swedish art.
Portraiture: Bergh was a highly sought-after portraitist, known for his ability to capture not only the physical likeness of his sitters but also their inner character and psychological state. His portraits are often imbued with a sense of introspection and melancholy. Among his most famous portraits is that of his friend, the writer and playwright August Strindberg (1905), a powerful and insightful depiction of the complex and often tormented literary genius. Strindberg, who was also a painter, had a significant, if sometimes fraught, relationship with Bergh and other artists of the Konstnärsförbundet. Bergh also painted a sensitive portrait of the actress Ellen Terry as Lady Macbeth.
His portraits of women are particularly noteworthy for their empathy and psychological acuity. The Artist's Wife (Helena Maria Helena Bergh, née Klemming, whom he married in 1885), painted in 1886, is a tender and intimate portrayal. Another significant early work, After the Sitting (Model Resting) (Efter avslutad seans), 1884, depicts a young model in a moment of quiet repose, showcasing his early mastery of Naturalistic technique and his ability to convey subtle emotional states. His self-portraits, too, reveal a keen self-awareness and an exploration of his own inner world.
Nordic Summer Night (Nordisk sommarkväll): Perhaps Bergh's most celebrated and enigmatic painting is Nordic Summer Night (1899-1900). This iconic work depicts Prince Eugen and the opera singer Karin Pyk standing on a veranda overlooking a luminous, twilight landscape. The figures are shown in silhouette against the ethereal glow of the Nordic summer sky. The painting is suffused with a palpable atmosphere of romantic longing, quiet contemplation, and unspoken emotion.
The work has often been described as a "Valentine's painting," and there has been much speculation about the nature of the relationship between the Prince and the singer, adding a layer of mystery to its allure. Regardless of the specific narrative, Nordic Summer Night is a masterful evocation of the unique quality of light and mood characteristic of the Scandinavian summer, and it stands as a quintessential example of National Romantic painting. The figures, though specific individuals, also take on a more universal quality, representing a deep connection with nature and a sense of shared Nordic identity.
Landscapes: Bergh's landscapes, particularly those from his Varberg period and later, are characterized by their atmospheric depth and their focus on the distinctive character of the Swedish scenery. He was adept at capturing the subtle nuances of light and color, from the vibrant hues of autumn to the muted tones of winter. His landscapes often convey a sense of solitude and introspection, reflecting the National Romantic preoccupation with the emotional resonance of nature.
Bergh as a Theorist, Critic, and Museum Director
Richard Bergh was not only a gifted painter but also a highly articulate and influential writer on art. He published numerous essays and articles in which he championed the cause of modern Swedish art, debated aesthetic theories, and advocated for reforms in art education and museum practice. His writings reveal a sharp intellect and a passionate commitment to his artistic ideals. He was a staunch advocate for the importance of a national art, arguing that Swedish artists should draw inspiration from their own cultural heritage and natural environment.
His intellectual prowess and leadership qualities led to his appointment as Director of the Nationalmuseum (Swedish National Museum) in Stockholm in 1915, a position he held until his death in 1919. This was a significant recognition of his standing in the Swedish art world. As director, Bergh initiated a series of important reforms aimed at modernizing the museum and making its collections more accessible to the public. He reorganized the displays, acquired new works (including contemporary Swedish art), and sought to elevate the museum's role as a center for art education and cultural enrichment. His tenure, though tragically cut short by his death, laid the groundwork for the Nationalmuseum's future development.
His role as a gallery agent for fellow artists, such as Eva Bonnier, for whom he successfully negotiated the purchase of an important work, further illustrates his influence and commitment to supporting his peers. He also maintained an active social life within the artistic community, as evidenced by his invitation to Hanna Hirsch-Pauli to his Paris home for discussions on art and contemporary ideas.
Personal Life and Character
Richard Bergh married Helena Maria Klemming in 1885. His personal life, while not as publicly documented as his artistic career, seems to have been grounded in his family and his close circle of artistic friends. His move to Varberg with his family in 1893 suggests a desire for a life more closely connected to nature and a supportive community of like-minded individuals. His self-portraits and the intimate portrayals of his wife suggest a man of deep feeling and introspection. His leadership in the Opponents movement and the Artists' Association, as well as his directorship of the Nationalmuseum, point to a strong-willed and principled individual, dedicated to the advancement of art and artists in Sweden.
Legacy and Enduring Influence
Sven Richard Bergh died on January 29, 1919, at the age of 60. His death was a significant loss to the Swedish art world. He left behind a rich and diverse body of work that continues to be admired for its artistic quality and its profound connection to the Swedish cultural landscape. His paintings are held in major Swedish museums, including the Nationalmuseum in Stockholm, the Gothenburg Museum of Art (Göteborgs konstmuseum), the Thiel Gallery (Thielska Galleriet) – a museum founded by the banker and art collector Ernest Thiel, who was a major patron of Bergh and his contemporaries – the Malmö Art Museum, Prince Eugen's Waldemarsudde, the Nordic Museum, and Uppsala University Library.
Bergh's influence extended far beyond his own paintings. As a teacher, writer, and organizer, he played a crucial role in shaping the course of Swedish art in the late 19th and early 20th centuries. He helped to break the dominance of academic art, championed new artistic movements, and fostered the development of a distinctly Swedish National Romantic style. The Artists' Association, which he co-founded, became a vital force in the Swedish art world, and the Varberg School, which he established with Nordström and Kreuger, introduced a new approach to landscape painting that influenced generations of artists.
His work as director of the Nationalmuseum, though brief, demonstrated his vision for the role of museums in society. He understood the importance of preserving and promoting national artistic heritage while also engaging with contemporary art.
Conclusion
Sven Richard Bergh was a multifaceted and immensely influential figure in Swedish art. A master painter of portraits and landscapes, he captured the spirit of his age with sensitivity and insight. His iconic works, such as Nordic Summer Night, have become enduring symbols of Swedish National Romanticism. Beyond his artistic achievements, Bergh was a key organizer, a thoughtful critic, and a visionary museum director. He tirelessly advocated for artistic freedom and the development of a national artistic identity, leaving an indelible mark on the cultural landscape of Sweden. His legacy continues to resonate, reminding us of the power of art to reflect and shape a nation's soul. His contributions ensured that Swedish art gained a confident and distinctive voice on the European stage, a voice that continues to be celebrated today.
