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| View Original: | Amalia_Lindegren_-_Lillans_sista_bädd_('The_last_bed_of_The_Little_One')_-_Google_Art_Project.jpg (4087x3283) | |||
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| Keywords: Amalia Lindegren - Lillans sista bädd ('The last bed of The Little One') - Google Art Project.jpg commons artist commons date commons medium commons dimensions commons institution commons location commons references commons object_history commons exhibition_history commons credit_line commons inscriptions commons notes commons accession_number commons source commons permission commons other_versions commons zoom core title en Lillans sista bädd 'The last bed of The Little One' core creator Amalia Lindegren core date dateCreated 1858 core format w98 x h77 cm core type Painting core relation http //www digitaltmuseum se/things/tavla/S-NM/NM 0297936 core rights Photo Karolina Kristensson © Nordiska museet art artist_date 1814/1891 c-09caf48a customtext more_information Lindegren's talent was discovered early and she was able to undergo instruction at the Royal Swedish Academy of Fine Arts in Stockholm for a few months in 1849 even though she was a woman She was awarded a government travel grant and studied painting in Paris between 1850 and 1854 after which she spent short periods in Italy and Germany including Düsseldorf At that time Dusseldorf was an influential centre for art where painting folk life was a focus and artists were interested in the archaic in environments customs and costumes In addition to portraits Lindegren liked to paint motifs taken from everyday life She found inspiration while travelling in her mother's home region of Dalarna and painted genre pictures everyday pictures that did not need explaining to be understood The painting Lillans sista bädd has a narrative content and the cottage interior and people's clothes are depicted in detail This narrative realism aroused the emotions of her audience and made Lindegren's genre paintings much appreciated by contemporaries Nordiska museet's founder Artur Hazelius also saw the value of Amalia Lindegren's painting as a communicator of everyday folk life Hazelius who had already exhibited cottage interiors with dolls dressed in folk costume at his museum on Drottninggatan in Stockholm in 1873 liked to choose dramatic effects and sentimentality in the tableaux he chose to set up and in that sense 'Lillans sista bädd' was perfect The motif was staged at the museum on Drottninggatan for the first time in 1877 The tableau was shown as one of several scenes in the World's Fairs in Philadelphia in 1876 Paris in 1878 and Chicago in 1893 and was highly acclaimed Several newspaper articles from Paris are quoted in the commemoration sheet for Artur Hazelius from 1933 One newspaper wrote Never have wax or wooden figures and theatre decorations attained such an artistic effect of truth and life All mothers cry when they see Lillans sista bädd--- The picture of the mourning family cottage interiors with scenes from Värmland and Vingåker and a panorama featuring Samis from Kvickjock created a worldwide reputation for the museum Nordiska museet was given the painting as a bequest in 1975 c-09caf48a customtext materials_and_techniques Stretcher and gilt frame with leaf motif google display_date 1858 google is_artproject TRUE google is_gigapixel FALSE google is_secured TRUE google partner/id 0000000009caf48a google partner/name Nordiska Museet google picasa_token QyRYwbNHylXx42viEBjs4I4t6z8 special url_id MgH8E9r0cdSo-A special partner/name_no_lang Nordiska Museet PD-old-100-1923 1891 Amalia Lindegren Google Art Project works by Amalia Lindegren Google Art Project works in Nordiska Museet | ||||
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