Carl LARSSON
1853–1919, Sweden
Also known as: CL, EL
Signature proven counterfeit
Watercolour, title: "Brita" 75x48 cm incl. frame. The painting was for sale at a major auction house in Stockholm in 2007 but discovered that it was probably a forgery. A police report was made and the painting was confiscated. The painting's owner has stated that he inherited the painting from his father many years ago and that he had bought the painting for a long time ago, probably sometime in the 1940s. Investigation of the painting showed that it is a forgery, not painted by Carl Larsson nor signed by him.
Signature proven counterfeit
Watercolor, nude model with flowers, signed "CL", 77x64 cm. In September 2006, submitted the painting for sale to a major auction house in Stockholm. Estimate: 800,000 to 1,000,000 crowns. But the painting was suspected to be a forgery and they contacted police. On subsequent investigation revealed that the painting was counterfeit (a forgery Sk). Court: The painting is not done by Carl Larsson nor signed by him. It is a forgery.
Signature proven counterfeit
Oil on canvas, speech, signed "CL". Ostensibly representing an authentic painting by the Swede artist Carl Larsson. Seized painting with fake monogram signature. After an expert assessment and judgment declared that the painting is not genuine. It is a forgery. The examination revealed that the painting was executed in oil paint on the wrong side of the canvas. The painting was signed C.L. 1896 in the left bottom corner. The UV light was found that the signature was very different from the other color, which indicates that the signature is later completed. In addition, there was an over-painted signature in the lower right corner of the painting. Court: The signature must be removed and that on the back of the canvas must be advised that the painting is not a work of Carl Larsson. Thereafter, the painting is returned back to the owner. Warning: There is a risk that the painting gets a new forged signature and may come back on the market.
Signature proven counterfeit
Watercolor 21.6x28,5 cm. The subject is a poor attempt to copy Carl Larsson's original "Breakfast under the big birch tree" from 1896 with the dimensions 32x43 cm, which is at the National Museum in Stockholm Sweden. The petitioner of this falsification has added a girl in red dress sitting on his knees at the big birch.
Signature proven counterfeit
Signature proven counterfeit
Watercolor 29x39 cm. The motive, except the kids, is a poor imitation of Carl Larsson's original "Karin with azalea" watercolor from 1906, 45x62 cm. that at the time of the seizure is owned by Thilska Gallery in Stockholm. One of the children, the baby, is an imitation of Carl Larsson's original "Little Suzanne" oil painting from 1885, which as at the time of the seizure is owned by the Gothenburg Museum of Art. Where the other two children are taken is unknown. The painting is a forgery.
Signature proven counterfeit
Signature proven counterfeit
Watercolour, signed "C.L.". The forger has used a model from a watercolor Carl Larsson painted in 1909 and included in the book "To the sunny side" Bonnier publishing house in 1910. The original was sold at Sotheby'si London 1990 (no. 21). But the The forger has, to make it more fun and maybe more salable, added a Carl Larsson's son Ulf. After an expert assessment and judgment declared that the painting is not genuine. It is a forgery.
Signature proven counterfeit
Watercolor, Forger has used an original by Carl Larsson in 1894 as part of Carl Larsson's book "A Home". The original is at the National Museum in Stockholm. Forger changed Carl Larsson's daughter to sit on the stool in front of the table. In addition, the forger added a couple of dogs from one another by Carl Larsson's paintings from 1909.
Signature proven counterfeit
Signature proven counterfeit
Signature proven counterfeit
Oil on canvas, 75x55 cm, signed Carl Larsson. On the back of the canvas is written: "To the friend Jonsson from Carl." On the right side of the painting is an area with new paint, which can be glimpsed the signature "A Lz". Dr. Lennart Linderberg, who very well knew the artist Ava Lagercrantz, affirmed by letter that he believes the painting is a self portrait of her. It is later signed with the name Carl Larsson. The District Court's assessment: The painting is probably a work of Ava the Lagercrantz, whose signature has been painted over. The painting is a forgery and not signed by Carl Larsson.
Signature considered genuine
Signature considered genuine
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Signature considered genuine
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Signature considered genuine
Signature considered genuine
One of Sweden´s most lowed Artists through the ages.
Carl Larsson was born in Gamla stan, the old quarter of Stockholm, on 28 May 1853. His family was very poor and Carl grew up in dismal circumstances. The only glimmer of hope was his strong artistic talent, which emerged early on in his life. When he was thirteen years old his teacher at the school for the poor persuaded him to apply for a place at Principskolan, the preparatory department of the Art Academy.
Education:
School of Principles and Art Academy.
Family:
Married Karin Bergöö in 1883. They had eight children (of which one (Mats) died at the age of two months in 1894): Suzanne 1884, Ulf 1887, Pontus 1888, Lisbeth 1891, Brita 1893, Kersti 1896 and Esbjörn 1900.
Important dates:
In 1877 Carl travelled to Paris for the first time and in 1881 he joined the Scandinavian artists’ colony in Grèz-sur-Loing where he started painting in watercolours and met Karin. In 1888 Carl och Karin acquired Lilla Hyttnäs from Karin’s father. They moved there in 1891. The paintings of their home quickly became popular and reached a wide public. In 1896 Carl adorned the National Museum with large frescoes, but in 1911 his sketches for Midvinterblot were refused. Over eighty years later, in1992, Midvinterblot finally took its place in The National Museum.
During the first years at Principskolan Carl found it difficult to settle in. His sense of social inferiority made him feel like an outsider. But that changed when, at the age of sixteen, he was moved up to the antique school, the lowest department of the Art Academy. He began to feel more confident and it was not long before he became one of the central figures in student circles.
Turning point in Grez
After the Art Academy Carl worked at illustrating books, magazines and daily newspapers. He also spent several years in Paris where he tried to establish himself as an artist, but in spite of all his hard work he never achieved any success.
The turning point came in 1882 when he moved to Grez, a Scandinavian artists’ colony outside Paris. It was there he met his future wife Karin Bergöö and underwent an artistic transformation after abandoning his pretentious oil painting in favour of watercolours - a lucky move that would mean a lot for his artistic development. It was in Grez that he painted some of his most significant pictures.
Family life as a motif and source of inspiration
Carl and Karin were married in 1883 and had eight children. Karin and the children quickly became Carl’s favourite models.
In 1888 Karin’s father, Adolf Bergöö, gave them Lilla Hyttnäs, a small house in Sundborn. Lilla Hyttnäs became Carl och Karin’s mutual art project in which their artistic talents found expression in a very modern and personal architecture, colour scheme and interior design.
Carl’s paintings and books have made Lilla Hyttnäs one of the world’s most familiar homes. But not only that. The quality of the light, Karin’s liberated gift for interior design and the lively family life as it is depicted in Carl’s beloved watercolours, has become almost synonymous with our picture of Sweden.
The house still looks the same as it did when Carl and Karin lived there and today’s visitor to Lilla Hyttnäs can almost hear the animated laughter of the children and catch the scent of the artist’s oil paints.
View of his own artistic calling
It does not always happen that the view of the artist and the view of his public agree. In spite of the huge popular success he achieved with his watercolours Carl nevertheless felt that his monumental work – the frescoes in schools, museums and other public buildings, etc. - was more significant.
He was bitterly disappointed when his last monumental work, ”Midvinterblot”, which was to have adorned the east wall of the upper stairway in the National Museum i Stockholm, was refused by the committee.
In his memoirs, \'”Jag” (published posthumously), he expressed his bitterness and disappointment over the opposition to the painting that he himself considered to be the pinnacle of his artistic achievement. He writes:
\"The fate of Midvinterblot broke me! This I admit with subdued rage. Yet it was for the best –once again my intuition tells me that now – for this painting, with all its weaknesses, will be honoured with a far better place some day after I am gone.\"
And we can only conclude that history proved him right in the end. Following its sale to a Japanese buyer, Midvinterblot was returned to the National Museum for the Carl Larsson-exhibition in 1992. With help from generous private donators the National Museum repurchased the work from its Japanese owner in 1997. Now, at last, it hangs where it was intended to be and Carl can rest easy in the knowledge that Midvinterblot has finally found its way home.
Source: http://www.clg.se/encarl.aspx
Carl Larsson föddes i Gamla stan i Stockholm den 28 maj 1853. Familjen var mycket fattig och Carl växte upp under svåra förhållanden. Det enda ljuset i mörkret var hans starka konstnärliga talang som visade sig tidigt. Som trettonåring uppmanades han av sina lärare på fattigskolan att söka in på Konstakademiens förberedande avdelning, den s k Principskolan.
En av de mest älskade konstnärerna genom tiderna.
Utbildning: Principskolan och Konstakademien.
Familj: Gifte sig 1883 med Karin Bergöö. Tillsammans fick de åtta barn (varav ett dog 2 månader gammal(Mats) 1894): Suzanne 1884, Ulf 1887, Pontus 1888, Lisbeth 1891, Brita 1893, Kersti 1896 och Esbjörn 1900.
Viktiga årtal: 1877 begav sig Carl till Paris första gången och 1881 kom han till den skandinaviska konstnärs-
kolonin i Grèz-sur-Loing där han började med akvarell-
målning och träffade Karin. 1888 fick Carl och Karin Lilla Hyttnäs av Karins pappa och 1891 flyttade de dit. Mål-
ningarna från hemmet blev snabbt populära och fick stor spridning. 1896 utsmyckade Carl Nationalmuseum med stora väggmålningar men 1911 refuserades hans skisser till Midvinterblot. Drygt åttio år senare (1992) kom Midvinter-
blot slutligen på plats.
Familjen var mycket fattig och Carl växte upp under svåra förhållanden. Det enda ljuset i mörkret var hans starka konstnärliga talang som visade sig tidigt. Som trettonåring uppmanades han av sina lärare på fattigskolan att söka in på Konstakademiens förberedande avdelning, den s k Principskolan.
De första åren på Principskolan hade Carl svårt att finna sig till rätta. Han kände sig socialt underlägsen och utanför. Men det förändrades när han sexton år gammal flyttades upp till Antikskolan, Konstakademiens lägsta avdelning. Plötsligt började han känna sig mer säker på sig själv och det dröjde inte lång tid innan han blev en av centralfigurerna i studentlivet.
Vändpunkten i Grez
Efter Konstakademien arbetade Carl med att illustrera böcker, tidskrifter och dagstidningar. Han tillbringade också flera år i Paris där han försökte etablera sig som konstnär, men trots att han arbetade hårt nådde han aldrig någon framgång.
Vändpunkten kom 1882 när han begav sig till Grez, en Skandinavisk konstnärskoloni utanför Paris. Där mötte han sin blivande fru Karin Bergöö och genomgick en konstnärlig förvandling när han övergav de pretentiösa oljemålningarna och övergick till akvarellmålning. Ett lyckokast som skulle komma att betyda mycket för hans konstnärliga utveckling. I Grez målade Carl Larsson några av sina mest betydelsefulla målningar.
Familjelivet som motiv och inspirationskälla.
Carl och Karin Larsson gifte sig 1883 och fick åtta barn. Karin och alla barnen blev snabbt Carls favoritmodeller.
År 1888 fick familjen Larsson ett litet hus, Lilla Hyttnäs i Sundborn, av Karins far Adolf Bergöö. Lilla Hyttnäs blev Carl och Karins gemensamma konstprojekt där deras artistiska talanger fick utlopp i en mycket modern och personlig arkitektur, färgsättning och inredning.
Genom Carls målningar och böcker har Lilla Hyttnäs blivit ett av världens mest kända konstnärshem. Men inte bara det. Ljuset, Karins fria inredningsstil och det livliga familjelivet, så som det skildras i Carls älskade akvareller, har nästan blivit synonymt med bilden av Sverige.
Huset ser fortfarande ut som på Carl och Karins tid och den som besöker Lilla Hyttnäs i dag kan nästan höra de vilda barnskratten och känna doften av målarfärg.
Synen på det egna konstnärskapet.
Det är inte alltid den egna och omvärldens bilder stämmer överens. Trots stora framgångar med de folkkära akvarellerna ansåg Carl att det var hans monumentala arbeten – fresker i skolor, museer, andra offentliga byggnader m m – som var mest betydelsefulla.
Besvikelsen var stor när hans sista monumentalverk, ”Midvinterblot”, som skulle pryda väggen i trapphallen i Nationalmuseum i Stockholm, refuserades av styrelsen.
I sina memoarer ”Jag” (publicerade efter hans död), deklarerade han sin bitterhet och besvikelse över motståndet mot den målning som han själv ansåg vara hans konstnärliga höjdpunkt. Han skriver:
\\\"Midvinterblotets öde knäckte mig! Med dov vrede erkänner jag detta. Och dock var det nog det bästa där skedde, ty nu säger mig min intuition - igen! Att denna målning, med alla sina svagheter, skall en gång, sedan jag är borta, hedras med en vida bättre plats.\\\"
Och det är bara att konstatera att historien slutligen gav honom rätt. Efter att Midvinterblot såldes till Japan återfördes den till Nationalmuseum inför Carl Larsson-utställningen 1992. Med hjälp av generösa privata donatorer köpte Nationalmuseum verket av den japanske ägaren 1997. Nu hänger den så slutligen på den plats där den var avsedd att vara och Carl kan njuta av att Midvinterblot äntligen är ”hemma”.
De första åren på Principskolan hade Carl svårt att finna sig till rätta. Han kände sig socialt underlägsen och utanför. Men det förändrades när han sexton år gammal flyttades upp till Antikskolan, Konstakademiens lägsta avdelning. Plötsligt började han känna sig mer säker på sig själv och det dröjde inte lång tid innan han blev en av centralfigurerna i studentlivet.
Source: http://www.clg.se/carl.aspx
Flicka Med Skridskor, Interiör Från Skolhushållet I Falun (1917)
Svea I Rättarebostadens Kök På Spadarvet (1917)
Flickan I Det Gröna (1884)
Kvällen Före Resan Till England (1909)
Klappbrygga Vid Sundbornsån (1907)
Clair-obscur (1877)
Stilleben Med Hummer
I Mammas Säng (1908)
Lille Charles (1885)
Staketet / Vid Staketet (1904)
Esbjörn Vid Sitt ägandes äppelträd / Esbjörn, Unghink (1905)
Rygg Och Ros
Min Gårdsplan (1905)
Främmande. ”efter Min Oljemålning ’främmande’” (Executed 1886)
Taburmajor Jonas August Jonasson. Studie Till Korum (Executed 1898)
Liggande Modell (1896)
Madame Jeanne Tramcourt (1915)
Pojke Med Svärd (1916)
Brita Med Julljus (Executed ca. 1900)
Solen Bryter Genom Molnen
Visa På Förstukvisten
Teaterfunderingar (1904)
Porträtt Sannolikt Föreställande Wilhelmina Holmgren (Executed ca. 1873)
Brita I Förmaket (1910)
Trädgårds-erik - Erik Kvarnberg Vid Brunnen (1912)
Eiffeltornet Under Byggnad (1887)
Karin Och Esbjörn (1904)
I Blåsten/ett Vindkast/stina (1895)
Gosse I Blå Kolt (1914)
Karin Och Kersti
Från Majorna (1892)
Porträtt Av Grosshandlare Wilhelm Och Fru Emelie Josephson (1900)
Bron I Grez / Medeltid (1885)
Figurkomposition Med 1700-talsgestalter (ca 1891)
Grekisk Filosof. Triptyk, Bestående Av Tre Ursprungliga Dörrspeglar
Dam Vid Piano (1881)
Studie Till "jenny Lind
Den Lustiga Gubben (1917)
Flicka På Huk
Porträtt Föreställande Louise Magnus F. Fürstenberg (1904)
Det Röda Huset I Vårskrud
Ute Blåser Sommarvind
Lisbeth
Teckningar - 3 St
Från Stockholm Till Messina - Illustrerad Resedagbok (15)
Förslag Till Målning I Uppenbarelsekyrkan I Saltsjöbaden
De Sista Solstrålarna (1887)
Anna-johanna (1913)
Lille Tropp (1899)
Teaterfunderingar
