De franska juste-milieu-konstnarernas betydelse for nordiskt 1880-tal
Titel:
De franska juste-milieu-konstnarernas betydelse for nordiskt 1880-tal
Auteur:
Gynning, Margareta
Verschenen in:
Konsthistorisk tidskrift
Paginering:
Jaargang 56 (1987) nr. 2 pagina's 53-56
Jaar:
1987
Inhoud:
The French Juste-Milieu artists' impact on Nordic Art in the 1880's. Even though a great amount of research has been done on Nordic art of the late 19th century some aspects of interest have not yet been looked into. This article discusses the Nordic artists' situation in the 1880's, specifically their relation to contemporary French art. Though the discussion proceeds from a Swedish perspective, many of the aspects in question also apply to the other Nordic countries. A common denominator for the period are the artists' revolts in Scandinavia, which hitherto have been described as a battle between academic art and the avantgarde. This modernist myth of contraposition, however, puts the Swedish artists of the 1880's out of context, because they belong to neither group. They should instead be related to the term juste-milieu and be connected with artists who both kept to certain academic principles and were influenced by some avantegarde traits. In France the juste-milieu artists were the official artists of the Third Republic, and they made the greatest success at the yearly Salon. The Swedes were especially influenced by Jules Bastien-Lepage who at that time was very well known internationally but then disappeared into oblivion. During the last decade international art historians have taken an interest in these juste-milieu artists but only little of this research has been acknowledged in the Nordic countries. Instead of viewing the Scandinavian artists' revolts in the 1880's as a fight between two opposing artistic principles, this writer prefers to look upon it as a fight for official recognition. The young Swedish artists wanted to reach the same official status that their admired models, the French juste-milieu artists, held in the Third Republic. Artistically, they had more in common with their old professors at the academies, their professed enemies, than they had with the international avantgarde.
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