Antiquity and the Middle Ages
Large stylized rock paintings date back to the Bronze Age (Bolsan province; surroundings of Norrköping).
● A large number of figured stones (from Got; land) and others with interwoven runes and decorations (especially in Uppland) belong to the late period of the migrations of peoples and Vikings. The goldsmith’s art had then reached a high level, as evidenced by the rich treasures of the 6th-11th century. (from Vendel in Uppland, on the island of Got; land, in Östergötland). On the island of Got; land from the 6th century. onwards there was a type of sculpture consisting of stelae with reliefs or engravings, enlivened by painting, and inscriptions: the so-called bildstenar or figured stones, widespread in many of the countries reached by the Vikings. The same style, with strongly stylized animal figures in intertwining and spirals, it is found in wooden sculpture and metal objects.
● With the conversion of the Swedes to Christianity the ancient wooden churches (stavkyrkor) seem to replace the ancient pagan temples, with a square plan and zoomorphic ornamentation. There remain painted panels of the primitive wooden churches of Hemse and Eke, in Gotland (Stockholm Historical Museum); the ruins of the churches of the city of Sigtuna (S. Per, Sweden Olov and Sweden Lar, 1060-1130) echo Anglo-Saxon and continental forms. The largest Romanesque building is the cathedral of the ruins of the churches of the city of Sigtuna (S. Per, Sweden Olov and Sweden Lar, 1060-1130) echo Anglo-Saxon and continental forms. The major Romanesque building is the cathedral of the ruins of the churches of the city of Sigtuna (S. Per, Sweden Olov and Sweden Lar, 1060-1130) echo Anglo-Saxon and continental forms. The largest Romanesque building is the cathedral of Lund (1103, on a building founded in 1080 by King Canute) with a basilica plan with a crypt, apsidal choir and western towers, with sculptural decoration by Comacine workers. Lund Cathedral, covered with vaults after 1234, exerted great influence but there are also many centrally planned churches (S. Lars in Visby in Gotland), which reveal links with Russian-Byzantine architecture.
● Gothic influences arrived in Sweden already towards the end of the 12th century. (with the Cistercians: abbey of Alvastra, in Östergötland, 1185 and church of Varnhem, with Burgundian-type pointed vaults). The presence of a national Gothic style is scarce (the different influences from Burgundy, Westphalia, Saxony can always be found). In the 13th century. great buildings were built: Linköping Cathedral; Uppsala cathedral, in brick, like the gothic cathedrals of Strängnäs, of Västeräs, of Stockholm. The Franciscan church of Stockholm dates from 1280-1311. On the island of Got; land, architecture of a provincial character flourished, with reflections of Saxon and Westphalian architecture; interesting baptismal fonts are preserved in the churches (in Vänge, Etelhem, Stånga, Halle by master Hegvald) and wood carvings (Madonna of Viklau, crucifixes of Väte and Hemise, 1170-90; works by the masters of Tingstäde, Hejnum and Bunge, 13th-14th century). The largest site of late Gothic sculpture of the century. 14th is the cathedral of Uppsala, where the local Master Egipticus works. The church of the convent of Vadstena (14th century) created the model of the churches of the Brigidine order. Of the great city walls there is only that of Visby (14th century); almost entirely preserved is the castle of Kalmar (late 13th century, later remodeled and enlarged).
● In the sec. 15th-16th wooden altars and other sculptures were imported from Northern Germany, from The largest site of late Gothic sculpture of the century. 14th is the cathedral of Uppsala, where the local Master Egipticus works. The church of the convent of Vadstena (14th century) created the model of the churches of the Brigidine order. Of the great city walls there is only that of Visby (14th century); almost entirely preserved is the castle of Kalmar (late 13th century, later remodeled and enlarged).
● In the sec. 15th-16th wooden altars and other sculptures were imported from Northern Germany, from The largest site of late Gothic sculpture of the century. 14th is the cathedral of Uppsala, where the local Master Egipticus works. The church of the convent of Vadstena (14th century) created the model of the churches of the Brigidine order. Of the great city walls there is only that of Visby (14th century); almost entirely preserved is the castle of Kalmar (late 13th century, later remodeled and enlarged).
● In the sec. 15th-16th wooden altars and other sculptures were imported from Northern Germany, from then remodeled and enlarged).
● In the sec. 15th-16th wooden altars and other sculptures were imported from Northern Germany, from then remodeled and enlarged). ● In the sec. 15th-16th wooden altars and other sculptures were imported from Northern Germany, from Antwerp and Brussels (St. George by B. Notke for the Storkyrkanm, great church of Stockholm). Notable sculptor is A. van Düren of Westphalia (from 1487, works in Linköping Cathedral), who was also an architect (Glimmingehus Castle, 1499-1507). In addition to numerous remains of Romanesque frescoes, medieval painting has been preserved above all the late Gothic one, with original accents, which has its center in the province of Uppland (frescoes by a master Albert, c. 1480, in some churches around Lake Mälaren). For Sweden 2014, please check thesciencetutor.org.
From the Renaissance to the 19th century
Since the introduction of Protestantism (1527) it was the kings who gave rise to culture and art. Reflections of the Renaissance, from Germany and the Netherlands, appear in the royal castles (Vadstena, Kalmar). W. Boy, architect and sculptor, built churches in Stockholm, following the tradition of the Hallenkirche. He was responsible for the tomb of Gustavo I Vasa in the Uppsala cathedral. Among the architects of the 16th century. notable members of the Pahr family (from Germany but originally from northern Italy). Of the frescoes of the 16th century. the works of A. Lambrecht are preserved (Kalmar Castle). The 17th century, with the political rise of the Swedish kingdom, favored artistic activity (F. Vinckeboons and Sweden De la Vallée, ‘house of the knights’ in Stockholm). The activities of C. Döteber (German church and Torstensson palace in Stockholm), HJ Kristler (Jakobsdal castle), K. Panten, and also of N. Tessin the Elder (Drottningholm castle) and N. Tessin the Younger (Royal Castle of Stockholm) who introduced the Roman and French Baroque to Sweden
● The sculpture of the sec. 16th and 17th is mainly represented by funerary monuments executed by foreign artists. Painting is also dominated in the 17th century. by foreigners, such as French Sweden Bourdon, the Dutch D. Beck, the Germans J. Ovens and D. Klöcker Ehrenstrahl (influenced by Michelangelo and Rubens). To the decorations in Stockholm Castle, done in the mid-18th century. in Rococo style, sculptors (J.-P. Bouchardon and P.-H. Larchevêque) and French painters (G.-T. Taraval) collaborated. Some Swedish artists worked in France: the portraitist A. Roslin, the watercolorist N. Lafrensen (Lavreince) and the illuminator PA Holl, while portrait painters such as JH Scheffel and O. Arenius continued to work in Stockholm.
● The reign of Gustav III was a flowering period for the arts and letters (the portrait painters Krafft the Elder, Lorenz Pasch the Younger and Carl von Breda; the greatest artist of the time, the sculptor JT Sergel). The architect KF Adelcrantz worked in the French Rococo style, later replaced by the classical art of the French J.-L. Desprez, who established himself above all as a set designer, and by the classicism of E. Palmstedt. In the buildings of Sundvall and Gjövell the classical address continues.
● The first half of the 19th century. marks a period of decline: painters and sculptors use motifs from ancient Norse mythology and Swedish history (JA Malmström, MZ Winge); the sculptors JN Bystrom and BE Fogelberg represent the worst aspect of the classical current. J. Börjeson and P. Hasselberg emerge in the sculpture of the late nineteenth century. Among the painters, the classical address is represented by the portraitist P. Krafft the Younger, the romantic one by the landscape painter CJ Fahlcrantz. JF Höckert was among the painters who devoted themselves to research on color. Between 1870 and 1880 the stays in Paris of various Swedish artists produced echoes of French impressionism. The landscape painters KF Nordström and NE Kreuger, the portrait painter SR Bergh, the animalist BA Liljefors, and A. Zorn. A singular personality was EA Josephson. In the last decade of the century, Swedish painting took a romantic direction, which centered on the Association of Artists (Konstnärsforbundet) headed by Nordström.
