Ivar AROSENIUS

Ivar Arosenius (1878-1909). Creative fate Ivar Aroseniusa, a Swedish graphic artist and, like the fate of many masters of fine art, working in conditions of bourgeois society, the XIX-XX centuries. After a difficult path full of hardship and the daily hardships, Arosenius died at age 31, never learned social recognition. Peculiar opening of the original masters of Scandinavian modernism took place only in 1909 at the posthumous exhibition of his works, which became a bright event in the artistic life of Stockholm, the first decade of this century.

. The first skill mastery picturesque Arosenius received Valandskoy art school under the leadership of the Swedish masters of landscape painting of Charles Vilhelmsona
. After school Arosenius sent to Munich, then in Paris, where he meets with modern achievements of European art. The artist visits the museum, met with the largest private collections, and just hours wandering the streets of Paris. His first impressions are reflected in the numerous pencil sketches. Even in these runaway graphic works for the ridiculous, and frankly sometimes overdo images guessed that a heightened perception of the world of the painter, which finds its way to full of tragic works of later times. Important role in the development of creative individuality Aroseniusa played his meeting with the Danish painter Symbolist About. Cruz.

In the same period, finally emerging themes works Aroseniusa: the world of fairy tales and folk legends. Interest Aroseniusa to them quite natural and developed in line with the national-romantic trend in the fine arts of Sweden late XIX-early XX century. Artist enthusiastically working on the illustrations to the Scandinavian tradition and the German fairy tales ( 'The Princess and the Trolls', 1904, 'The Tale of the six princesses', 1905). But the most deeply enchanted fantasy world Aroseniusa Eastern tale. Plots of these stories are devoted to the best of his works: 'The Golden Bird Caliph' (1908), 'The Miraculous catch' (1908), etc.. These series of watercolors of the artist, a sensitive nature tale combines the purity of the naive popular fiction and sharp humor, mysterious mystique and juicy colorful images.

. Fairy-tale motifs are so deeply immersed in the artistic consciousness Aroseniusa that sometimes filled with a seemingly everyday scene
. In the product 'at the table' (1906) The usual daily occupation, evening meal, is treated as a kind of ritual, habitual household plot gets shade Dreamscapes. This impression, tends to promote evening or artificial lighting, the entire image as it is covered with haze, the outlines of objects as if melting into the twilight gloom spilled. His heroes are not so much real substance, as mysterious vision, only a short time, who found plastically-tangible form. These visions are fragile figure and girls in the 1908 'Girl at the door', and the image of women at the table (1906). Effect of a fantastic interpretation of images reinforced chosen master the technique. Favorite materials Aroseniusa-fragile pastels and delicate transparent watercolor, the methods which the master fluent in.

. World tales, constantly drawing to itself the thought of the artist, was one way of being creative Aroseniusa, on the other side was the theme of contemporary reality
. She bursts into the works of masters, ruthlessly sweeping away in its path magic castles and denying any sense any conflict of fabulous. Images of the modern world give birth in the soul of the artist's sense of anguish and deep loneliness. This theme sounds in the genre works Aroseniusa. In his work 'November' (1903) depicted a gloomy autumn day, when the cutting wind drove on deserted city streets in dried leaves, which seem to be worthless, as well as shrunken from the cold, sitting on a bench. The same anguish and despair permeated his work 'Spring' in 1906.

But the most urgent issue in the portraits of loneliness sounds Aroseniusa. In recent years the artist lived very closed, so the range of its models are extremely narrow. This is his family: his wife and little daughter, a few close friends and, of course, he. Arosenius wrote a whole series of self-portraits. As if peering into a mirror image, the artist is trying to understand himself, to define its place in the surrounding reality. These small graphics and watercolor sheets were never intended for display at exhibitions and first found its audience after the death of the artist.

. Since the early 1900-ies in the works Aroseniusa insistently keynote theme of death, first in the form of half-jokingly, as in his 1903 watercolor "The funeral of death ', which depicts a crowd of merry dwarfs, which provide the court with a coffin with the skeleton
. But with each new piece of this issue looms sound, echoing the theme of rock. The feeling of the inevitability of the approaching end of the spirit of his self-portrait 1905. With him on the viewer looks suspicious person artist, . how to listen attentively to what, . what happens on the other side of Forest Lake, . where a string of fabulous creatures wander, . and among them stands out, pale figure of death, blindfolded and with a scythe in his hands.,

. Despite the fact that life Aroseniusa in art was short, its artistic heritage has played a big role in the further development of the fine art of Sweden
. In the work Aroseniusa its gradual development was the direction of Scandinavian modernism, which was based on the revival of traditions of our national artistic heritage. In the fairy-tale stories, and several forms primitivizirovannyh his image in their bright and pure colors of clearly discernible tradition of folk art, carefully preserved to this day in the bowels of the peasant culture of Sweden.