Sigrid HjertÃ©n was a Swedish modernist painter. HjertÃ©n is considered a major figure in Swedish modernism. Periodically she was highly productive and participated in 106 exhibitions. She worked as an artist for 30 years before succumbing to complications from a lobotomy for schizophrenia.
Sigrid HjertÃ©n was born in Sundsvall in 1885. She studied at the University College of Arts, Crafts and Design in Stockholm and graduated as a drawing teacher. At a studio party in 1909, HjertÃ©n met her future husband, twenty-year old Isaac GrÃ¼newald, who had already studied one year with Henri Matisse in Paris. GrÃ¼newald convinced her that she would do herself more justice as a painter. Later that year she went to Matisse’s art school as well.
As she studied under Henri Matisse in Paris, she was impressed by the way he and Paul CÃ©zanne dealt with colour. This shows in her painting in contrasting colour fields and simplified contours, her way of achieving the greatest possible expressiveness. Her aesthetic intentions had primarily to do with colour, and in her later works from the 1930s she spoke of colours in terms such as cold yellow. HjertÃ©n strove to find forms and colours that could convey her emotions. In that respect her work is more closely related to the German Expressionists, such as Ernst Ludwig Kirchner, than to the French painters, with their graceful play of lines.
After a year and a half she returned to Sweden. In 1912 Sigrid HjertÃ©n participated in a group show in Stockholm. It was her debut exhibition as a painter. In the following ten years she took part in many exhibitions both in Sweden and abroad, among other places in Berlin in 1915, where she was well received. Sigrid HjertÃ©n was also represented at the Expressionist Exhibition at the Liljevalch’s konsthall in Stockholm in 1918, together with two other artists. However, the contemporary critics were not enthusiastic about her art.
In HjertÃ©n’s art, where she greatly exposes herself, one notices different stages of development. The influence of Matisse is perhaps mostly discernible in the 1910s. During this decade, HjertÃ©n created many paintings with indoor pictures and views from her home, first at Kornhamnstorg Square and later at KatarinavÃ¤gen Street, in Stockholm. Her husband Isaac GrÃ¼newald and her son IvÃ n, as well as Sigrid herself, are often depicted in scenes that embrace various sorts of conflicts. At this time Sigrid HjertÃ©n got acquainted with and inspired by the art made by Ernst Josephson during his illness.
Between 1920 and 1932, Sigrid HjertÃ©n and her family lived in Paris, and made many excursions to the French countryside and the Italian Riviera for painting. This was a relatively harmonious era in HjertÃ©n’s art, but her exhibits were very limited in this period. Her husband often visited Stockholm where he had a brilliant career. In the late twenties HjertÃ©n increasingly suffered from various psychosomatic ailments, and she complained of loneliness. As time passed, an increasing tension can be seen in her art that successively rises and reaches its height immediately before the disease forces Sigrid HjertÃ©n to cease as an artist. In the late twenties, while she was very isolated in France, colder and darker colours began to show. Recurring diagonal strokes helped to give the paintings a tense impression. During the thirties HjertÃ©n painted innovative paintings which are characterized by menacing tones, growing storm clouds, and feelings of abandonment.
In 1932, Sigrid HjertÃ©n decided to return to Stockholm. But during packing she collapsed. She got to Sweden and was temporarily taken to the psychiatric hospital of Beckomberga with symptoms of schizophrenia. She recovered periodically and in the two following years (1932â1934) HjertÃ©n’s artistry culminated in a crescendo, where, like one possessed, she made pictures that expressed strongly loaded feelings. One gets the impression that she tried to master a threatening inner chaos with her creative work. She devoted herself to intensive painting, creating one picture a day, the picture-book of her life, according to an interview in the Swedish art magazine Paletten. Some paintings radiate horror while others give a warm and harmonious impression.
During 1934, she traveled with her family in the south of Europe, where she painted. Sigrid HjertÃ©n eventually made her name as an artist among the critics in 1935, when she exhibited with Isaac in Gothenburg. Yet, most contemporary critics had a negative and even scornful attitude towards Sigrid HjertÃ©n’s works of art, and many of them wrote deeply offensive reviews. Among other things her paintings were called idiocy, humbug, horrors and products of handicap. She won public recognition only in 1936, when she had a well received solo exhibition at the Royal Swedish Academy of Arts in Stockholm. Isaac, who had many mistresses over the years, divorced Sigrid and remarried. (Both Isaac and his new wife later died in a flying accident in 1946). At that time, Sigrid suffered from escalating mental illness, diagnosed with schizophrenia, and was permanently hospitalised at Beckomberga Psychiatric Hospital in Stockholm, where she remained for the rest of her life. After 1938 her artistic output dwindled. Following a botched lobotomy, she died in Stockholm in 1948.
Sigrid HjerÃ©n’s total production amounted to slightly more than 500 paintings, together with sketches, water-colours and drawings. HjertÃ©n had to fight the prejudices of her time throughout her career. Her paintings seem extremely personal for the era in which they were made, when issues of colour and form were uppermost in artists’ minds. Her interest in humankind was often manifested in dramatic, even theatrical compositions, while her approach to colour was emotional as well as theoretical.
Posted by >RasMarley on 2012-06-22 19:28:18