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拍品专文
The present painting is an early portrait by the artist who would come to be regarded as Sweden’s master portraitist. Though born into humble circumstances and out of wedlock, Zorn was acknowledged by his father, a brewer, which opened doors for the young artist, particularly once his artistic aptitude became apparent. Following his father’s death in 1874, he received an inheritance which sustained his living expenses and school fees for several years. In 1875, Zorn moved to Stockholm to continue his artistic education. He initially trained as a woodcarver in the School for Handicraft and later transitioned to the Royal Academy of Fine Art’s preparatory school to study painting, drawing and sculpture. The financial support he had been receiving from his inheritance came to an end in 1878, the year he entered the Academy, but inspired by the artist’s mother, who had sent Zorn’s drawings to several of his late father’s friends, a collection had been taken up on his behalf which allowed him to carry on with his education. In 1879 Zorn completed his studies, and it was in the same year that the present portrait was made.
Among the young Zorn’s supporters were the Dölling family, also a brewing family, who lived in the Stockholm archipelago. In 1872, the year Zorn’s father became aware of his birth and acknowledged him as his son, the Döllings hired Zorn’s mother as a gardener, and offered the two a place to live where Zorn could learn to speak Swedish, as he only spoke his local Mora dialect. His mother sacrificed all her best clothes so that Zorn could be dressed well to be seen in polite society, and allowed him to play with the Dölling children rather than joining her in her work. During and immediately following his studies Zorn painted several portraits of the Dölling children, primarily in watercolor–a watercolor study of the present painting is also known. Boëthius identifies this painting specifically as being painted on New Year's Day of 1879. This large-scale oil is undoubtedly the most impressive statement of all of Zorn’s portraits of the Dölling children, reflecting the artist’s ambitions for his future, but he must have also seen it as a sincere gesture of thanks for the family’s years of support as well. In the following year, 1880, Zorn would paint In Mourning, the work that would begin the launch of his career to its meteoric heights.
Among the young Zorn’s supporters were the Dölling family, also a brewing family, who lived in the Stockholm archipelago. In 1872, the year Zorn’s father became aware of his birth and acknowledged him as his son, the Döllings hired Zorn’s mother as a gardener, and offered the two a place to live where Zorn could learn to speak Swedish, as he only spoke his local Mora dialect. His mother sacrificed all her best clothes so that Zorn could be dressed well to be seen in polite society, and allowed him to play with the Dölling children rather than joining her in her work. During and immediately following his studies Zorn painted several portraits of the Dölling children, primarily in watercolor–a watercolor study of the present painting is also known. Boëthius identifies this painting specifically as being painted on New Year's Day of 1879. This large-scale oil is undoubtedly the most impressive statement of all of Zorn’s portraits of the Dölling children, reflecting the artist’s ambitions for his future, but he must have also seen it as a sincere gesture of thanks for the family’s years of support as well. In the following year, 1880, Zorn would paint In Mourning, the work that would begin the launch of his career to its meteoric heights.